{"numero_id": "bm-bmtnaau-1927-01-01", "volume": "bmtnaau_1927-01_01", "ocr_sha256": "4c1e09039615c828142b4b872f515cfa6371a6b72b114ba2dbef6762570e9a27", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1927/01_01/bmtnaau_1927-01_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1927/01_01/bmtnaau_1927-01_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01", "articles": [{"article_id": "bm-bmtnaau-1927-01-01-c002", "article_bluemountain": "bmtnaau_1927-01_01#c002", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 1", "page_fin": "couv. 1", "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=bmtnaau192701-01.2.2", "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": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.1", "debut_caractere": 285, "fin_caractere_exclue": 1056, "texte": "THE ACCADEM1A DEGLI INDIFFE-\nRENTI: A Record of Some Experiences by\nChi lo sa.\nPOETRY IN DRAMA, and the Impression\nmade upon the Audience by Sound in Verse,\nby William Poel.\nBEN JONSON, INIGO JONES, INVEN-\nIORS, by Paul McPharlin. I\nJ\nHPHE CONCLUSION OF THE OPERA\nJL REGISTER, 1712-1734, kept by Francis\nColman, and now printed for the first time.\nIBSEN'S \" PRETENDERS \"AS PRODUCED\nAT THE ROYAL THEATRE, COPENHA-\nGEN. An Interview with Mr. Gordon Craig.\nBLUSHING IN THE LIMELIGHT, A NOTE\non how the great and less-great take their\n\" Calls by Henry Phips.\nON THE MEMOIRS OF ACTRESSES:\nAnd some Reflections on the best methods\nfor the emotional Actress to adopt, by J. S.\nA SURPRISE FOR M. DIAGHILEFF:\nBeing news of a Discovery made fourteen\nyears behind the Hime, by J. B."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c003", "article_bluemountain": "bmtnaau_1927-01_01#c003", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.2.3", "titre_corps": "LITERARY CONTENTS", "titre_sommaire": "LITERARY CONTENTS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.2", "debut_caractere": 520, "fin_caractere_exclue": 1309, "texte": "LITERARY CONTENTS.\nESSENTIALS J. S Page 1\nTHE ACCADEMIA DEGLI INDIFFERENT! . . . Chi lo sa 3\nPOETRY IN DRAMA William Poel 7\nVENEZIA AND ITS FOOLISH COLLABORATION of\nPoet, Musician, Architect, and Scenographer A. C. . 9\nBEN JONSON: 1NIGO JONES: INVENTORS . . Paul McPharlin. . . . .10\nARTHUR SYMONS. ....... The Producer of Acis & Galatea, 1901. 15\nENTHUSIASM IN THREE THEATRES.... J. B 17\nOPERA REGISTER 1712-1734 (concluded) . ; . Francis Colman , . . . .18\nIBSEN'S \" PRETENDERS \" AT COPENHAGEN . . Conrad Tower . . . .24\nBLUSHING IN THE LIMELIGHT . . .f . . Henry Phips 28\nON THE MEMOIRS OF ACTRESSES .... J. S 29\nDISCOVERY AFTER FOURTEEN YEARS . . . J. B. 30\nTHEATRE TALKS, and a Little Back Chat by Mr. Gordon\nCraig. ......... Editor & E. G. C. . . . .32\nBOOK REVIEWS. EDITORIAL NOTES."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c004", "article_bluemountain": "bmtnaau_1927-01_01#c004", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.2.4", "titre_corps": "ILLUSTRATION", "titre_sommaire": "ILLUSTRATION", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.2", "debut_caractere": 1311, "fin_caractere_exclue": 1892, "texte": "ILLUSTRATION.\nMR. GORDON CRAIG. A recent Photograph. ....... Plate 1, Face 1\nTHE COiMEDIANS . From a Dutch Print, 1719 n 2, \" 12\nA PERFORMANCE WITH MUSIC G. P. Pannini . . \" 3, I 20\nTHE TEATRO IN MACERATA Anon.... n 4, « 22\nDESIGN FOR A STAGE SCENE Gordon Craig . . n 5, n 26\nPALAZZO CAVALLI, Venezia ..... Anon ...... 9\nTHE BANQUETING HOUSE, WHITEHALL, A cut . Paul McPharlin . . . . .10\nAN OLD DESIGN . . . . . . . . Brant's \" Ship of Fools . . .34\nTHE THEATRE HISTORIQUE PARIS . . . . Designed by Architects de Dreux & Sechan 37\nHead and Tail Pieces from old and modern Designs."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c005", "article_bluemountain": "bmtnaau_1927-01_01#c005", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 4, "image_fin": 4, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.2.5", "titre_corps": "Mr. GORDON CRAIG", "titre_sommaire": "Mr. GORDON CRAIG", "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": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 95, "texte": "Mr. GORDON CRAIG.\nA Recent Portrait taken in the garden of his Villa at Genova, Italy.\nPlate 1."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c006", "article_bluemountain": "bmtnaau_1927-01_01#c006", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1", "page_fin": "2", "image_debut": 5, "image_fin": 6, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.2.6", "titre_corps": "ESSENTIALS", "titre_sommaire": "ESSENTIALS", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.5", "debut_caractere": 20, "fin_caractere_exclue": 743, "texte": "ESSENTIALS.\n\nIT is not only in our Theatre world that men quarrel\nabout a lot of unimportant unessentials while forgetting\nto unite to remedy the essential.\nHow long did the fight for and against footlights\ngo on — how long was our world divided on the sil-\nly little subject \" To make up or not to make up \" ? on the\nyet sillier themes \" Scenery or no scenery \" ? and \" Does\nShakespeare spell ruin \" ?\nThese herrings are poor sport by the side of the real\nfox. Why not combine and give the fox a run for a change.\nTHERE are some things on which we have to agree\nand since it should be as easy as breathing let us get\nat them.\nT70R example, Courtesy in the How are we\ngoing to advance until we go back to the old courtesy ?"}, {"page_pdf": 6, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 2509, "texte": "WE know that it is this lack of courtesy which is keeping some\nof the best brains of the Theatre off the stage. These men who\nknow more and can do more on a stage in a day than the pushful\nelbowers can know or do in a month, naturally do not come into a\nTheatre where Smith the mechanic (who is generally very courteous,\nby the way) and Hash the chief actor are a couple of boors, or, if\nnot boors, are sensitive fools whose feelings must not be offended. To\ncall a fool a fool is the most courteous thing we can think of, ....it\ngives him an opportunity of showing us that we too can be wrong.\nIt is not any fastidious effete courtesy we ask to see revived but\nsomething of the grand old manners of the best times.\nFirst of all — respect for brains ; secondly — respect for charac-\nter ; thirdly — respect for the ability of the genuine craftsman.\nWhat is the very essence of discourtesy is silent mutiny — ill\nwill —; such folk are sick and need rousing up. They are in a\nstate of revolt; not against the stupidity of their Theatre (that's healthy\nenough) but against the best things. It is due perhaps to ignorance,\nbut whatever it be due to it is the worst evil in the Theatrical world.\nWhile it broods and smoulders on, our English stage cannot do any-\nthing like its best. This discourteous sickness explodes not in the thea-\ntre, it leaks out in the clubs ; some journalists are subject to its fumes\nand are asphixiated by them. Actors and actresses have the habit of\ncackling — not merely their own grievances find an outlet ; they even\nchampion the grievances of their fellows.\nNow there are no real grievances: there is nothing for any single\nman to complain of, nor for any group either. Every man has his\nwages — can eat, drink, smoke, dress well, and succeed if he will.\nNo theatrical people are better paid than are the English. But while\neach man, each group has reason to be comfortable (if not happy) the\nentire English Theatrical Profession has one big grievance.\nIt is being killed : — it is dying of itself.\nWe are no Doctors; we offer no prescription, for to get up and\nshake yourself is not to take medicine. And the sole thing the English\nTheatre needs to do is to shake itself. To do this it must separate\nwhat is essential to its health from what is unessential. Neither Drama\nLeagues, amateur Societies, clubs, or avoidance of the facts, can do this,\nor do this for it. It must do it itself — and we know that in our\nEnglish Theatre there are many ready to help it to do this.\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c007", "article_bluemountain": "bmtnaau_1927-01_01#c007", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "3", "page_fin": "6", "image_debut": 7, "image_fin": 10, "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=bmtnaau192701-01.2.7", "titre_corps": "THE ACCADEMIA DEGLI INDIFFERENTI", "titre_sommaire": "THE ACCADEMIA DEGLI INDIFFERENTI", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 3293, "texte": "THE ACCADEMIA DEGLI INDIFFERENTI\n\nIwas a producer. I was looking through\nan interleaved copy of \" Macbeth \" in\nwhich I had written down the entire mise-\nen-scene for the play, ....for the arrangement\nof each scene, ...notes, suggestions, mea-\nsurements ; there were really quite a number\nof pages....\nAnd i was looking at a series of minia-\nture drawings of mine of the scenes for this\nplay which I had sketched into this book.\nAs 1 read the notes I passed quickly\nfrom one to the next, on to the last. At\nthe end I asked myself, what is ail this\nfor the Theatre? I spoke aloud: and re-\nplied with so much hesitation that 1 really\nforget what it was I found these things to\nbe worth. But it led me to attempt a re-\nstatement of what the Theatre really is, as\nyou shall presently discover.\nThe designs themselves were not bad,\nbutt hey seemed to represent an unnecessary\noutlay in canvas and wood, and that, of\ncourse, is bad. For we do not repeat\n\" Hamlet \" or \" Lear \" in a theatre for\nthe benefit of the carpenter and the linen\ndraper. £ 600 seems rather a large sum\nto expend on wood, canvas, and linen,\non ropes, nails, and workmen's time for\na new production of a play. Yet that is\noften spent these days, ....even ten times\nthat amount..., and the best spectators\ntell us that it is not in the best of taste;\nthat the scenic things disturb them, and\nthat they prefer the play in altogether\na simpler setting.\nLooking at my designs, I soon began\nto agree quite well with my critics of 1910\nwho used to say that the notions I had\nwere fantastic and too elaborate, and I\nbegan to agree also with those better specta-\ntors who want all things simpler, ....no\nmore trappings.\nAfter looking, reading, relooking, re-\nreading, I grew quite captious about it all;\nand, as I sat thinking, I found myself going\nover entirely to my critics, and with a di-\nstinct dislike for the notions I was leaving:\nbut as I went over I seemed to glance\nback and became immediately aware how\nvast was the crowd of people who clustered\nround these same notions which I was just\nleaving. The people were honest enough ;\nthey liked very well the things 1 once\nwanted to give them. They too wanted to\nsee more and more of them realized on stages;\nand, indeed, seemed to consider that this\nmethod solved the entire problem of stage\nproduction.\nNot till I was leaving them had I\nnoticed the size of this crowd. It was\nenormous. It was an odd crowd, rather\nhearty and eager about things; a material\ncrowd, too noisy perhaps, rather ruddy in\nface and over-quick to say what it liked;\nconsidering for hardly more than a moment\nor two, whether or no it was overestima-\nting its special fancy.\nBut now, on getting away from this\ncrowd, and in the circle of my critics, with\nwhom I was vastly happy to be, I became\nmightily content to listen carefully to them\nso as to understand something I did not\nyet quite understand.\nThis ignorance of mine, this lack of\nunderstanding, is what had made me leave\nthe others and go over to the enemy, ....I\nmean my enemy, i.e. enemies now to be\nmy true friends; those who I could see\nknew, who wished to impart, wished to\ndiscipline and bring me up. I went\nover to these, glad to the soul to be\nbrought up.\nMy only discomfort was a feeling that\nit was all a hopeless task for them, since I"}, {"page_pdf": 8, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.8", "debut_caractere": 0, "fin_caractere_exclue": 3438, "texte": "had no brains, little knowledge, and less\njudgement; was a mass of instinct, rather\ntroublesome to myself, and therefore desti-\nned to be a rare trouble to anyone who\nshould attempt my education. Anyhow,\nI promised myself I should at any rate do\nmy very best; that is to say, i would\nspare my tutors every possible annoyance\nby taking pains.\nI wanted to learn what the Theatre\nwas; 1 wanted this simple thing made clear\nto me.\n1 took pains. I was very attentive,\n....at least I thought 1 was, and my tutors\nwere only too kind to tell me when I was\nmissing anything. 1 had to twist and turn\nto catch the intellectual ball, catch a glimpse\nof it, rather, as it flashed from tutor to\ntutor.\nLest I convey by the use of this word\n44 tutor \" that I was in a school, I had\nbetter change it to the word 4 4 brain''. From\nbrain to brain sped this silvered ball. I sat\nlistening, watching, puzzled but flattered to\nbe there, now fancying I had the ball, now\naware I had it not, that I never could\nhave it.\n\" I know not what this love may be\nwhich cometh to all and not to me \"\nran through my bit of a brain ; and it\nwas so like me to confuse love and brain,\nsoul and body, body and soul, heart and\nhead, heads and tails. Still, 1 had tossed\nup and gone over to the brains, and I sat\nand hoped and had patience, and was sorry\nfor the fine company I was in, that 1 was\nsuch a fool.\nIn this fine company sat ladies. I am\nuncertain whether they were many or few.\nAnyone with brains could have said, 44 Six,\nI believe \". But something even preven-\nted my achieving a calculation as small as\nthis. I listened and heard these ladies\ngently correcting the wise men. They did\nthis only now and again, and in a certain\nfirm- way that confused me more and more:\nso much so indeed that I even came to\nfancy that these ladies had once been as\nignorant as 1, and that their wisdom had\nbeen acquired from the wise men they\nwere now correcting. And all this made\nme, as you can suppose, no happier. Be-\nsides, I could not be positive that they\never had been ignorant,' ....not really as\nignorant as I.\nI was sure of nothing, Wisdom sur-\nged around me but seemed to refuse to\nenter me. 1 was tossing with the ball upon\na strong ocean; a deep one, I was sure.\nIts waves were its words; its currents\nwere its meanings; and its depths.... its\ndepths, .... 1 shuddered.... were to be my\ndeath. They were not beyond me, but\nthey were terribly beneath me.\nOne thing only was left me to do.\nTo fling myself upon my back and float\nif I could; to throw myself upon the\nmercy of the court, since i could not throw\nmyself upon its ignorance as did the old\nman in Colorado. I could not feel as he\ndid; I felt this really was no moment\nto jest.\nLet me here remind you who I was\nand what my calling.\nI was a stage manager, a 4 4 producer\nmy calling the Theatre. Of the Theatre and\nits Stage 1 knew how little 1 had acquired\neven after a rather long apprenticeship of\ntwenty years. Full thirty years had come and\ngone; I thought myself rather well informed,\nand yet here amongst the wise men and wise\nladies all this seemed nothing. They spoke\nof things I ought to have known more\nabout, and about which I seemed to know\nnothing; and they never once spoke about\nthe Theatre. Not that it was beneath them,\nfor when I did come to mention it, they im-\nmediately entered exhaustively into the whole\nmatter, remarking that what Aristotle had\nsaid was just, and that the Frenchman Abbe"}, {"page_pdf": 9, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 3442, "texte": "Hedelin d'Aubignac and the Italians, Count\nScipione-Maffei and Count Algarotti were\nto be read attentively.\nThese four writers they discussed, del-\nving, with all the most delicate, pincer-\nlike phrases, into their several works, com-\nparing what they pulled out, and I sat\nsilent, all the while unable to say more\nthan \" that is true \" or \" so it is \".\nFor, without exaggeration, I never\ncould find a single fault with anything they\nsaid. They really seemed to know all\nabout Drama and Stage as about all\nelse. When it was not brilliant, then it\nwas profound; and sometimes it was both.\nI had read Aristotle, and d'Aubignac, Al-\ngarotti and Maffei, and so I grew confi-\ndent and happy on hearing their names\nmentioned. But this confidence soon left\nme as I perceived how much better my\nnew friends knew the works of these men\nthan I did. For though it is true that I\nhad read the books, I really had never\nunderstood them.\nI have too lively a fancy properly to\nunderstand things which are so far off.\nWhen reading Aristotle, all I could do to\nconcentrate was never quite enough to obli-\nterate the thought, or rather the vision, of\nArchitecture. I saw columns of burnt marble,\norange and brown, and white marble, and\na blue sky, and I saw a little curve\nof steps and some silent people, and\nother people leaping and singing in a\nring. When I read d'Aubignac, I saw\nRichelieu in a red robe in a room of\nbrown wood, rebuilding France as his\nlittle beard grew grey. Algarotti's eight\nvolumes breathed of sleep and\nto me, and Maffei and his book summon-\ned up a big library of other books, pre-\nsided over by Aristotle; ....so back I\n<came to the architecture, a bit broken up.\nThe ancients had just this effect on\ntme. They conjured up visions which\nnothing could explain away: and I was\nnot born with much gift for explanation.\nWith more modern times it was dif-\nferent. But when my new friends spoke\nof to-day, I had to be very nimble, for\nit always led them to Maffei, on to\nd'Aubignac, and so back to Aristotle;\nand many a time I was in danger of being\nleft behind in this century.\nI do not mean to say that these were\nthe only writers mentioned by them, for\nColeridge, Brunetiere, Sarcey and Henry\nArthur Jones were often named; although\nJones, being more of a practitioner than\na theorist, was naturally not to be taken\nquite so seriously as the others.\nAnd Diderot was not forgotten;\nSchlegel and Beaumarchais, Voltaire I\nheard all their names. The good Lessing's\ntoo, and Castelvetro. At hearing this name\nmy heart began to beat, a habit I had\nnot cured it of, although by this time I had\nbeen three years in the company and under\nthe tuition of my new friends. 1 remem-\nbered a couple of lines from Castelvetro's\nnotes on Aristotle. I remembered badly, I\nam sure, but what he said amounted to\nthis: \" Tragedy is a dead thing until acted\nand staged\nI forget all else that he said because\nit seemed to me that if this were true, to\ndiscuss further or to read more about tra-\ngedy until after you had seen Tragedy,\nand heard Tragedy staged and acted,\nwould be a little ridiculous; and to discuss\nit afterwards would be even more ridi-\nculous.\nThis stupid platitude, you may well\nimagine, I was not so dull as to utter\naloud. But it laboured in me, it laboured\nto hide itself, and 1 felt no lighter and\nhappier about myself; and was only com-\nforted if I turned my full attention on\nthe speech of my friends and so forgot my\nown existence."}, {"page_pdf": 10, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.10", "debut_caractere": 0, "fin_caractere_exclue": 3202, "texte": "In short, I brought myself to such a\nstate of despair when amongst my good\nfriends, that it may be said I only existed\nwhen I was silent, ....dumb....dead. For\nthree years I had not seen that other public,\nthe size and quality of which I had only\nbecome aware of just as I was leaving it.\nAnd now, one day, when we were\non the terrace of the Accademia degli\nIndifferenti, (for this was their name),\nafter a long discussion.... the President\nwalking all the time — (three full hours)\n— up and down, up and down the long\nTerrazza dell'Ombra.... and after it had\nended and all wise men and ladies had\ndescended into the garden or to the house\nor gone away to their own homes, I awoke\nto find a round-faced, round-eyed servant\ngirl looking at me.\n\" You have been calling out, sir \"\nshe said, \" calling aloud. I came, but you\nwere sleeping. Is there anything you want? \"\n\" A Theatre ....a real Theatre\" I\nanswered, and was amused to hear m yself\nspeaking at ail — definitely — and to a\nliving being.\n\" I do not know what that is \" she\nanswered.\n<| It was these seven words which\ndecided me to return to the vast healthy\ncommon public 1 had left three years pre-\nviously, a public which does not know\nwhat a Theatre is.\nI could delay no longer. I got back.\nI went first to Leningrad, then to\nParis, and then to London.\nI went to their gatherings; ....all had\npretty dumpling or dollish faces, ....or\nhonest ploughboy's eyes ....or tightlipped\njockey's mouths; and cocked their heads\nso, or frowned a bit thus. Some were\nquite hearty and healthy, and some were\nnervous wrecks, and some were half and\nhalf, and I was a \" jolly good fellow\nThey seemed a little altered.\nWhen things were quieted down a bit I\nasked them what they understood by the\nword Theatre.\nThey explained.\nI will not keep you listening as long\nas they kept me: — it would do no good;\nyou would become as they became, ....you\nwould slowly go out.\nOut went the light from their eyes as\nthey explained ; they died piecemeal; ....and\nas they died some queer new life moved\nthem. Not as little toy puppets exactly —\nfor these seem like suddenly dead things,\n....things which died at the right moment,\n....things loved by the gods, with their\nopen-eyed wonder still fresh upon them.\nNothing like this was upon these people.\nAs they faded out so they came fading\nin again; slowly. Their youth died out\nslowly, their age died up again slowly.\nThey became more terrible to sit with\nthan huddled mummeys in the tombs. The\nair became horrible — movement ceased.\nI could barely move as they told me what\nit was all about, — this Theatre.\nWhen they had ceased I asked them\nto say how they had discovered this\nTheatre — this New Theatre — and whe-\nther they were quite sure, ( sure) it\nreally was the thing the world wanted.\nYes \" they answered, \" it is; —\nwe know that it is — we have the whole\ntheory and practice which is founded on\nthe very finest tradition of — \"\n\" ....of a great artist? \" I asked, flaring;\nup with hope but not really knowing what\nI said.\n\" ....of the Accademia degli Indiffe-\nrenti \" they answered.\n* *\nI heard what I took to be a stone\nfalling through the darkness of a bottomless\nwell... or was it far-off laughter?\n\nCHI LO SA."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c008", "article_bluemountain": "bmtnaau_1927-01_01#c008", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "7", "page_fin": "9", "image_debut": 11, "image_fin": 13, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.2.8", "titre_corps": "POETRY IN DRAMA", "titre_sommaire": "POETRY IN DRAMA", "signature_source": "WILLIAM POEL", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 11, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 4243, "texte": "POETRY IN DRAMA\nBY WILLIAM POEL.\n\nIN Sir Philip Sidney's Apologie Poetry\nthe main argument of his thesis turns on the\nquestion as to whether the dramatic poet is\nmore successful than the philosopher and the\nhistorian in \" the winning of the mind from\nwickedness to virtue \".\nShelley in his Defence of Poetry says that\na man to be greatly a poet must imagine in-\ntensely and comprehensively, and that he must\nbe able to put himself sympathetically in the\nplace of not merely one of his fellow beings\nbut of all of them. He contends that the\ngreatest instrument for good that exists for\nman's welfare is to be found in the imagina-\ntion, and that poetry vitalises both mind and\nmorals because it explains what it is that de-\nvitalises man's natural aptitude for good.\nTo look further back among the Greek\nclassics we find Aristophanes, in one of his\namusing farces, asking Euripides why drama-\ntists should be encouraged to write plays ?\nEuripides replies, \" Because it is the busi-\nness of these men to make folk into better\ncitizens\nWe know, also, that Orpheus with the\nhelp of his music civilized not only the wild\nmen of the woods, but tamed even wild\ncats, a rather difficult task to accomplish! On\nthe other hand Plato omitted the dramatist as\na person unfit to exist in his Utopia because\nhe thought the playwright did not take his\nwork sufficiently seriously.\nIn mediaeval times the Church was said\nto keep its congregations in ignorance in order\nto preserve the spiritual faith of its members.\nIt was this mistrust of knowledge which begat\na reaction in the form of the Reformation, to\nbe followed by a revival of learning and of\nthe arts. Speaking of Hakluyt's ,\nwritten in Elizabethan times, Russell-Lowell\nremarks ; \"We are almost startled now and\nthen to find that even common sailors could\nnot tell the story of their wanderings without\nrising to an almost Odyssean strain, and habi-\ntually using a diction that we should be glad\nto buy back from desuetude at any cost ' .\nWhere was this diction acquired? There were\nno newspapers in those times, and few schools\nfor the poor. It was at the playhouses, where\nthe poets reigned supreme, men of education,\nof genius', and with a sense of responsibility\ntowards their fellow-men. Today Commercia-\nlism sits as watch-dog at the stage-door, deter-\nmined to keep out everything but the com-\nmonplace. It may, perhaps, think that vulgar\ndialogue with mediocre singing and dancing\nare what the public demand. \" And yet\nsays Lord Chesterfield, every man, if he\npleases, may choose good words instead of\nbad ones; may speak properly instead of darkly\nand muddily. He may have grace instead of\nawkwardness in his motions and gestures; and,\nin short, may be a very agreeable instead of\na very disagreeable fellow, if he will take care\nand pains \".\nDrama on the stage to-day is an illusion\nwhich is due to the proscenium arch, to scenic\nbackground and to artificial lighting, giving the\ncharacters an appearance resembling figures\ngrouped on a canvas. But in Shakespeare's\ntime the presentation of a play on the open\nplatform meant to the Elizabethan playgoers\nan actual event; it was not makebelieve but\nreality, not to the eye but to the ear, and\nthence to the mind. Poetry makes her own\npictures as she makes her own music. She\ncan reveal the loveliness of nature, and she\ncan also describe its terrors. Unsurpassed in\npower over the imagination is Shakespeare's\ndescription of a storm at sea ( , Act I,\nSc. ii, 3.). Poetry takes precedence of history\nin its power to illuminate the past. It mellows\nthe pictures of memory with a special beauty,\nand has a more lasting and subtle influence\nover the mind than has either music or painting.\nIn fact the art of the poet presupposes and\ncomprehends all the other arts. Not a few of\nthe most beautiful ideas of Homer furnish no\npictures for the artist. But the superiority of\nthe poem over the picture depends not only\non technical efficiency such as vocabulary and\nmetre, but also on whether the writer or\nthe artist is the better gifted with poetic inspi-\nration.\nAnd, moreover, the Elizabethan dramatists\nignored the painter's art. The consciousness\nof the greater freedom that language possesses\nmade the poets of that period impatient of the"}, {"page_pdf": 12, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.12", "debut_caractere": 0, "fin_caractere_exclue": 4201, "texte": "limitations of the picture. For instance, Ben\nJonson writes : —\nWhat poesy e'er was painted on a wall ?\nAgain, Lady Macbeth says : —\nthe sleeping and the dead\nAre but as pictures, 'tis the eye of childhood\nThat fears a painted*devil.\nAnd Olivia, in offering her portrait to\nViola : —\n. 4 'tis my picture\nRefuse it not, it hath no tongue to vex you.\nAnd the King to Laertes : —\nOr are you like the painting of a sorrow\nA face without a heart.\nBut today more and more do men and\nwomen distrust their own intuitions. They\nturn to pictures for the realisation of what\nthey themselves hesitate to realise. They\nfancy that their own perceptions do not\ndisclose the author's meaning without the help\nof illustrations. They forget that in most cases\nit is the illustrator, and not the author, who\ndetermines the limits of the reader's imagina-\ntion. Two centuries later, Wordsworth, in-\ncensed at the introduction of illustrations into\nbooks and journals, expressed his disapproval\nin a sonnet of which the following are con-\ncluding lines : —\nAvaunt, this vile abuse of pictured page,\nMust eyes be all in all, the tongue and ear\nNothing ? Heaven keep us from a lower stage!\nAnd Coleridge exclaims : —\nAs idle as a painted ship\nUpon a painted ocean.\nCertainly the picture stage is not suited\nto Elizabethan Drama, and since the intro-\nduction of the proscenium arch English clas-\nsical drama has steadily declined in both li-\nterary and dramatic value.\nBut poetry in drama cannot be limited to\nthe use of rhythmic sounds or verbal felicities.\nTo write verse that will convey to all who\nread it at sight a definite meaning is by no\nmeans an easy task, in acted drama however\nit is the business of the actor to find a tune\nto fit the author's words and then to give the\nlistener the impression that what is spoken is\nthe spontaneous utterance of a living person. Yet\na voice cannot instinctively echo the sense of\nwords that are not native to the speaker. Thus,\nin the delivery of verse, it is only the trained\nelocutionist who can avoid making havoc of\nthe author's music and meaning, while abuse\nof the cadence becomes in the unskilful a\nmonotonous infliction on the ear. Mere readers\nwill mark the swing and lilt and scansion of\nthe verses to the confusion of the sense. They\nhave no choice, no more than the amateur\nwho having learnt but one tune on the piano\nentertains all friends alike with it. But variety\nof time and tune are essential for spoken\nwords. To quote Clifford Harrison : — \"It\nis necessary to call out the inner force of the\nvital word till it answers to the call, and\ntouches the hearer with the startling sense of\nunexpected and unsuspected presence \". This\nis an art which demands a special combination\nof voice, brain and temperament. The actress\nRachel was like Kean, in that she had a\npower of concentrating into a single phrase a\nworld of intense feeling; and indeed Kean\nhimself could not have surpassed the terrific\nexclamation ; — Miserable ! etje vis. Moreover\nKean's musical ear and voice saved him from\nthat still more unpardonable defect, the disso-\nciation of rhythm from meaning. The amateur\ndetermines his emphasis and pause by the\nformal structure of the verse — as if the sense\nended with the line.\nIt must be remembered, then, that verse\nis not necessarily poetry, and that prose may\nsometimes be poetry. Hamlet's speech, be-\nginning, \" What a piece of work is man !\nis prose, but it is also poetry. Only a small\nproportion of pure poetry comes into Shakes-\npeare's plays. Perhaps Richard II and Mid-\nsummer Night's Dream are the two plays\nwhich contain most poetry. Of the tragedy,\nthe central figure is a man who thinks and\nspeaks in words embodying poetical imagery;\nthe comedy is a fairy story. The play of\nJulius Caesar contains very little poetry. Even\nwhen plays are written in verse, the dialogue,\nexcepting of course the soliloquies, is conver-\nsation, and the actor should give prominence\nto those words in the verses which give point\nto the action of the play. Thus Macbeth is\ncertainly speaking poetry when he says,\nLight thickens, and the crow\nMakes wing to the rooky wood.\nBut what is more important still, he is\ntelling the audience, who are seated in the"}, {"page_pdf": 13, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 3035, "texte": "Globe playhouse in broad daylight, that for\nthe purpose of the story they must imagine\nnight to be approaching; and he is also telling\nLady Macbeth of the near approach of Banquo's\nmurder. Now if the actor is thinking of the\npoetry in which the words are clothed, and\nnot of the implied meanings that underlie the\npoetry, he may fail to hold the attention of\nthe audience who have gone to the theatre,\nin the first place, not only to hear poetry hut\nto see action illustrating character.\nThe question how Shakespeare's verse\nshould be spoken on the stage involves some\nconsideration of how it was spoken there in\nShakespeare's time. Poetry was, then, a na-\ntural and spontaneous expression of the Eli-\nzabethan mind and heart, it may have arisen,\nand probably did arise in the first instance,\nthrough the efforts of scholars. It was perfected\nthrough the schooling of the theatre, and poetry,\nas it was understood and appreciated in the\ntheatre, was not in favour with academicians.\nIt was liked, in fact, by the groundlings\nchiefly for the great variety of euphonius\nsounds that the actors got out of the words.\nOn the audience sound in verse made a great\nimpression, partly because of its novelty, but\nchiefly because the broad pronunciation in use\nin Shakespeare's day gave a foreign and not\nunpleasing colour to speech. As the Clown\nin Twelfth Night reminded Olivia, in a play,\n\" You must allow Vox to the groundlings\na tame madman would he unendurable. The\nsound of the rhymed couplet was especially\na delight to the illiterate besides being used\nas a cue for applause at the end of a soliloquy\nor at the exit of a character. Shakespeare\nthough, disliked these verbal puerilities, and\nin The Tempest there is only one rhymed\ncouplet in the whole play.\nThe decay of the actor's art today is in\na great part due to an increased demand for\nover elaborate work by the producer. Ben\nJonson foresaw the effect the Court pageants\nwould ultimately have on the serious drama\nin Jacobean times, and warned his public of\nwhat would happen ; — \"It is a noble and\njust advantage that the things subjected to\nunderstanding have of those which are objected\nto sense; that the one are but momentary and\nmerely taking; the other impressing and last-\ning : else the glory of all these solemnities\nhad perished like a blaze and gone out in the\nbeholders' eyes, so short lived are the bodies\nof things in comparison of their souls \". When\nthese words were written Shakespeare was no\nlonger alive. But the platform stage remained\nand his plays were still being acted in the\ncentre of the arena of the Globe playhouse.\nWe know, too, the impression a performance\nof Juli us Caesar made upon one of the spec-\ntators :\nSo have I seen when Caesar would appear\nAnd on the stage at half-sword parley were\nBrutus and Cassius Oh! how the audience\nWere ravished, with what wonder they went thence !\nThese contemporary lines show the pro-\nfound impression that could be made on an\naudience, three centuries ago, by Shakespeare's\nwords spoken on an open platform."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c009", "article_bluemountain": "bmtnaau_1927-01_01#c009", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "9", "page_fin": "9", "image_debut": 13, "image_fin": 13, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.2.8.1", "titre_corps": "PALAZZO CAVALLI, VENEZIA", "titre_sommaire": "PALAZZO CAVALLI, VENEZIA", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 13, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.13", "debut_caractere": 3037, "fin_caractere_exclue": 3062, "texte": "PALAZZO CAVALLI, VENEZIA."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c010", "article_bluemountain": "bmtnaau_1927-01_01#c010", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "9", "page_fin": "9", "image_debut": 13, "image_fin": 13, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.2.9", "titre_corps": "VENEZIA AND ITS FOOLISH COLLABORATION OF POET, MUSICIAN, ARCHITECT AND SCENOGRAPHER", "titre_sommaire": "VENEZIA AND ITS FOOLISH COLLABORATION OF POET, MUSICIAN, ARCHITECT AND SCENOGRAPHER", "signature_source": "A C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 13, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.13", "debut_caractere": 3064, "fin_caractere_exclue": 3993, "texte": "VENEZIA AND ITS FOOLISH COLLABORATION\nOF POET, MUSICIAN,\nARCHITECT AND SCENOGRAPHER.\nA C.\nI say foolish because some there are who like things\nmore select and simple—they prefer words and all\nwords—music and all music ; they seem not to like ordinary\ncollaboration.\nI have had the same feeling—happily am now rid of it.\nAnd so to me it seems sensible that the Venetians brought\ntogether all which might make Opera and Drama excellent\nwithout doing so at the expense of the pedants.\nThis Palazzo Cavalli shown above contained a little\nTeatro, the property of Alessandro Pepoli, the author of\nseveral tragedies and other pieces; and there they were\ngiven. The Accademia de Rinnovati was founded by\nPepoli, and with it he did delightful productions in this\npalace. In the other theatres the same collaboration of\nthe crafts ruled from the end of the 16th century on until\nthe end of the 18th.\nAs it always must rule sensible people."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c011", "article_bluemountain": "bmtnaau_1927-01_01#c011", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "10", "page_fin": "14", "image_debut": 14, "image_fin": 20, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.2.10", "titre_corps": "BEN JONSON: INIGO JONES: INVENTORS", "titre_sommaire": "BEN JONSON: INIGO JONES: INVENTORS", "signature_source": "PAUL McPHARLIN", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 14, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.14", "debut_caractere": 0, "fin_caractere_exclue": 54, "texte": "BEN JONSON: INIGO\nJONES: INVENTORS.\nBY PAUL McPHARLIN."}, {"page_pdf": 14, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.14", "debut_caractere": 685, "fin_caractere_exclue": 4019, "texte": "Cette lutte entre deux hommes superieurs, egalement\nenerglques et author itahes, est au fond celle de deux con-\nceptions, de deux elemens, de deux arts qui se disputent\nla preponderance dans le ballet.\nPaul Reyher. Les Masques Anglais.\nWILLIAM Drummond received Ben Jonson\nas his guest at Hawthornden near\nEdinburgh for about a fortnight in January\n1619, and kept notes of their conversations\ntogether. Jonson talked much about himself,\nand Drummond, perhaps a little weary, sum-\nmed him up thus when he had gone: \"He\nis a great lover and praiser of himself, a con-\ntemner and Scorner of others, given rather to\nlosse a friend, than a jest, jealous of every\nword and action of those about him.... he is\npassionately kynde and angry, carelesse either\nto gaine or keep.... Interpreteth best sayings\nand deeds often to the worst: oppressed with\nfantasie, which hath ever mastered his reason,\na generall disease in many poets\nThere is no contemporary account that\nso fully sketches the character of Inigo Jones.\nThat he was neither meek nor unassertive,\nhowever, is well known. He had been com-\nmissioned to reconstruct a porch for Old St.\nPaul's, and in order to give his design a vista,\nhe started to tear down the little church\nof St. Gregory which closely encroached.\nIts incensed parishioners raised a cry and ap-\npealed to parliament. The Surveyor of the\nWorks issued his ultimatum: he would not\nundertake the repairs on St. Paul's \" unless\nhe might be the sole monarch, or might have\nthe principality thereof \". Pie was reasonable.\nBut legislatures favor ethics before aesthetics,\nand the parishioners, sustained in their com-\nplaint, rebuilt the broken wall of their church\nwith stone that Jones had brought for the\nwork on St. Paul's.\nThese two positive men, at the desire of\nAnne of Denmark, queen of James I, met to\nprepare a masque. Disguising had been po-\npular with the English court since the time\nof Edward III to celebrate birthdays and\nmarriages and to entertain illustrious guests.\nIn the reign of James the masque achieved\nsurpassing splendor; two men were respon-\nsible.\nIt had the elements of what we now\ncall opera, in a reverse ratio of importance:\ndance, scene, music. The queen herself often\ntook part; discovered on the stage with her\nladies en tableau, she led them down to the\nfloor where, after stepping a stately figure,\nshe advanced to the chair of state and bade\nthe king be her dancing partner. In contrast\nto the grace of the galliards and corantoes\nthere were grotesque antics by the antimas-\nquers, whose make-up and costume were\ncontrived to set off those of the masquers.\nThe scene, on a stage erected at one end of\nthe hall, showed painted classical avenues,\nforests, mountains and seas. Buildings were\ngiven the appearance of solidity, one canvas\nface toward the spectators, the other running\nback in false perspective. Later, to facilitate\nquick changes, which took place without the\nlowering of a curtain, Jones perfected a •se-\nries of wings such as were taken over by the\npublic theatre and used until the beginning\nof this century.\nMachines that rose, sank, advanced, re-\nceded and revolved, together with plenty of\ncolored lamps and torches, completed the\nspectacle. Verses, giving a thread of plot to\nthe dances, were either sung or delivered in\nrecitative. Jonson developed a form of anti-"}, {"page_pdf": 15, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 4449, "texte": "in spoken comic lines as well. The\nmusicians were frequently costumed as per-\nsonifications, and had a place in the scene.\nMoney was not spared; the best poet and\narchitect available collaborated.\nAt the time he was called by the queen\nBen Jonson was 32. He had produced five\nplays for the public theatre. He was known\nto Anne because of the verses he had written\nfor an entertainment welcoming her to Althorp,\nNorthants, in 1603 when she first came to\nEngland; of those delivered at the entry of\nJames into London; and for a May Day en-\ntertainment given by Sir William Cornwallis\nat Highgate in 1604.\nInigo Jones was a year and a month\nyounger than Jonson. John Webb, his rela-\ntive, pupil and heir, gave this account of him:\n\" Christianus IV, King of Denmark, first en-\ngrossed him to himself, sending for him out\nof Italy, where, especially at Venice, he had\nmany years resided. Upon the first coming\nof that king into England, he attended him,\nbeing desirous that his own native soil, ra-\nther than a foreign, should enjoy the fruits of\nhis laborious studies. Queen Anne here ho-\nnored him with her service first; and not\nlong after, Prince Henry \".\nAnne had seen their work and knew that\nher men could provide a splendid masque,\nwith jewels and gowns and strange devices\naplenty after her own gay heart, and verses\nwith learned classical allusions that would\nplease James. She wanted to appear with\nher ladies as blackamoors. Jonson, enriching\nthe whim with his learning, suggested that\nthey be daughters of Niger. Jones visualized\na mechanical sea, a shell in which the mas-\nquers, decked in orient pearls, might sit,\nsea-monsters for the torch-bearers to ride, and\na vaulted silk sky studded with star-lamps.\nThe poet and architect, having agreed upon\na scenario together, parted and set to com-\nposing and designing.\nOn 6 January 1605 the Elizabethan\nbanqueting house at Whitehall beheld the\nMasque of Blackness. Among the invited were\nthe Spanish and Venetian ambassadors, who\nsat in state by the king. (M. Beaumont,\nambassador from France, stayed away in a\njealous passion). Curious commoners could\nlater obtain the printed text, in which Jonson\ndescribed the scenes, machines and costumes\nat length, dwelt upon the fashionable innova-\ntion of perspective and, concluding with \" So\nmuch for the bodily part, which was of mas-\nter Inigo Jones's design and acthe pro-\nceeded to his verses.\nAn architect fresh from his studies in\nItaly, where court entertainments outdid all\nEurope in splendor, might differ with Jonson's\nconception of the masque. If spectacle was\nnot its core, the soul rather than the bodily\npart, then what was? Moreover, the verse-\nmaker asserted, \" the invention was derived\nby me and presented thus \" as if he alone\nknew all about Italy\".\nNov/ Jonson saw what a fascination\nspectacle had for the court. And he de-\nplored it. Poetry was a lofty art, to be\npreferred to vulgar show. Scenes glittered\nfor a day, and then were firewood. \"So\nshort lived are the bodies of all things, in\ncomparison of their souls \". If he described\nthis body with a word between his verses,\nit too lived on. But the fact remains that,\nno matter how timeless his verses, no matter\nhow much he wished poetry to be the soul\nof masque, it was always overwhelmed by\nballet and spectacle.\nOn 5 and 6 January 1606 Whitehall\nsaw Hymenaei and a Barriers, or mock-tour-\nnement, as a wedding celebration. \" Both\nInigo, Ben, and the actors men and women\ndid-their partes with great commendation\",\nsaid an eye-witness. \" The Designe and\nAct of all which, together with the Device\nof their habits, belongs properly to the Merit\nand Reputation of Maister Ynigo Iones, with\nwhom I take modest occasion in this fit place,\nto remember, lest his own worth might acuse\nmee of an ignorant neglect for my silence\nsaid Jonson in the quarto edition published\nshortly after.\nOn 10 January 1608 the queen gave the\nMasque of Beauty. Jonson supplied the\nwords, and Jones probably the spectacle, but\nhe was busy at work on the Haddington\nMasque and could not superintend the exe-\ncution of his designs. From his descriptions\nJonson seems to have made suggestions.\n\" The order of the scene was carefully and\ningeniously disposed; and as happily put in\nact (for the motions)\" — which were an\nisland turning clockwise, and steps holding\ncupids turning counter-clockwise about it, each\ncarrying lights, the whole advancing — \"by\nthe king's master carpenter. The painters, I"}, {"page_pdf": 16, "page_imprimee": "12", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.16", "debut_caractere": 0, "fin_caractere_exclue": 4560, "texte": "must needs say, (not to belie them), lent\nsmall color to any, to attribute much of the\nspirit of these things to their pencils. But\nthat must not be imputed a crime, either to\nthe invention or design\nThe Haddin gton Masque, the Hue and\nCry after Cupid, was a nuptial celebration,\nand took place 9 February 1608. Jonson\nwrote, \" The device and act of the scene\nM. Ynigo Jones his, with addition of the\ntrophies [gilt proscenium decorations]. For\nthe invention of the whole and the verses,\nAssertor qui dicat esse meos, imponet plagia-\nrio pudorem \". Again Jonson appropriated\ntoo much credit. Had Jones been an easy-\ngoing fellow there could have been no fric-\ntion; but he was not. In the introduction\nto the printed text Jonson says that since the\nperformance his conception has been censured,\nbut that he \" cannot but smile at their tyran-\nnous ignorance that will offer to slight me (in\nthese things being an artificer) and give them-\nselves a peremptory license to judge, who\nhave never touched so much as the bark, or\nutter shell of any knowledge \". It has been\nadmitted that the poet always looked at his\nown learning through one end of the spy-\nglass, and at that of others through the other.\nPersonal differences must be forgotten\nwhen the crown commands. The collabora-\ntors prepared the Masque of Queens for\n2 February 1609. As an antimasque there\nwere eleven witches. \" The device of\ntheir attire was master Jones's, with the in-\nvention, and architecture of the whole scene,\nand machine. Only I prescribed them their\nproperties of vipers, snakes, bones, herbs,\nroots, and other ensigns of their magic, out\nof the authority of ancient and late writers,\nwherein the faults are mine, if there be any\nfound; and for that cause I confess them\".\nLater he says of the House of Fame in which\nthe masquers appeared, \" The structure and\nornament of which (as is profest before) was\nentirely Mr. Jones his invention and design....\nAll which I willingly acknowledge for him;\nsince it is a virtue planted in good natures,\nthat what respects they wish to obtain fruit-\nfully from others, they will give ingenuously\nthemselves\". 'Was this surprising submis-\nsion prompted by the fear that Jones had\ninfluence to damage his standing at court ?\nJonson had addressed Prince Henry in the\nintroductory epistle to the Masque of Queens\nin such a way that the fifteen year old boy\nmust have been pleased. Yet Samuel Daniel\nprovided the verses for Tethys* Festival, which\nwas given 5 June 1610, the day on which\nHenry was created Prince of Wales. Daniel,\nto taunt Jonson, deliberately belittled the part\nplayed by poetry in masque : \" But in these\nthings wherein the onely life consists in shew,\nthe art and inuention of the Architect giues\nthe greatest grace, and is of most importance;\nours, the least part and the least note in the\ntime of the performance thereof \". How.Jonson\nsquirmed to see Jones himself describe the\nscenes, and overbalance verse by prose ! No\ndoubt of which collaborator commanded !\nThe irascible poet was received back into1\nfavor, however, (there were many strings to\nbe pulled in those days as now) and worked\nwith Jones on Oberon the Fairy Prince, 1 Ja-\nnuary 1611. Each received forty pounds for\nhis labors (which must be multiplied by eight\nto give the present value) ; but Jones had an\nadditional sixteen pounds from Prince Henry..\nLet it be hoped that Jonson did not know of\nthis. The two received a like amount for\nLove Freed from Ignorance and 3 Feb-\nruary 1611. It was diplomatic to put them\non this exactly equal footing. They were\ngiven to understand that neither one nor the\nother exceeded in importance. As a matter\nof fact J ones' burden was the heavier, for he\nnot only designed but also superintended his\nend of the production, as a bill of account\nshows :\nImprimis to mr Beniamin Johnson for his\ninvention 40 Ii.\nItem to ml Inigo Johnes for his paynes and\nInvention 40 li.\nSometime before this, Jonson, \" being at\nye end of my Lord Salisburies table with\nInigo lones & demanded by my Lord, why\nhe was not glad : My Lord, said he, you\npromised I should dine with you, bot I doe\nnot, for he had none of his meate; he esteamed\nonly yt his meate which was of his dish \".\nObviously the collaborators were not at ease\ntogether in society.\nThe winter of 1612-13 J onson spent in\nFrance as Governor to the eldest son of Sir\nWalter Raleigh, with small disciplinarian suc-\ncess. While he was gone, the marriage of\nthe Elector Palatine and Princess Elizabeth\nwas celebrated with the Lords Masque by\nThomas Campion, 14 February 1613. \" The."}, {"page_pdf": 19, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 4536, "texte": "stars moved in an exceeding strange and de-\nlightful manner \", says Campion, \" and I sup-\npose few have ever seen more neat artifice\nthan Master Inigo Jones showed in contriving\ntheir motion, who in all the rest of the work-\nmanship which belonged to the whole inven-\ntion showed extraordinary industry and skill '\\\nThe next day the festivities proceeded with\nthe Masque of the Middle Temple and Lin-\ncoln's Inn. it was \" inuented, and fashioned,\nwith the ground, and speciall structure of the\nwhole worke, By our Kingdoraes most Artfull\nand ingenious Architect Innigo Iones. Sup-\nplied, Aplied, Digested, and Written, By\nGeo. Chapman \". Jones was now in high\nfavor, and it did no harm for poets to submit\nto his ideas and admire them.\nWith the death of Henry in November\nJones' office of Surveyor of the Works to the\nprince's household had terminated. Detained\nonly by the marriage masques, he left for\niltaly. Jonson returned and wrote three masques\nthat were given during Jones' absence. None\nrequired elaborate settings. Campion, colla-\nborating with Constantino dei Servi, a Flo-\nrentine architect, on the Masque of Squires,\n-26 December 1613, complained, \" he being\n;too much of himself, and no way to be drawn\nlio impart his intentions, failed so far in the\nassurance he gave that the main invention,\n<even at the last cast, was of force drawn\ninto a far narrower compass than was from\nithe beginning intended \". Jones was easier\nto work with.\nAlthough the architect was back in England\nby January 1615, full of what he had seen\n'of the theatre in Italy, there are no records\nof his work with Jonson until three years\nafter. I believe, however, that he worked\non the scenes for the Golden Age Restored,\n1 January 1616, and the Vision of Delight,\n25 December 1617. We know that they\nhad streets in perspective, clouds, and bowers\nthat opened to discover masquers. Nicholas\nLanier \" ordered and made both the scene\nand the music \" of Lovers Made Men, 22\nFebruary 1617.\nBut on 6 January and 17 February 1618\nthe old collaborators produced Pleasure Re-\nconciled to Virtue. Jones, stimulated by Italy,\nshould have provided something less stereo-\ntyped than woods that vanished and mountains\nthat opened, and Jonson should have striven\nlo do his best. Instead, \" the masque was\npoor, and Inigo Jones has lost reputation, for\nsomething extraordinary was expected \", said\na contemporary. Another: \"The masque....\nis not commended of any. The poet is grown\nso dull that his device is not worth the re-\nlating \". Jonson tried to improve it by adding\nan antimasque in a Welsh accent, and a goat\ndance.\nShamed with their failure, each blamed\nthe other. Jonson went off to Scotland and\ntold Drummond that \" he said to Prince\nCharles of Inigo Jones, that when he wanted\nwords to express the greatest Villaine in ye\nworld he would call him ane Inigo \". (Pun\non iniquo). Jones tried to make amends by\nbuilding a splendid banqueting house at White-\nhall to replace the one that had been de-\nstroyed by fire 12 January 1619.\nThe first entertainment in the new ban-\nqueting house, which still stands, was the\nMasque of Augers, 6 January and 6 May\n1622. Jones and Jonson had cooled off suf-\nficiently to work together again. There is\nlittle record of the scenes: a light opens above\nand Apollo breaks forth; persons come forth\nas from tombs, and \" the Earth rise th \". Van-\ngoose, who \"is a Briton born, but hath\nlearned to misuse his own tongue in travel,\nand now speaks all languages in ill English ;\na rare artist.... and a projector of masques \",\ncould not have been a take-off on Jones ; he\nwould have remonstrated.\nFor Time Vindicated to himself and his\nHonors, 19 January 1623, Jones provided a\n\" scene.... three times changed during the\ntyme of the Masque, wherein the first that\nwas disclosed was a prospective of Whitehall,\nwith the Banqueting House ; the second was\nthe Masquers in a cloud; and the third a forest.\"\nand for Pan's Anniversary, date uncertain, a\n\" fountain of light \". \" The inventors, Inigo\nJones, Ben Jonson Happily the latter could\nnot see the order of precedence when this\nappeared in the 1640 folio. Neptune's\nTriumph, prepared for 6 January 1624, could\nnot be given until 9 January 1625, when it\nwas rewritten as the Fortunate Isles. Jones'\nscenes, having no topical allusions, needed\nno alteration.\nOf their last two productions together,\nLove'sTrivmph thru Callipolis, 6 January 1631,\nand Chlorida, 22 February 1631, there are\nrecords to show the manner of collaboration.\n\" The inventors, Ben Jonson, Inigo Jones \","}, {"page_pdf": 20, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.20", "debut_caractere": 0, "fin_caractere_exclue": 4443, "texte": "\" after some debate of cogitation.... resolved\non the.... argument , that is, the scenario or\nplot. Then Jonson sent off the verses as soon\nas they were composed to be set to music.\nJones, consulting his plot-notes, devised the\nscenes and costumes and machines. For an\nimportant costume, like that to be worn by\nQueen Henrietta as Chloris, he sent a sketch\nfor approval, with a little note, \" This dessigne\nI conceaue to bee fitt for the inuehtion and\nif it please hir ma5 e to add or alter any thing\nI desier to receaue hir mais command and\nthe desseigne againe by this bearer. The\ncollors allso are in hir mais choise ; but my\noppinion is that seueral fresh greenes mixt\nwith gould and siluer will bee most propper \".\nOf course her majesty graciously approved.\nChlorida was the most spectacular of all\nthe masques that had so far been given.\nThere exists a very full set of Jones' sketches\nfor it in the collection of the Duke of De-\nvonshire. The scenes brought Spring to the\nFebruary evening. There were hills planted\nwith young trees and flowers, and fountains\ngliding down them to empty into a river that\nmeandered up the back drop. Dwarfs came\nforth from an underground opening; there was\na horrid storm, and then behind the Bower\nof Chloris appeared a rainbow. The back\ndrop became a skyscape with clouds that\nopened up to disclose Juno, Ins and airy\nspirits. A hill rose, and from its top Fame\non a globe ascended to the heavens to be\nhidden among the clouds. Then the hill\nsank, the heavens closed, a dance was danced\nand the masque was done.\nOn 1 January 1632 a contemporary wrote\nthat Jones' collaborator was now Aurelian\n1 ownshend, \" Ben Jonson being for the time\ndiscarded, by reason of the predominant power\nof his antagonist, Inigo Jones, who this time\ntwelvemonth, was angry with him for putting\nhis own name before his in the title page,\nwhich Ben Jonson has made the subject of a\nbitter satire or two against Inigo \". Prece-\ndence of name on a title page was the osten-\nsible cause of their final break. Jonson disease-\nridden and poor, saw Jones still in his prime,\na great favorite at court, building structures\nthat would probably be less perishable monu-\nments to fame than paper poems. His bitter-\nness welled up in the famous Expostulation\nwith Inigo Jones, but his \" quill dipt in gall \"\nturned the court from him. It consented to\nsee his Tale of a Tub, after the part of\nVitruvius Hoop had been struck out'exception\nbeing taken against it by \" Inigo Jones, Sur-\nveyoi of the Kings as a personal\ninjury to him \". It was \" not Iikt\". In an\nentertainment at Bolsover, 30 July 1634,\nJonson took a final thrust with Iniquo\nvius. But he was no longer court poet.\nOthers were to collaborate with Jones in his\nthirteen remaining masques, which became\nmore and .more spectacular.\nJones once wrote some verses ; we still!\nhave them, and they are not good. Jonson's;\ninterest in scenes and machines, it has been;\nseen, was limited to details he vas afraid!\nmight not be in correct accordance with clas-\nsical authorities if he'put in no word. Masque\nowed much of its glory to these men. Yet„\nhad only each of them known a little more\nof the whole art of the masque, had only\nthey been able to see it with both eyes—-\nliterary and architectural — instead of just\none ! Then there would have been less di-\nsagreement, more achievement. Had only\n(but the milk is spilled and there's no use\ncrying) nature been a little kinder to art, so\nthat no year-and-a-month had intervened be-\ntween the two, so that Ben and Inigo had\nbeen born of the same star, of the same\nmother; one man!\n[\"HE best account of the relations of Jonson and Jones '\n1isto be found in P. Reyher, Masques\n1909, pp. 192-200. Gifford, in speaking of Jones in his.\neditions of Jonson's Works, is prejudiced in favor of the =\npoet. The stage directions in the masques are interesting,\nand Jonson's Conversations with Drummond, Bodley Head:\nQuartos V, 1923) pp. 14, 19, 20, 27, 28. E. K.Cham,\nbers, 7 he Elizabethan Stage, 1923, speaks of Jones 1 :\n178-180 and gives information about the masques up to-\n1616, 3: 375-391. L. B. Campbell, Scenes and Ma-\nchines on the English Stage during the Renaissance, 1923, ,\ntreats Jones' work pp. 161-194. His best Life is by P*\nCunningham, 1848. Inigo Jones' Masque Designs (Malone -\nSociety Publications XII) 1924, lists the extant sketches,,\nand reproduces several, principally from the collection of\nthe Duke of Devonshire."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c012", "article_bluemountain": "bmtnaau_1927-01_01#c012", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "10", "page_fin": "10", "image_debut": 14, "image_fin": 14, "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=bmtnaau192701-01.2.10.1", "titre_corps": "THE BANQUETING HOUSE. WHITE HALL", "titre_sommaire": "THE BANQUETING HOUSE. WHITE HALL", "signature_source": "PAUL McPHARLIN", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 14, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.14", "debut_caractere": 56, "fin_caractere_exclue": 683, "texte": "THE BANQUETING HOUSE. WHITE HALL.\nA cut by PAUL McPHARLIN.\nThis Banqueting House, built by Inigo Jones in 1619, was\nthe only part of his design for a huge new palace that was\ncompleted, and which escaped a fire in 1698 that destroyed\nthe older section. The Masque of January 1622, was\nthe first of many given in the hall that occupies the upper\nstory. The accoufits of the Treasurer of the Chamber specify,\n\" the upper story [rs by no by] 55 feet in height, to the laying\non of the roof... with 14 windows on each side [that is 14 divided\nby two sides] and one great window at the upper end...\nwith a gallery upon the two sides"}]}, {"article_id": "bm-bmtnaau-1927-01-01-c013", "article_bluemountain": "bmtnaau_1927-01_01#c013", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 17, "image_fin": 17, "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=bmtnaau192701-01.2.10.2", "titre_corps": "THE COMEDIANS", "titre_sommaire": "THE COMEDIANS", "signature_source": "Peter Abraham ; J.le Long", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 17, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 271, "texte": "THE COMEDIANS.\nFrom \"Iets Poor Allen, Zynde een Verhandeling E.n Verbeelding van allerhande, Stan den,\nStudien, Konsten, Wetenschappen, Handwerken enz ; Door den berugten Peter Abraham van St,\nClara. In't Nederduyts overgebragt Door J.le Long. t'Amsteldam, 1719.\nPlate 2."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c015", "article_bluemountain": "bmtnaau_1927-01_01#c015", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "15", "page_fin": "17", "image_debut": 21, "image_fin": 23, "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=bmtnaau192701-01.2.11", "titre_corps": "ARTHUR SYMONS", "titre_sommaire": "ARTHUR SYMONS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 4324, "texte": "ARTHUR SYMONS.\n(0\nI have but few recollections of Arthur Symons\nbut they are good ones. I must have met\nhim in all ten times, may be twelve. At his\nflat toward St. John's Wood; at the Imperial\nTheatre for five minutes behind the scenes; in\na house at Hampstead ; at his little cottage in\nWittersham; at a Farm in Tenterden: but\nhe was not one of the friends I saw often.\nI think I have never seen him except his\nwife Rhoda Symons was with him, nor her\nexcept when he was there too. They seemed\nto me to be a perfectly united couple. She\nis now a very skilful and striking actress.\nThe first time I saw him was, I believe,\none day in 1900 when I lunched at his house.\nI recall a fine pair of eyes and rather too-high\npitched voice. His voice somehow gave me\na feeling that he was to be looked after,\ntaken care of; one felt burly beside him: but\nhis eyes and brow and what he said balanced\nall that.\nThey were a strangely kind pair; with\nthem 1 did never feel I was being inspected\nand sized down: they gave me a certain con-\nfidence in myself in which, for some odd kink\nin nature, I have always been deficient.\nArthur Symons was, with Max Beerbohm,\none of the very earliest English men of intellect\nto discover that I could produce certain opera\nballets rather prettily, and said so in the pe-\nriodicals and books for which he wrote. At\nthe time no one was more surprised than I\nand no one more delighted.\nThere was Nevinson too and Yeats; but\nto every dozen who took literature and pain-\nting seriously there would be but one who\nthought the stage as worthy of any of their\nconsideration.\nPraise from the old professional gang of\ncritics is good fun but perhaps does some\nsort of harm if one is not developed: ...but\nfrom men of brains and taste and entire inde-\npendence it assuredly does good. It did me\ngood: I breathed more easily. I walked Lon-\ndon with more assurance. I delighted more in\nmy work. I always loved to be at my work,\nbut, after Symons and Beerbohm had said it\nwould do for a start, I was ready to work\ntwice as long.\nMany other men have, I believe, a proper\ndisdain for what may be said about their work.\nPerhaps they know it is good. I was never\nable to do more than hope it would be bet-\nter ; and it is only when someone of brains\nsays it is good that I too say for a moment\nthat I know that.\nPeople often have thought this was a pose.\nIt isn't; it has all along been far too painful\nfor that. I think 1 was born with a distrust\nand a lack of confidence in myself: and I\nthink the conditions of London life developed\nthis mightily.\nToday I hear that since Ibsen I have been\nthe greatest influence in the Theatre of Europe:\nthat I am, in short, someone. I have no such\ndelusion. I could have been a useful asset\nto our English Theatre because everything\nconspired to that end:... every thing except\nthe bad fairy, whoever she may be, who was\nforgotten at the christening.\nShe is a curious beast, this bad fairy....\nshe too often is allowed to prevent England\nfrom possessing a thousand useful things.\nBut to me she did a great service. Her\nwell laid plans to do me an ill turn sa-\nved me from having to be that most wretched\nof all beings, a theatrical manager in a dreary\natmosphere saddled with a theatre and sur-\nrounded by those unhappy people of \" the\nprofession\nHer incantations were that frogs and snails\nand fogs and the rest should assail me; and\nlo, as I stood expecting the end of the world,\nSymons and Beerbohm and five or six more\nworked a better magic, and I was given the\nkey to enter other lands where fogs and\nwitches and curses and malice evidently are\nnot allowed power or even pretensions.\nWhile speaking of criticism I must not\nforget the sharp corrective things which now\nand then appeared, and were by no means\nmalicious or unjust, but are distinctly sharp.\nThere was one 1 received from a paper\nnow dead, called \" The Londoner \". At the\ntime I did not like it, but it made me pause.\nI can imagine it was just what I needed, and\nre-reading it now I see that it had a certain\nauthority in its tone. Who wrote it I have\nnever learned. I did not enquire, but I would\nnot mind knowing now. I wonder if that\nunknown writer thinks I have done as he urged\n\n(i) Arthur Symons, by J. Earle Webly. A. M. Philpot. Ltd.\n10/6 net.\n\" Dramatis Personae \" ly Arthur Symons. Faber &\nGwyer. 8/6."}, {"page_pdf": 22, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.22", "debut_caractere": 0, "fin_caractere_exclue": 4438, "texte": "me to do....and whether he has any more\nadvice to give to a Student of his that is equally\nuseful, for I'd like to hear it.\nBut to return to Symons,\nMr. T. Earle Webly's critical study brings\nme to one of the facets of Arthur Symons's art,\nto the prose writer who is at the same time\na critic of things dramatic. This side of Sy-\nmons is the only one I feel in the least com-\npetent to touch on. For Symons the poet,\nlyric and dramatic, 1 know nothing of.\nTo at all know the lyric poet I should\nhave to have read more of his verse; and\nSymons the dramatist is only to be met fairly\nin the theatre, and I have seen none of Arthur\nSymons's plays performed.\nBut 1 have seen Irving and seen that \" blithe\nand aged tripping of the feet to some not quite\nhuman measure \" as he went up and dowm\nthe stage as \" Mephistopheles \", as he kept\ngoing to and fro. And no one recalls him\nwith such precision as does Symons in these\nfew words. No one recalls Bernhardt better,\nnor Guilbert; no poet has spoken with such\ndiscernment of certain performers I love.\nAnd with what care he preserves. He\ndoes not go to a playhouse to note defects;\nthese pain him: he has but little of the mood\nwhich laughs at defects. He comes to note\nremarkable moments, and to protect these by\nconstructing round them lasting shrines. See\nArthur Symons at a play and you are certain\nthat something, as the hours pass, is going to\nlive for ever.\nMr. Welby lays stress (perhaps a trifle\ntoo much stress) on Symon's desire to assert\nthe equality of all the arts, and considers that\nmost of us are stupid and snobbish towards\ncertain arts.\nI take it he alludes to the dramatic art,\nperhaps even to that part of it which I so often\ntouch on, the Art of the Theatre.\nHe asks us \"why we should be patronising\"\ntowards it merely because this art lives \" only\nfor the moment \", and he hints that Symons\ninsists on a reply to this.\nSymons is far too great an artist not to\nknow that the time is not yet ripe for a reply\nthat is satisfactory.\nThat a play last but a moment is nothing.\n\" A sonnet is a moment's monument \" wrote\nRosetti; yes, but a monument fixed, durable\nfor very many centuries.... whether a good or\na bad monument, assuredly fixed.\n\" The Theatre is the only art \" wrote\nDr. Lothar Schreyer of Weimar, \" in which\nthe element of chance is regarded as a vir-\ntue And Schreyer is a man of the Theatre.\nOur attention need not be distracted by\nthe fact that it lasts only a moment from this\ngraver fact that it makes a virtue of chance.\nChance and art are sworn enemies.\n\" An instant in the gesture of a dancer \"\nwrites Mr Welby is lovely: yes, even in twenty\nof her gestures; but you cannot compare them\nwith the gesturesin the marbles in some Greek\nTemple : you may compare them with the\ngestures made by a perfect little lamb or\nrabbit as they frolic: or with the movement\nin waves, or in trees in the wind. Compared\nwith the rabbits or the lambs they are very often\nfar more lovely; compared with those of the\nwaves and trees in the wind they become\ndwarfed: they lose subtlety, strength, charm\nand gaiety. Here they are worsted.\nBut I do not think that Symons, in asser-\nting his belief in the performer of our day,\ndoes more than reassert his determination to\nprotect this that he loves so well, and to\nconstruct for it one of his lasting little shrines.\nIt is an affectionate and noble passion with\nhim; another man will, from love of great\nmen dead, preserve their graves—the poet\nSymons will.\nIt is extraordinary what an Irving, a Duse,\nor a Duncan gives us....and beyond that\nsurely no one can go.\nWhat is it? We try to explain to others\nwhen Irving is no more with us what it was\nthat was so extraordinary: we even try to\nshow them, to make them re-see and re-hear\nthe wonderful things which happened. But it\nalways ends in failure, for the being, the live\nbeing, is not there to exert his magnetism.\nIt is mind in play with magnetism. The\nman comes on to the stage and we are all\nrivetted to attention. Then he does something\nwhich is just what Symons the essayist, or\nHeine or Byron might do with their minds\nthrough the pen. They will write twenty lines,\nthirty, forty, and then suddenly they start an\nidea or six ideas: off they go ....like fine\nfireworks (for presumably even fireworks are\nin a way works of art?...) ....striking here\nand there.\n— Often playful, often deadly.\nWe who read are in something very like\nthe mood we attained to in a theatre when"}, {"page_pdf": 23, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 2926, "texte": "Isadora Duncan was dancing or Eleonora\nDiise acting.\nCan we explain it in either case ? Do we\nstop to? rather do we enjoy and reason later\nif we can. I have never known anyone who\ncould explain what was the art of the performer.\nBut with the art of Byron, Heine or Symons\nwe can reason; there are those who can tell\nus what is the art of writing. Even the magic\npart of it they can unravel.\nNot so with acting or with dancing.\nAnd, learning the craft of writing, even if\nwe cannot come to write like Byron, we may\nanyhow come to write well. Some even like\nFlaubert, others like Stendhal, or like Pater\nor Defoe.\nNot I — not you may be — but a third\nassuredly can and does.\nFor the art of writing, and writing, are as\ndistinct from one another as are the Art of the\nTheatre and theatricals.\nImprovvisation (given a certain knowledge\nof the tricks) can amaze the world....charms\nus all is admirable. Art is quite another\nthing.\nI improvise.... here I go gallopping on,\nnot in any charming or admirable way but\non in my own particular way : whereas Mr.\nWelby writes.\nHe is the artist, I am only the improvi-\nsatore. Had my calling been that of a writer\nI would have written like Mr. Welby and\nthen achieved to Mr. Symons, and lastly, after\nan awful climb, have tried to get near where\nmy favourite English writer sits rather alone,\nbut with the Alps at his feet and looking as\nthough he rather enjoyed the view.\nThe artist-philosopher has compensations\nso immense that we need not pity him for\nan imagined loneliness.\nThe art of writing at its height is the thing\nmy author practises. Others write and impro-\nvise in the air, swooping here on wings or\nflames, often very lovely, very enchanting, but\nnot writing in the strict sense of the word.\nAnd if its not to be strict, this discipline\nover the arts, goodbye to all the arts sooner\nor later, and we need not delude ourselves\nthat the hour will delay one second; for time\nabides strictly by discipline, and perhaps the\nhour of the death of the arts is much nearer\nthan we may suppose.\nMr. Symons has put off the hour for us\nin as much as he has written prose as it\nseems to me it should be written ; and it\nis not without significance that \" he has vir-\ntually ignored the 18th century \".\nI adore that century ....and it is my privi-\nlege as one who improvises to be immune\nfrom its evil effects.\nI do not fear that period, its artificiality or\nits art , because I belong to a race which\nhas for ever pretended. Our race and our\ntheatre are young, and will in the future\nperhaps come to their senses. They were young\nand have refused to grow up. That's the\nTheatre's saving grace and its defect.\nEven our sense of appreciation is but young\nindeed ; see how inadequately how flashily I\n# A* « y \" — J\nwrite or this fine artist — of Symons — but\none of us some day will I hope make good\nby producing his plays with some style.\nBy the Producer of ft Acts and Galatea London igoi."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c017", "article_bluemountain": "bmtnaau_1927-01_01#c017", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "17", "page_fin": "17", "image_debut": 23, "image_fin": 23, "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=bmtnaau192701-01.2.12", "titre_corps": "ENTHUSIASM IN THREE THEATRES", "titre_sommaire": "ENTHUSIASM IN THREE THEATRES", "signature_source": "J. B", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.23", "debut_caractere": 2928, "fin_caractere_exclue": 4156, "texte": "ENTHUSIASM IN THREE\nTHEATRES.\nJ. B.\nIN the Norwich Elizabethan Theatre directed by Mr. Nu-\ngent Monck the audience expresses its attention by agreeing\nto keep still, and not applauding during a scene.\nIn the Moscow Art Theatre applause was never heard\nuntil an end of an act.\nHow was it expressed then? by the silence.\nThe performers were made quite as keen by this si-\nlence as our Actors say they are by sundry gasps and\nemotional rounds of applause —, they kept bursting out\n— bursting in —at the Beggars Opera. On the other\nhand I saw, and heard, a mixed Russian audience with\nmany students in it, Boo a great performer. It was Rus-\nsian approval; and to cap this they throw their head-gear\non the stage, the idea being to throw it back again.\nAnd now for Venezia.\nAt the four Ospedaletti the finest singing in Italy\nwas to be heard. Visitors were forbidden to applaud —\nbut they managed to get round the rules — for at the\napex of a perfect rendering by some singer the audience\naudibly drew in their breath through their pursed lips.\nThe place must have sounded as though a gentle\nwateifall was in \"action.\nWhether the merchants of London could manage it\njust as neatly as the merchants of Venezia did remains to\nbe heard."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c019", "article_bluemountain": "bmtnaau_1927-01_01#c019", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "18", "page_fin": "23", "image_debut": 24, "image_fin": 33, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.2.13", "titre_corps": "OPERA REGISTER : FROM 1712 TO 1734", "titre_sommaire": "OPERA REGISTER : FROM 1712 TO 1734", "signature_source": "FRANCIS COLMAN", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 24, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 3008, "texte": "OPERA REGISTER.\nFROM 1712 TO 1734.\nBY (FRANCIS COLMAN) THE\nFATHER OF GEORGE COLMAN,\n(THE ELDER) BRITISH CONSOL\nATLEGHORN.\n\nTHE Register seems not to have been published, and\nhas lain undisturbed in the British Museum for nearly\ntwo centuries.\nThe compiler of it was passionately fond of Opera.\nThe strange thing is that while Francis Colman died in\n1733 the Register goes on to 1734•\nWe published the first part in July 1926} and give\nthe remainder here. Editor.\nII.\nTHE Opera Theatre was not open'd this\nSeason untill ye 9th January 1713/14 they\nbegan with ye Pastorall Opera Dorinda. The\nSingers were\nSigra Caterina Gallerati newly come from\nItaly.\nSigra Barbier.\nSigr Valentino.\nSigra Margarita del Epine\nat Common prices.\nYe 16th Satt. Dorinda again\n23 Satt. Do\n27 Wensday. a New Opera called\nCresus sett on ye Stage by\nN. Haym. ye airs being collected\nfrom severall Operas from abroad,\nin this Opera all in Italian.\nMrs Robinson made her first appearance\non ye stage.\nThe rest of ye Singers ye same as above,\nprice this night lL a Guin pitt & Boxes. &\nwas full.\n29th. Friday. Cresus again, at common\nprices.\nFebry. 3d Wensday. Cresus again D°\n9th Shrove Tuesday. Cresus\nagain\n13 Satt. Cresus,\n16 Do\n23 Tuesday Do\n27 Satt. Do\nThe Queen being lately return'd to S.\nJames's from Windsor & recover'd from her\nlate dangerous jllnesse, had a withdrawing\nRoom on Tuesday, & her Majesty play'd at\nBasset, for wch reason ye Opera dayes are\nnow alter'd to . Thursday there being no\nOpera Wensday nor Fridays in Lent.\nMarch 4- Thursday, a new Italian opera by\nsupscription for six times at ye\nusuall rate of 10 Guin for 3 Tic-\nkets. ye opera was called\nArminio.\nThe same Singers as in Cresus.\n6th Satturday Arminio. ye 2nd night\n11 Thursday Arminio. ye 3d night\n13 Satt. Do 4th\n18 Thursday Do 5th\n20 Satt Do 6th\n& last of ye subscript.\nHoly Week no Opera.\n31st March. Wensday Easter Week.\nCresus.\nApril 3. Satt. Ernelinda. reviv'd. Mrs Robinson\nperform'd ye part of Ernelinda. ye same voices\nas in Arminio—added ye Sigra Mannina.\nApril ye 10th Satt. Arminio for ye Benefit\nof Mrs Robinson, ye Pit &\nBoxes put togeather at */%\nGuin & was. as full as pos-\nsible COU 'd be.\n17th Satt. Ernelinda. Benefit of\nSigra Caterina Gallerati.\n24th Ernelinda. Benefit Signr Va-\nlentini.\nMay 1 Satt. Arminius. Benefit Sigra\nMargarita.\n8 Satt. Cresus. at Common\nprices.\n12 Wensday. Ernelinda Benefit\nBoxkeepers.\n22 Satt after Whits: Cresus.\n29 Satt Arminius.\nJune 5 Satt. -Ernelinda. declar'd to\nbe ye last.\n23 Wensday. Ernelinda. at ye\nrequest of ye Dutchesse of\nShrewsberry lately arrived\nfrom Ireland.\nYe last this season.\nQueen Anne died Aug1 1st 1714 abt 7\nof ye Clock Sunday Morning after a Short\nApoplectick sicknesse.\nKing George was Proclaimed ye same\nday about 4 Clock in ye afternoon.\nKing George & ye Prince Landed at\nGreenwich on Satturday evening ye 18th\nSept. Made his Publick Entry from thence\nthro London to St. James's On Monday ye\n20th, Sept being attended by ye Lord Mayor\n& Aldermen on Horseback, & by upwards"}, {"page_pdf": 25, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 3360, "texte": "of Two Hundred Coaches 6c Six; of Nobi-\nlity 6c Gentlemen\nit was a very fine day.\nOn Tuesday ye day after ye Kings En-\ntry, they open'd ye Playhouse again in Drury\nLane 6c Mr Wilks spoke a Prologue in\nPraise of King George,'wch is printed by\nJ. Tonson.\nOn Wensday ye 13th October ye Prin-\ncesse of Wales being safe arrived with ye\ntwo little Princesses her daughters ye Eldest\n5,ye youngest 3 yrs old, came thro ye Citty\naccompanyed by ye Prince to St James's,\nwhere they came accompanyed by severall\nNoblemen 6c Ladies in Coaches by abt 4\nClock in ye afternoon, this was a very fine\nday.\nOn Wensday Oct. ye 20th 1714 King\nGeorge was Crowned in Westminster Abby,\nwith all ye usuall ceremonies, 6c with Great\njoy. this day was as fine a day as could pos-\nsibly be for ye time of year, ye weather was\nmild 6c warm, little wind 6c ye Sun Shined\nfrom rising to Setting, with little or next to\nno intermission, ye night proved also bright\nStar light till past 12 of ye Clock, what is\nremarkable is, ye day before this was a very\nrainy day 6c so was ye Night, 6c ye wea-\nther seem'd to be set in for rain, when about\nsix in ye Morning it clear'd up 6c ye 20th\nOct. proved as fine a day as could possibly\nbe. Ye day following ye rainy weather re-\nturn'd again 6c was a very rainy day, 6c some\nothers after, so I say it is remarkable, y* ye\n20th should prove so fine a day, when so\nmany bad ones before 6c came after it.\nOctober 1714.\nThe Opera Theatre In ye Haymarket\nopen'd sooner this season than usual, 6c be-\ngan with ye Subscription opera of last year,\n'called, Arminius. Satturday October ye 23th\nthe parts were performed by Filippo Balatry\n6c Mrs Barbiers part, wch was perform'd by\n-Sigra Stradiotti. The Prince 6c Princesse of\nWales were at ye Opera this Night, ye Pitt\n-6c Boxes were open at ifs Guinea a Ticket,\nye House was very full.\nMrs Robinson perform'd her part\n26th Oct. 1714. Arminius again at Common\nPrices.\nno Opera untill ye\n16 Nov. Tuesday. Ernelinda. ye parts much\nalter'd viz.\nRicimero by Sigra Diana Vico.\nErnelinda by Sigra Pilotta, return'd\nagain to England.\nRodoaldo by Sigr Filippo Ballatri. a\nbad singer.\nEdwigge by Sigra Magta del Epine.\nVitige by Sigra Caterina Gallerati.\nEdelberto by Sigra Stradiotti. a very\nbad Singer.\nprice: 72 Guin. Pitt 6c Boxes open\n20th Nov. ye same agn at Common Prices,\nye Prince 6c Princesse of Wales pre-\nsent. ye House not near full, ye New\nSingers above mention'd meet with little\napplause as yet Mrs Robinson not sin-\nging ; was by many much regretted.\n1714.\nDec. 4th Satt. Ernelinda. at common pri-\nces. Mrs Santlow danced.\n11 th Sat. Arminius, in wch Mrs Ro-\nbinson perform'd ye part of\nIsmena wth Dancing by Mrs\nSantlow. ye Prince 6c Princesse\npresent, ye House extraordinary\nfull.\n18th Satt. Ernelinda. ye Prince 6c\nPrincesse went to ye Play this\nnight, ye Opera had but a thin\nHouse wth Dancing.\n30 Thursday. Rinaldo revived. Pitt\n6c Boxes open at 8.\nRinaldo perform'd by Sigra Diana\nVico.\nAlmirena, by Mrs. Robinson.\nGodfredo by Sigra Galarati.\nArmida by Sigra Pilotti.\nno Dancing.\nJany 4th Tuesday Rinaldo. again at Com-\nmon prices.\n8th Satt. Do\n15th Satt. Do. ye King, Prince 6c\nPrincesse present, 6c a full\nHouse.\n22 Do\n27 Do Thursday.\n29 Do Satt. a very thin house this\nnight.\nFebry 5 Do\n12 Do\n19 Do\n26 Satt. Lucio Vero. a New Ita-\nlian Opera, by subscription Ye\nMusick managed by Nic°\nHaym."}, {"page_pdf": 26, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.26", "debut_caractere": 0, "fin_caractere_exclue": 2621, "texte": "Mrs. Anastatia Robinson. Si-\ngra Pilotti. Sigra Galerati.\nSigra Diana Vico. Sigr An-\ngelo Zanoni, non castrato.\nMarch 5th Lucio Vero again.\n12th Do\n|9 Do.\nThis Subscription was but for 4 times.\n1715.\nMarch 26th Arminius Mrs Robinson, Sigra\nDiana Vico sung.\nApril 2 Lucio Vero for ye Benefit of\nSigra Pilotta.\n9 Ernelinda for ye Ben4 of Mrs.\nRobinson, she perform'd ye part\nof Ernelinda. Ye House & very\nstage full ye King, Prince &c\npresent.\n23 th Lucio Vero for ye Ben1 of Si-\ngra Galerati.\n30 Do for ye Ben4 of Si-\ngnra Diana Vico.\nMay 7th Hydaspes. Pit & Boxes togea-\nther at 4/2 Guin.\n11th Do Wensday il Signor Cav. Ni-\ncolino Grimaldi, being again\n14 Do Satt. come to England, perform'd ye\n21 Do part of Hydaspes. ye House\nextraordinary full.\n25 Wensday Amadis of Gaul, a\nnew Opera by Subscription with\nDancing.\nNic° Grimaldi\nMrs. Robinson\nPilotti\nSigra Diana Vico.\nSatt: King George's Birth day. ye\n28th. No Opera.\nOne of ye Singers being in-\ndisposed this Opera was not\nperform'd again untill the 11 th.\nJune 11 th Satt Amadis of Gaul ye 2d time\nby Subscription\n15 Wensday Do 3d time\nby Subscription\n10 days very hot, no Opera.\n25 Satt. Rinaldo for ye Benefit of\nSigr Nic° Grimaldi\n28 Tuesday Amadis 4th time\nby Subscription\nJuly 7 Satt. Do 5th time\nDo\n9 Do Do 6th time\n& last by Subscrn.\n23 Do Hydaspes K. George\nat it ye last Opera for this\nSeason — ye Rebellion in\nEngl. & Scotland ye occa-\nsion.\nOctober ye 31th 1715.\nNo Opera performed since ye 23th July,\nye Rebellion of ye Tories & Papists being\nye cause—ye King & Court not liking to go\ninto such Crowds these troublesome times,\nbut it is hoped in a short time the Rebells\nwill be Confounded.\nI shall keep no further acc* of Operas in\nyt Exactness as before perhaps a remark on\na New Opera now & then as ye humour\ntakes.\nVanity of Vanity all is Vanity.\n1715 1716\nThe Rebellion in England being quelled\nby Taking ye Lords & others Prisoners\nat Preston & that in Scotland much kept\nunder.\nFebry 1st 1715/16 began to open ye\nTheatre ye King pres1 with\nye opera of Lucius Verus.\n—by Nic° Grimaldi.\nFebry 11th Lucius Verus again.— Nic0\nGrimaldi ye only good singer.\nFebry ye 16th Amadis. in this Opera Mrs\nRobinson did sing also.\n21th Amadis again.\nMarch 3 Amadis for ye Benefit of Mrs,\nRobinson.\n6 Amadis again.\n10 Pyrrhus & Demetrius, reviv'd\nwth alterations: tho none in\nNic° Grimaldi's pt. Songs.\nSignr Ant. Bernacchi first\ntime.\n13 Do again Sigra D. Vico.\n17 Do Sigra Elena Cro-\nce Viviani singers.\n24 Do Mrs Robinson.\nApril 18 Cleartes. a new Opera by Sub-\nscription.\n21 Do\n25 Do\nDo\nMay 2 Pyrrhus & Demetrius (Nic°\nGrimaldi's Beneft.\n5 Cleartes by subscr."}, {"page_pdf": 29, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 2773, "texte": "9 Hydaspes. Sigra Pillotti's\nBenefit.\n12 Cleartes by Subsid.\n15 Pyrrhus & Demetrius with\nsome New scenes by Sigr\nR CIghci\n26 Do Sigra Diana Vico's\nBenefit.\nMay (sic) 2 Do Bernacchi's Benefit.\n13 Cleartes. Sigra Elena Croi-\nce's Benefit.\n20 Amadis. for ye Beneft of ye\nInstrumentall-musick.\n30 Cleartes.\nJuly 11 Amadis.\nIn ye Summer 1720.\nSigra Durastanti first appeard at ye\nTheatre in Haymarket, she sings very well,\nin ye Winter Sa & Signor Senesino, a fa-\nmous Eunuch came, his singing likewise much\nadmired, he supplyed Sigr Nicolino's ab-\nsense & is in person & action very like him.\n1721.\nAstartus. Opera ye first he sung in, in\nEngland.\n1721 Arsaces Opera, ye second, Sigr\nFrancesco Bernardi called Senesino.\nthese two Operas took much: very fine\nAnno 1722 Decr\nSigra Francesca Cuzzoni first sung at\nye Theatre above sd towards ye end\nof this year in the Opera called Ot-\ntone—& was extreemly admired\n& often performed\nSigra Durastanti sung also in ye\nSigr Senesino [ said Opera &\nMrs Ana Robinson } pleased much\nJanry 172 V3\nFarnace, Opera ye Same singers\nCoriolano. Opera Do pleased much\nL' Erminia Opera Boschereccia\nFlavio Opera Singers as above\nEnded in June 1723\na Motto proper for A Square. Holborn.\nRus in Urbe.\nDecr 1723.\nThe same singers begin with an Opera\nil Vespasiano. opera did not please\nJanry 172 V4\nGiulio Cesare in Egitto. Opera\nAquilio. Opera ye last this season, in\nthis Signora Durastanti took her leave\nof ye Audience designing to return to\nItaly & sing here no more\nshe sung very finely.\nin Nov. 1724 begins\nTamerlano. Opera New\nSigra Cuzzoni & Sigr Senosino still\nremain here & are much esteemed\nArtaxerxes a New Opera\nJulius Cesare in Egypt revived Opera\n1725\nRodelinda by Sigr Hendel\nDario in ye Haymarket\nElpidia, in May 1725, a short Opera,\nthis pleased—&continued to be often\nperform'd to ye 19th June which was\nthe last for ye season\nNov. 30. 1725\nThe sd Op era House was open'd &\nbegins with Elpidia—with ye Addition\nof severall Airs.\nThe musick composed by nes*n<?\nSigner Lionardo Vicini Sigra Cuzzoni\n° ; are still here\nDec. 4 Elpidia again ye 7th Do ye\n11 th Do ye 14th Do\n18 Rodelinda Do ye 21th Do\n28th Do\nJan. 1 Rodelinda. Do ye 4th ye 8th\n& ye 11 th\n15 Eliza a new Opera Do ye\n18th 22th & 25th\ngiven out\nbut not performed till the 8th\nFeb. 5 Ottone revived Do ye 8th &\nso on untill\nMar. 12th Scipio ; a new Opera Do ye\n15th to Apl. 30\nMay 5th Alessandro. a New Opera,\nye 7th ye 10th ye 12 the\nnew Songs (0 Signora Fau-\nstina's first Opera, the 14 May\n17th, 19th, 2 !th, 24th, 26th\n& 31th\nJune 4th the same again & ye 7th ye\nlast for ye Season, Senesino\nwent abroad\n1726/7\nSenesino being return'd to England—\nFaustina & Cuzzoni, here\nJanry 7th Satt. Lucius Verus by Attilio\n\n(1) Evidently an abbreviation for Songstress, Editor."}, {"page_pdf": 30, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.30", "debut_caractere": 0, "fin_caractere_exclue": 2723, "texte": "Ariosti—words & Musick new\nOpera begins—\n10 Do 14 Do — 17 Do —\n21 Do 24 Do 28 Do\nJanry 31th Tuesday Admetus a new\nHendel Opera—\nMar. 18th perform'd 13 times more wth\nthis day—\n21 Do 25 Do — Satt day\n— Settimana Santa\nApr. 4 Easter Tuesday, Admetus\nagain, & was declared for\nSatturday, but Sigra Fau-\nstina being taken very ill —\nno Opera was perform'd —\nduring all this time the House\nfilled every night fuller than\never was known at any Opera\nfor so long together — 16\ntimes\nCuzzoni ill—I more being\nwell\nMay 6 Astijanax a new Opera, 9th\n13th & 15th. Whit eve none\n— Buononcini composed it\n23 Astyanax ye 27 & 30 Do\nJune ye 3d & 6th\nFinis for this season\nThe Opera began soon this season 1727\neven in September ye Middle\nthe New King & Queen often at them—\nthe same singers as ye last viz. Faustina\nCuzzoni\nSigr Senesino—Eunuch\nye rest as before —\nSigr Attilio composed all Operas wch\ndid not take\nSigr Hendel next composed an Opera\nCalled K. Richard ye 1st &\nperform'd six times to 28 Novr\n& severall times after, untill\nDeer 1727\n29 The Opera Alessandro, re-\nvived\nJanry 2 1728 ye Same again, ye 6th\nDo Do Do &c\nIn Feb:y Siroes, a new Opera, ye Mu-\nsick by Mr Hendel—\nye same singers—\nafter this season was over The\nThree famous singers before\nmention'd return'd to Italy in\nye sumer where they remain'd,\nthere being no Opera in En-\ngland the Winter 1728 &\nSpring 1729.\nIn November 1729 Opera's began again\nwith an entire new company of singers—La\nSigra Strada del Po was ye Cheife & best\nthe rest little esteem'd\nan Eunuch called Bernacchi.\n1730—Bernacchi eone\n1730\nNov. 3 Tuesday Opera's began wth\np» • •\nbcipio\nSenesino being return'd char-\nm'd much: the rest as last\nyear—Scipio 4 times to Sat-\nurday ye 14 Nov: the King,\nQueen &c there each night.\nDeer 1730\nThe Opera Parthenope—revived\nVenceslaus New Opera—did not take\n1° February\nOrmisda, revived severall times\nMarch 1 731\nPorus K. of the Indies—New by Mr.\nHendel : it took much\nson confusa Pastorella &c\nRinaldo—revived, with some alterations\nRedelinda, revived & took much\nthe last performance was on Safc-\nturday ye 29th May 1731 (very\nHot weather).\nNovr 1731\nOperas begin with Porus K. of ye Indies\nother's are revived—Senerino here\nIn Janry Ezio—a New Opera, Clothes &\nall ye Scenes New—but did not\ndraw much Company\nIn Febry Sosarmes — a New Opera — took\nmuch by Hendell — & was for\nmany Nights much crowded to\nsome peoples admiration—\n1732.\nMarch 25 Coriolanus. revived Coriolanus.\nApril 18th Flavio Re di Longotardi—revi-\nved fro 1723.\nnot perform'd often\nMay 29 Hester Oratorio or sacred Drama,\nenglish all ye Opera singers in a\nsort Gallery no acting was per-\nformed six times & very full.\nMay ye 23 Lucius Papirius a New Opera\nHandell it did not take"}, {"page_pdf": 33, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 2247, "texte": "K. Geo. gone to Hanover\nTune. Acis & Galletea—a Serenata by\nMr Handell\nto ye 17th Satr Acis & Galletea again—-all\nye Singers\nJune 24th: an Pastorall Entertainmt by Si-\ngr Bononcini's Benefit\nSigr Senesino & others sung,\nthe Queen 3 Princesses & Pr.\nWales pres\\\nBegins Sat 4 Novr 1732 Opera at ye Hay-\nmarket\nCato — a New Opera, ye Mu-\nsick by\nSigr Senesino\nSigra Strada\nSigra Celeste Grismonda,\nnew from Italy a full House\nye King—Queen &c there\nNov. 7 Cato again, .King & Queen\nthere—\nSatt. 11 Cato, again — a thin House —\nnone of ye Roy all family there,\nbeing gone to Richmond.\n14 Do—a thin House\nSatt: 18 Do \"\n21 No Opera Sigra Grismonda\nhad a Cold\n23 Alexander reviv'd—The King\n&c all at ye Opera a full House\n28 Do a thin House\nDeer 2 Do Satturday May 15th 1726 N:\nfirst perform'd,\n5 Acis & Gallatea—Serenata re-\nvived. Handell.\n19 Alexander again\nSattr 30 Alexander\nJanry 13 Ptolomey revived\n1732-3\nJanry 27 Orlando Furioso a New Opera 5\nby Handel\nThe Cloathes & Scenes all\nNew—\nFebr 3 Do extraordinary fine & magni-\nficent—perform'd several! times\nuntil Satturday\nMarch 3d Floridante an Old Opera revived\nby Do: to Tuesday March ye\n13th\nSatt day 17 Deborah an Oratorio by Ditto\n1733 the Operas ended in June\nHaymarket. Handells House\nSigra Margarita Durastanti returned\nto England\nOct. 30: Tuesday K. G. Birthday.\nSemeramis. a new Opera\nNov. 3d Do\n6 Do\n10 Do\n13 Otho revived\nArbaces a new Opera did not\ntake at all\nJanry pmo Ariadne in Crete (1) a new\nOpera & very good & perform'd\nvery often — Sigr Carestino\nsung surprisingly well: a new\nEunuch—many times perform'd\n1734\nApril 18 Pastor Fido—by Handell—\nOpera Lincolns Inn Fields. Senesino's\nHouse\na New Opera open'd in January 173 3/4\nAriadne in Naxus, Sigr Senesino\nSigra Cuzzoni re-\nturn'd fro Italy\nSigra Celeste\nSigra Bertolli\nSigr Montagna Base\n& Sigra Sagatti\n\n(1) Francis Colman—was he dead—or living? The\nConcise Dictionary of National Biography (Oxford Press)\ngives us George Colman elder and younger but no Francis\n—all it says of the father is that he died 1733—and that\nhe was British Envoy in Florence.\nIf he died in 1733 how did he write these last lines\nof this \" Opera register \" ?\nThis is, one supposes, the Ariadne in Crete that\nColman is said to have written. Editor."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c020", "article_bluemountain": "bmtnaau_1927-01_01#c020", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 27, "image_fin": 27, "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=bmtnaau192701-01.2.13.1", "titre_corps": "A PERFORMANCE WITH MUSIC in some unknown Theatre in Italy", "titre_sommaire": "A PERFORMANCE WITH MUSIC in some unknown Theatre in Italy", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 27, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 113, "texte": "A PERFORMANCE WITH MUSIC\nin some unknown Theatre in Italy.\nFrom a Painting by G. P. Pannini (1694-1765).\nPlate 3."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c022", "article_bluemountain": "bmtnaau_1927-01_01#c022", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 31, "image_fin": 31, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.2.14", "titre_corps": "THE TEATRO IN MACERATA 1665-1765", "titre_sommaire": "THE TEATRO IN MACERATA 1665-1765", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 31, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 1917, "texte": "THE TEATRO IN MACERATA 1665-1765.\n\nSOUTH of Ancona in the Marche lies the city of Macerata. And on January 27th in the year 1665 the first theatre\nto be built there, since that of the ancient Romans, was opened with \"La Dori \" dramma per musica. This was also\nthe first opera to be given in Macerata, written by Cesti (1620-1669) one of the composers who did much for the progress of\nthe teatro drammatico, says Bertini.\nMarcantonio Cesti was a churchman from Arezzo : became a pupil of Carissimi, then Maestro di cappella at Florence\n(1646) ; member of the papal choir (1660) ; and yet spite of this wrote for the Theatre and \" contribul molto ai progressi del\nteatro drammatico\nHow can that be? asks Level Head, \"when he wasn't a dramatist and only wrote music\". Cannot someone settle\nwith Level Head and let us get on with our work ?\nCesti's \" II Porno d'Oro \" was produced in 1668 at the Court theatre, Vienna, whither he had gone at the end of his\nlife to serve as vice capellmeister. Getting there he found an ally in Burnaccini the younger, who built the theatre and\ndesigned the decors for this opera \" 11 Porno d'Oro\nThe design of the proscenium and scene given here, for the earlier piece in Macerata, is an interesting one, because,\nwhile a writer of the time asserts that the designs are not exact, we see that an attempt has been made by the designer\nnot to exaggerate the proportions of the proscenium by dwarfing the figures. The attempt is generally in the other di-\nrection, and no one excels in this so much as Piranesi; but his excuse is that he had before him the example of Roma, and\nshe the habit of dwarfing human beings.\nThe name of the designer of this engraving seems so far to have escaped everybody.\nIn 1765 the theatre was demolished and in 1767 the Teatro Lauro Rossi was built under the direction of Cosimo Mo-\nrelli from designs by Francesco Bibiena who had died in 1739. ALLEN CARRIC."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c023", "article_bluemountain": "bmtnaau_1927-01_01#c023", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 31, "image_fin": 31, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.2.14.1", "titre_corps": "[Illustration sans titre]", "titre_sommaire": "[Illustration sans titre]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 31, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.31", "debut_caractere": 1934, "fin_caractere_exclue": 1942, "texte": "Plate 4."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c024", "article_bluemountain": "bmtnaau_1927-01_01#c024", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "24", "page_fin": "27", "image_debut": 34, "image_fin": 39, "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=bmtnaau192701-01.2.15", "titre_corps": "IBSEN'S \"PRETENDERS\" AT THE ROYAL THEATRE COPENHAGEN : AN INTERVIEW WITH MR. GORDON CRAIG ON THE RECENT FESTIVAL PERFORMANCE", "titre_sommaire": "IBSEN'S \"PRETENDERS\" AT THE ROYAL THEATRE COPENHAGEN : AN INTERVIEW WITH MR. GORDON CRAIG ON THE RECENT FESTIVAL PERFORMANCE", "signature_source": "Conrad Tower", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 34, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.34", "debut_caractere": 0, "fin_caractere_exclue": 4490, "texte": "IBSEN'S \"PRETENDERS\"\nAT THE ROYAL THEATRE\nCOPENHAGEN\nAN INTERVIEW WITH MR. GORDON CRAIG\nON THE RECENT FESTIVAL PERFORMANCE.\n\nTHE Royal Theatre of Copenhagen has\nlong held a distinguished position in the\nannals of the Europ ean Theatre. It ranks\nhigh among the great historic playhouses, and\npossesses the distinction of being actually\nthree Theatres in one, since Drama, Opera\nand Ballet reign there together without quar-\nrelling. The portraits in its foyer testify to\na long succession of brilliant and serious per-\nsonalities who have worked in and for it;\nand it was in honour of two eminent mem-\nbers of one of the old Theatre families that\nthe recent festival performance of Ibsen's\n\" Pretenders \" was given on November\n14th 1926 <«>.\nThis performance, in celebration of the\ntwenty-fifth stage anniversary of those two Da-\nnish actors, Adam and Johannes Poulsen and\ncarried out with the collaboration of Mr. Gor-\ndon Craig, was a notable event in the European\nTheatre; interesting not only in itself, but as\nevidence of the spirit of the new movement\nwhich is manifesting itself in ever fresh quar-\nters ; continually reasserting its vitality through\nan increasing number of adherents and over\nan always wider field.\nKnowing that Mr. Craig had been drawn\nto Copenhagen by the invitation of Adam and\nJohannes Poulsen, and remembering that\nMr. Johannes Poulsen had about a year ago\nexpressed in the Daily Telegraph his admira-\ntion of Mr. Craig's work with understanding,\n1 sought an opportunity to ask Mr. Craig\nsomething about these brothers Poulsen, and\nthe Royal Theatre, and to discover to what\nextent the New Movement has affected the\nCopenhag en Theatre as a whole.\nI knew, even before Mr. Craig himself\nreferred to it, that the chief reason which\nhad drawn him to Copenhagen had been the\ndirect and manly attitude of these Poulsen bro-\nthers towards him.\nThe sons of the tragic actor, Emil Poulsen,\nand nephews of Olaf Poulsen, the comic actor,\nthey enjoy a natural prestige in the Danish\nTheatre. Mr. Adam Poulsen was for a time\nthe director of the large theatre in Helsingfors,\nFinland, while Mr. johannes Poulsen holds\nthe position of chief actor in the Royal Thea-\ntre of Copenhagen ; and it was primarily on\nhis initiative that the invitation to Mr. Craig\nwas extended, just as it had been through\nhis enthusiasm that the spirit of the New Move-\nment has for some time now begun to move\nin the Royal Theatre.\nFor, when I asked Mr. Craig to what\nextent the New Movement has affected the\nCopenhagen Theatre, he replied \" Far more\nthan 1 should have thought was possible con-\nsidering that it is a State Theatre \"; and he\nwent on to explain that Johannes and Adam\nPoulsen had both been students of his wri-\ntings since 1901, and \" of all my 1901 to\n1908 drawings \". That they have studied\nin a good spirit, to learn and advance, is\nevidenced by Johannes Poulsen's own words\nrelative to Mr. Craig's recent visit: —\" Gor-\ndon Craig has taught me so much by saying,\nand drawing attention to, many things which\nwere really as clear as daylight.... when\nonce they had been said. Constantly I asked\nmyself: ' Why haven't you found that out\nyourself ? You know that it is right '. \"\nHaving understood that the Copenhagen\nRoyal Playhouse is what may be called a\n\" traditional \" theatre, an old-fashioned one,\n....that is, up-to-date in machines but tradi-\ntional in expression, I asked Mr. Craig whe-\nther Mr. Poulsen, imbued with the new ideas,\nthe fresh vitality in the theatre life of recent\nyears, wishes actually to alter that. \"Is he\naiming to do this systematically ? \" I asked,\n\" or will your visit have been only one event,\nand the old traditions and methods then be\nresumed ?\n\" No \" answered Mr. Craig, \" It is, as\nyou say, Mr. Poulsen who is aiming at this\nchange and advance. Fifteen to twenty years\nago it would have been impossible to have\nmade the commonsense changes which 1 was\nthen, 1 believe, one of the first to advocate\nas well as practise: now all these changes\nhave been adopted. Many of my suggestions\nhave been in nightly use in this traditional\nstronghold for some years \".\nThe machines, which we of the New\n\n(i) This is the second time it has been produced, the\nfirst production being in 3871. January nth, with Emil Poul-\nsen (father of Adam and Johannes), as Bishop Nikolas. It is a\nremarkable fact that the Royal Theatre was this year pre-\npared to revise the entire production and present the play\nwithout being tied to its older method of presentation."}, {"page_pdf": 35, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.35", "debut_caractere": 0, "fin_caractere_exclue": 4232, "texte": "Movement are apt to laugh at, are really\nvery good and often very helpful: sometimes\nthey are, it is true, a great nuisance; but on\nthe whole they surprise me by the excellent\nway in which they support the ideas of the\nartist; so that this can only mean that the\nmechanic or technician has all this time been\ntrying to be the real friend of the artist.\nNow and again he has gone a little too far\nand run on too quickly, by himself, and so he\nhas assembled too many wheels, cogs, ropes,\nbuttons, etc. ; but that was because the ar-\ntist and the technician were not able to meet\ntogether sufficiently often and confer about it\nall. But considering all things, and allowing for\nthe fact that he has had to go op alone, he\nhas really done well for the artists \".\n44 This, of course \", he continued, 44 refers\nonly to what is mechanical and scenic; and\nin Copenhagen it is on a big scale : a scale,\nif not bigger than at Paris and Milano,\nalmost as big \".\n1 asked Mr. Craig whether, in this re-\ncent production, he was able to use any of\nthose discoveries of late years to which he\nhas alluded in various of his writings.... al-\nthough without ever giving any clue to what\nthey were, apparently rendered careful by\nformer piratical experiences; or whether he\nwas still unable to adopt any of these until\nhe has his own theatre, and had now used\nonly fresh expressions and developments of\nhis earlier methods.\n44 Oh no **, he replied, 44 1 have only\nused improvisations on my first expressions of\n1900-1906 and those earlier days. It is too\nearly yet to show the other things. 44 I sup-\npose **, he added in reply to a question as\nto whether there had been any relation be-\ntween this production and his 191 1 44 Ham-\nlet \" in Moscow, and whether his famous\nScreens were in use, 44 it would be impos-\nsible for a spectator who had seen, obser-\nvingly, former productions, not to notice some\nrelationship of work of one period with the\nwork of another period \".\nTHE SCENE.\nAS for that trifle, the sceneries, he said\nthere was only one scene varied about\ntwelve times ; a scene \" made for the ac-\ntors \" ; and he added with pleasure that the\nactors in Copenhagen had passed that ver-\ndiet on this scene. It is what the great Sal-\nvini, speaking as an actor and for the actors,\nhad said on first seeing the designs in Flo-\nrence, .... \" It releases them\nTHE POULSEN BROTHERS.\nAND now, Mr. Craig \", I asked, 44 about\nthese actors and the stage management,\nand something about Mr. Johannes Poulsen in-\ndividually. Is he, besides being the leading\nactor of the Theatre, also director and ma-\nnager, with complete control and authority ? \".\nNo replied Mr. Craig, 44 neither di-\nrector nor manager; but he has a peculiar\npower because he is, as you know, the son\nof the tragic actor Emit Poulsen, and nephew\nof Olaf Poulsen the comic actor, both of\nwhom were greatly respected; moreover he\nis himself a man of many parts, extremely\ngifted—always active—the darling of the pub-\nlic, and reminding me of all I have read of\nDavid Garrick. He is probably the most\nversatile performer in Europe. He can play\nyou Shy lock, dance in a Ballet, sing in an\nOperetta and act in a Farce \".\n44 And what of Mr. Adam Poulsen? \"\n44 A serious excellent actor, devoted to\nthe well-being of the stage, who will leave\nthe stage richer than he found it. I have\nstill more to say of Adam Poulsen some day\nEFFECTUAL COLLABORATION.\nJOHANNES Poulsen wished to put the whole\ntheatre and troupe at my disposition, and\nwas always saying, 4 It is work we\nwant, it is your work \\ In fact they all, and\nespecially Johannes, would ask me not to do\ntoo little but too much. But for all that I\nwas only assisting in their production, ....not\nactually myself producing the piece \".\n-r 44 But was it possible \", I asked, 44 for\nyou to 4 assist * another ? Is it not inevitable\nthat the whole thing becomes so inspired,\ndominated and moulded by you as to be\nactually your production and not simply ' as-\nsisted in ' by you ?\n44 No ; what I say became possible: but\nit was only possible \", said Mr. Craig, 44 be-\ncause Mr. Poulsen and I did try very much\nto collaborate. That means that while each\nkeeps his own view he never ceases to look\nat what his colleague is up to, and quickly"}, {"page_pdf": 36, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.36", "debut_caractere": 0, "fin_caractere_exclue": 4026, "texte": "fits into that. It's like a dance—-and Johannes\ncan dance. He has what we call the swing \".\n\"THE PRETENDERS\".\nI then asked Mr, Craig what he thought of\nthe play. <! The Pretenders \", which had\nbeen chosen for production; recalling at the\nsame time that one of his first productions\nwas \" The Vikings \", and one of his last\nwas also an Ibsen play,... \" Rosmersholm \"\nfor Madame Duse.\n\" The Pretenders' \", said he, \" is a won-\nderful play. It deals with a not very exci-\nting subject; no hair-raising moments make\nit especially \" theatrical \" in the old sense\nof the word; and yet it is a play that it was\na delight to work on, although so terribly\ndifficult to make anything out of. I believe,\nwhen Reinhardt produced it in Berlin, it was\ntaken off after a short time, and I can find\nno mention of it in any of the books about\nthe work he and his assistants have done \".\nDISCIPLINE AND GOOD WILL.\nAS evidence of the intensity with which\nthe work went on, and the speed of the\nDanes when they get to work, Mr. Craig\ntold me that, when he arrived in Copenhagen\nin the beginning of October, no preliminary\nWork had even commenced: ....\"Nothing was\ndone or even prepared He found, how-\never, \" a finely disciplined troupe,—very able\npeople and this enabled much to be ac-\ncomplished in a brief space. Good will and\ncourtesy were in the ascendant.\nTHE COMPANY.\nAND in recalling some of the details of\nthe work he spoke again and again\nwith warmth of Adam and Johannes Poulsen,\nand of the friendliness which had been the\ndetermining factor in his visit to Copenhagen ;\nand of the company of actors : \" They have\na certain grace.... less than mild and more like\nyouth : . ..an indescribable sweetness and\ncourtliness not very often found in a Thea-\ntre : something you can neither buy nor\nacquire quickly; it has to be there and it\nhas to grow \". \" Don't you remember \", he\nadded, \" the grace, the gentle outlook of\nHans Christian Andersen, the Dane whose\nbooks we have all read? Well, that grace is\nin the Theatre Royal; ....and it is outside it\ntoo. It is in their streets, their shops; they\ngather in their houses and dine with that\ngrace, and rise to make affectionate little\nspeeches on occasion with all the ease of\nthe great diplomats of [the political world;\nand all they seem to wish to say is \"I\nremember once upon a time \" ....and what\nthey remember is something dear to them.\nTHE THEATRE IN DENMARK.\n\" /AN the whole \" Mr. Craig continued, the\nV_y Danish people is very enthusiastic about\nthe Theatre ; it plays a very important part\nin their lives. The public and the newspapers\nare always talking of the Theatre.\nThey very often like to say that they\nknow how to manage this huge theatre better\nthan the Directors do. The only comment\nto this is that theoretically they may be right\n—but let anybody try!\n\" What public opinion is apt to forget \"\nhe went on, \" is that the difficulties never\nalter, even when you have changed the ma-\nnagement. There are no directors in the\nworld that have not these same difficulties,\nand these difficulties yet remain to be solved.\nWhat 1 have written in the last twenty years\nstill seems to me to remain rather apt and\nso far as I can see still cries out to be put\nin to practice. Sufficient effort has not been\nmade in any pari of the world to be rid of\nthe root evils. The moment an effort is\nmade to do something to effect a change,\nfear and compromise set in. To get the stage\nforward there must be far less compromise.\nRespect traditions which have value but do\nnot hug dead traditions \".\nThere is little question that, in the theatre\nworld, this reappearance of Mr. Craig in active\ntheatre work, and especially in so unexpected\na quarter as Copenhagen, has given pleasure\nto those managers and producers v/ho feared\nthat he was buried among his books in Italy;\nperhaps a few were on the alert, apprehensive\nas to what he was going to spring on them.\nA NEW WORD.\nIasked Mr. Craig if he did not think so\ntoo, but he negatived the idea. \"Be-\nlieve me he said, \" this is not the case."}, {"page_pdf": 39, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.39", "debut_caractere": 0, "fin_caractere_exclue": 2772, "texte": "Relieve me, that most managers are so scep-\ntical, are so tired, that they do not care what\nanybody says, does or thinks so long as the\nhouses are full. The life of the Theatre\nrenders them sceptical. We oj the New\nMovement \" he added with great seriousness,\n\" have still to change the very life of the\nTheatre. We have changed the art a good\ndeal—we will now change the life \". Adding,\nas his last word : \" The world of the Theatre\nis sick; and so only that, ....the changing\nof the life ... .can brace it up.\nCOPENHAGEN'S APPRECIATION.\nTHAT Copenhagen appreciated what Mr.\nCraig brought there was evidenced by the\ncrowds which have been thronging to every\nperformance. On the first night the house\nwas packed at double prices ; the box-office\nopened at 10-30 in the morning, every seat\nbeing sold by I o'clock : and the management\nhas had the satisfaction, not only of having\noffered the city so noble a production, but\nalso of seeing, as the weeks pass, a conspi-\ncuous financial success.\nMoreover, in addition to the enthusiastic\nreception of the production, there are not\nlacking abundant evidences of, the enthusiasm\nand sincerity with which Mr. Craig's feelings\nof friendship towards his collaborators are re-\nciprocated on all sides in Copenhagen.\nMrs Nina Bang, the Minister of Public\nInstruction, speaking previous to the first night\nin the Danish Parliament, referred admiringly\nto 88 a prominent English guest, who unweari-\ningly and without any compensation lends very\nvaluable assistance towards the production of\n8 The Pretenders ' in the finest artistic form \".\nAdam Poulsen, in reply to a question asked\nin an evening paper (October 28th), how it\nwas possible to instruct Danish actors, to in-\nfluence their acting, without knowing one\nword of Danish ? wrote:\n88 Mr. Craig is not an Anglo-Saxon, not\nGerman, not Slav, not Roman, not Scandi-\nnavian. He is a sum of all these—a sum of\nall humanity.... Schooled and purified in life,\nintuitive and genial in regard to all problems\nof the world of illusion, he governs the Art\nof the Stage in a sublime, and at present,\nunique, way, ....there is none to compare\nwith him And he concluded his enthu-\nsiastic and affectionate tribute to Mr. Craig's\nposition in the Theatre, and to his gifts and\npersonality as an artist, with the words:\n\" He does this work in every respect unsel-\nfishly ; and his grand gift is received by the\nartists of the Royal Theatre with real inte-\nrest and joy\nI wish 1 could print Johannes Poulsen's\nspeech at the banquet which followed the\nperformance and hope to do so in the April\nnumber.\n\" What was it about? \" I asked Mr.\nCraig. Well, I don't like to say \" he ans-\nwered. \" Ask Poulsen \".... And so I will,\nand then I will tell the readers of \" The\nTk/I 1 99\nMask .\n\nConrad Tower."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c025", "article_bluemountain": "bmtnaau_1927-01_01#c025", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 37, "image_fin": 37, "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=bmtnaau192701-01.2.15.1", "titre_corps": "A DESIGN FOR A STAGE SCENE", "titre_sommaire": "A DESIGN FOR A STAGE SCENE", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 37, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.37", "debut_caractere": 0, "fin_caractere_exclue": 53, "texte": "A DESIGN FOR A STAGE SCENE.\nBy Gordon Craig.\nPlate 5."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c026", "article_bluemountain": "bmtnaau_1927-01_01#c026", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "27", "page_fin": "27", "image_debut": 39, "image_fin": 39, "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=bmtnaau192701-01.2.16", "titre_corps": "A PERFORMANCE WITH MUSIC", "titre_sommaire": "A PERFORMANCE WITH MUSIC", "signature_source": "A. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 39, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.39", "debut_caractere": 2774, "fin_caractere_exclue": 3431, "texte": "A PERFORMANCE WITH MUSIC.\nA. C.\nTHE Painting by G. P. Pannini, shown in Plate 3\nwas painted about 1729, and is in the Louvre. There\nit is called \" Conceit a Rome de Gabriello Panini\nIf in Rome it can represent only the Teatro Aliberti,\nthe Teatro Tor di Nona, Teatro Capranica, the Teatro\nBarberini or the Teatro Argentina.\nI am inclined to suppose it either Teatro Aliberti or\nthe Tor di Nona.\nIt is also said to represent a \" Concert at Rome 1729\non the occasion of the Birth of a son to Louis XV\nBut how if it should prove to be a Neapolitan Theatre ?\nIt is the kind of thing one is tempted to ask M. Wiener\nof Bruxelles to solve for us once and for all."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c027", "article_bluemountain": "bmtnaau_1927-01_01#c027", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "27", "page_fin": "27", "image_debut": 39, "image_fin": 39, "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=bmtnaau192701-01.2.17", "titre_corps": "THOSE WHO HUG THEIR WEALTH", "titre_sommaire": "THOSE WHO HUG THEIR WEALTH", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 39, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.39", "debut_caractere": 3433, "fin_caractere_exclue": 3604, "texte": "THOSE W-HO HUG THEIR WEALTH.\nRICH BUT TIMID PATRONS OF THE ARTS ARE LIKE OPHELIA —-\nTHEY THINK WE MEAN COUNTRY MATTERS,...\n(vide 1 Hamlet \\ Act j, Scene 2, Lines 108-112)."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c029", "article_bluemountain": "bmtnaau_1927-01_01#c029", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "28", "page_fin": "29", "image_debut": 40, "image_fin": 41, "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=bmtnaau192701-01.2.18", "titre_corps": "BLUSHING IN THE LIME LIGHT", "titre_sommaire": "BLUSHING IN THE LIME LIGHT", "signature_source": "HENRY PHIPS", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 40, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.40", "debut_caractere": 0, "fin_caractere_exclue": 4366, "texte": "BLUSHING IN THE\nLIME LIGHT\nBY HENRY PHIPS.\n0)\nYOU and I have seen hundreds of actors\nand actresses taking their call.\nIt is not so easy a matter as one would\nsuppose, after doing a good piece of work,\nto stand in the centre of the stage amidst\nthunders of applause while the curtain goes\nup and down and up again—and again. But\nthe great actor—if such an adjective is still\nin use—knows well how to take a call.\nIrving could take a call or half a dozen\ncalls. He rejected none of the enthusiasm,\nneither did he bathe in it: he stood his\nground quietly.\nBernhardt was effusive—overcome— ; en-\ntered first from one side, then from the other,\nthen from the centre : stood and swayed and\nput out her arms on ea'ch side of her. She\ndid bathe in it all—seemed to be dipping\nand splashing it over her head.\nI forget what Duse did ; even when acting\nshe was so unlike other actresses, that I for\none was seldom able to say after a perfor-\nmance \"she did so—or so\".\nEllen Terry seemed happy and seemed\nto be thanking us.\nAnd there have been some actors who\nseemed to be saying. \"Oh no---not for me\n—this ovation is not deserved \". They were\nthe \" little me\" actors ; it is the very littlest\nattitude the circumstance demands. For to\nbe in the limelight and play the modest fool\nis a blunder.\nIt is growing fashionable, this passion for\npretending to be nobody in the limelight.\nNot only are actors being praised today\nfor standing in a corner with their backs to us\nrather than in the centre, but other publi-\ncists off stage are even being laughed at\nfor it.\nMr. Bernard Shaw is putting on the pose.\nIt would be as right as rain if Mr. Shaw\nwere out of the limelight; but he has be-\ncome a very public figure,... even a Nobel\nprizeman.... and seems not to know how to\ntake the calls. When we see remarkable men\nat their work, and our admiration for the result\nis genuine, we must perforce leave them with-\nout applause, tip-toeing out of their studies;\n—they are workers—and private men.\nBut when it comes to the public appea-\nrances something is due to the silly public\nof which I form one. My cheers and ap-\nplause are worth a kindly word. Mr. G. B.\nShaw's recent phrase \" There are no great\nmen nowadays \" seems to me to be a vain\nphrase meaning nothing. If I feel I am not\na great man I need not tell the Public ;\nit knows it: still, if I must assert that I am\nnot a great man then of course I must; but\nto assert that he who is listening to me is\nnot one, nor his friend either, is merely at-\ntempting to take cover under numbers : \"We\nthree \"....\nI take Mr. Baldwin (t) to be a great man ;\n.... he don't look it but he performs like one:\nso that to say there are no great men is rude\nto him and makes me no greater. I should say\nSignor Mussolini is a great man: and so rae-\nthinks is Mr. Edison, and certain orators, pain-\nters and musicians have the touch of greatness.\nGoodness, richness, cunning, wit, cele-\nbrity, power, physique, wealth, are no gua-\nrantees for greatness. A man is great or\nsmall in the way in which these things, of\nwhich he may possess but a pinch, pass through\nhim and affect him.\nWhen money gets hold of a man, un-\nless he puts it to valuable uses, he acts like\na small man: there are many millionaires\nwho are very small. Their wealth acts on\nthem like strong drink;—they stagger. Cele-\nbrity is dangerous too: and Iam told that\neven too much talent is not easy to carry.\nAs for Goodness—what greatness is needed\nif you are not to reek of your goodness; yet\nfolk believe one can not have too much of\nthe genuine stuff.\nI do not suppose Jeanne d'Arc was a\npiece of perfection, but she was obviously a\ngreat woman for she carried her burden well....\nand it was a heavier load than her highness\nshould have been subjected to.\nShe was not vain ; she did not cry out\n\" Look what I've done for France and see\n\n(i) Mr' Fred Terry recently penned a .short article for a\nLondon Daily in which he protested that there was 44 Too\nmuch limelight for actors There was a time when Mr\nTerry objected that there was not enough limelight for him.\n(i) 44 Mr, Baldwin is very fond of telling his friends how\n\" he met in a train a man who was at Harrow with him : 44 I\n44 seem to know your face,\" said the other man. tl I am\n44 Stanley Baldwin, \" said the Premier. 44 Oh of course I\n44 remember now, \" was the reply, 14 By the way, what are\n44 you doing now ? \""}, {"page_pdf": 41, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.41", "debut_caractere": 0, "fin_caractere_exclue": 1302, "texte": "how France treats me—deserting me—sel-\nling me—\".\nWe are not all as brave as that. She\nanyhow took her call with spirit—and in the\nlimelight showed up like a star.\nIt is difficult. The shouts and the warmth\nof the reception offered to a popular public\nman are for the moment so overwhelming to\nthe mind, that the only thing he can do is to\nsuffer the ordeal, shut off his mind, deaden\nhis senses, and stand his ground as did Irving.\nIrving had an advantage over Shaw, for\nexample. He received an ovation three hun-\ndred nights out of the year. The first ova-\ntion he suffered was a round of cat-calls : a\nyear or two later, following on, it developed\ninto solid hissing ; — that was in Dublin. For\nthree or four nights they hissed him and booed\nhim the whole time he was on the stage.\nA round of applause a few years later\nmust have seemed tolerable to him. He\nmay have remarked the close resemblance\nbetween love and hate when expressed by\na noise. He smiled faintly, but apparently\nwithout feeling, when he took his call. Some-\ntimes he would dispense with even the smile.\nBut he never forgot he was in the limelight—\nand that he was the Public's \" loving faithful\nservant\nWhen you can no longer look like a\nloving servant (let alone feel like one) how\n■can anyone recognize that you are a great man."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c031", "article_bluemountain": "bmtnaau_1927-01_01#c031", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "29", "page_fin": "30", "image_debut": 41, "image_fin": 42, "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=bmtnaau192701-01.2.19", "titre_corps": "ON THE MEMOIRS OF ACTRESSES", "titre_sommaire": "ON THE MEMOIRS OF ACTRESSES", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 41, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.41", "debut_caractere": 1304, "fin_caractere_exclue": 4229, "texte": "ON THE MEMOIRS\nOF ACTRESSES.\n\nTHEY seldom write these Memoirs them-\nselves.\nCould they ? Would the memoirs then be;\nworth something — and permanent and good1\nto turn to for many a year ? or would the great,\nactress, who can get over the footlights, fail'\nutterly to get herself on to the written page ?\nSuch memoirs would be honest anyhow; .....\nbare ; and the whole praise and blame would\ngo to the author. Whatever the final verdict,,\nno one could then say the thing was dishonest.\nAnd the honesty would at least live on, even\nif the lack of art — the art of the writer —-\ndor ever proclaimed the result a failure.\nSo I for one am decidedly in favour of\nthe actress who takes her courage and honesty\nfirmly in hand and writes her book alone;\nwrites it so as at least to make it clear she\ndidn't wish later on to put any blame for its\nindiscretions on the shoulders of someone else.\nThis she does over and over again nowadays.\nMrs. Charke (an almost unknown actress)\nwrote her book alone. She was the daugh-\nter of Mr. Colley Cibber and a woman of\nno common order.... but her book is strangely\npoor — and she so rich in personality. It had\nbeen better she had not wr itten her \" Life \".\nThe Memoirs of Clairon came out followed\nby those of her rival Dumesnil. Are these\nauthentic ? .... they are full of bitterness and\npompousness — two stupid affectations 1\nam sure the ladies seldom aired in their\nlives. They must have been two most de-\nlightful persons and were, we are assured,\nreally great actresses. But their Memoirs\nbetray them.\nDid they write them alone ? were they\naided?... and who gained by the folly?\nMadame Bernhardt's Memoirs, if com-\npressed into a small book of 100 pages,\nruthlessly cut by a friend, would have been\nremarkable. As it is they are a little foolish\nand often curiously cattish.\nNow Sarah Bernhardt was the last person\nIn the world who could be called cattish ;\nat times she, like any other, may have scratch-\ned and been as petty as the smallest; —\nbut she was a sweet being or a fine fury or\na great performer ; she was not an anonymous\npost-card sender, .... yet, by George, she ap-\npears like it in her Memoirs.\nDuse's Memoirs have yet to appear, or else\na \" Life \" written by someone with ability.\nA hastily made up volume which already ap-\npeared (I) — not badly done, and containing\nsome charming passages, and the whole evident-\nly well meant, — proves that it's a dishonest\npractice anyhow, this concocting of Memoirs.\nBut who can one blame most ? Duse or her\ncasual historian ? The pair of them seem to\nme to be rendered quite ridiculous (2).\nWhat will C.elia's or Delia's Memoirs be\nlike, one wonders.\nWe see her at her task. She takes some\neighteen bundles of letters and tells her dis-\n\n(1) Reviewed in *' The Mask\" for April 1925.\n(2) Since this was written several more books on the Life\n*of Duse have appeared, and 44 The Mask \" will treat of these\nin an early number. Editor."}, {"page_pdf": 42, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.42", "debut_caractere": 0, "fin_caractere_exclue": 2182, "texte": "Cipitej aft enthusiast who has travelled three\nthousand miles perhaps to help her — for\nmemoirs are done up to get money — \" Here\nare these eighteen bundles of letters. These\nrrom my great friends.... from Bernhardt, from\nfully, from Rodin, from Sarasate, from Irvine#,\nfrom Coquelin and from Salvini. See what\nyou can make of them and quote them\nI have underlined them in red\nWhat a gory correspoixdeuQe k\nlined. .ooks so\nThis would be, will af'w®-''\nway to go about the work /s be, the fatal\nThinking to. avpid F\nher dear friend; to ,aroe by leaving it to\nbe so thproijghfv .eii us her tale, she will\ntrayed by- E given away, so utterly be-\nprotesls er friend, that even when she\nfe* .ater that she wrote for money\nyjr pU(; }ier friend on to write and write\nfor her — and that she herself is not to\nbe held responsible, it is, alas, she and not\nher friend who will be damned.\nTo write the Life of Sheridan, that im-\nmense and baffling personality, neither John\nWatkins L. L. D. nor Thomas Moore was\nsufficiently well equipt — and Moore had\nsome genius for biography.\nTo write such a man's life ! even doubt\nwhether such a master as Lytton Strachey\nwould be enough. Queen Victoria lends\nherself better to portraiture, she sits so still.\nSheridan, who is all contradiction, all electri-\ncity, who will not sit still, baffles everyone.\nThese reflections come to me when think-\ning what is the best method for an emotional\nactress — and most actresses are of Sheri-\ndan's family —to use when attempting to\nwrite those most difficult things to write\n44 Memoirs\nAt the very best, unless gifted in a great\ndegree with a knowledge of to write,\nshe will do only harm to herself. It will be\nas though a great poet should assay to per-\nform the chief part in one of his own plays.\nFeeling he is the thing itself, he would be\nunconscious that he is who he is,... he would\nbelieve he is the being his words blazed into\nlife — and all the time he will be but a\npathetic parody of a man strutting, mouthing,\nfidgetting, doing all he would be the first to\nlaugh at could he but see himself looking\nlike a poor fool — the farce of a man.\nNo, the best method of all is to write\nno 44 Memoirs\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c032", "article_bluemountain": "bmtnaau_1927-01_01#c032", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "30", "page_fin": "31", "image_debut": 42, "image_fin": 43, "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=bmtnaau192701-01.2.20", "titre_corps": "DISCOVERY AFTER FOURTEEN YEARS : AMALGAMATED DELIRIUM", "titre_sommaire": "DISCOVERY AFTER FOURTEEN YEARS : AMALGAMATED DELIRIUM", "signature_source": "J. B", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 42, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.42", "debut_caractere": 2184, "fin_caractere_exclue": 4138, "texte": "DISCOVERY AFTER\nFOURTEEN YEARS.\nAMALGAMATED DELIRIUM.\n\nTN i»-|2 \" The Mask •\" published an illus-\ntrated article entitled ** 1he Best Theatre\nin London \".\nThe author of the article was the well\nknown Russian writer Edward Edwardovitch.\nHe claimed that the best Theatre in London\nwas Mr. Pollock's Toy Theatre, No. 73,\nHoxton Street, Shoreditch, E. C.\nHe gave us a reproduction of an exqui-\nsite and ancient view of Mr. Pollock's house\nas seen from the outside, and several Pollock,\ndesigns at their best.\nAnother article in the same number by\nD. Nevile Lees did full justice to R. L. Ste-\nvenson's 4 discovery' of the Theatre of Skelt,.\none of Pollock's forerunners ; and, in yet ano-\nther article, Jack B. Yeats and his life-long\nlove and service in the Skeltean- Pollockian\ncause was recorded by Allen Carrie.\nA BELATED SURPRISE.\nAll, this was done fourteen years ago ; and\nnow the journals of London are accep-\nting the puff paragraphs of the Diaghileff\npress agents, telling how the said impresario\nDiaghileff, led by Mr. Sitwell, was taken to\nMr. Pollock's shop and saw—literally saw—\nthe said Theatre of which Edwardovitch\nwrote in 1912.\n44 It was \", says the press agent, 44 a surprise\nfor M. Diaghileff \".\nToy Theatres exist in every land, and in\nRussia they have many pretty toys. These\nRussian toys have always served as inspira-\ntion to the artists af the Diaghileff troupe.\nAnd now our Toy Theatres serve to\n44 inspire \" Prince Shervachidze who has\ndesigned his curtains, sceneries and dresses\nfor 44 The Triumph of Neptune \" for M. Dia-\nghileff.— So the English press agents tell us\nin the columns of the London journals.\nAnd it is all not a little depressing.—I\nmean the fact that first Edwardovitch and now\nDiaghileff (both presumably Russians) were al-\nlowed by Mr. Playfair to get ahead of him, the\nfirst by fourteen years, the second by a head.\n\n(i) Why Mr. Jack B. Yeats was not asked to do this\nwork is a blunder 1 find unforgiveable."}, {"page_pdf": 43, "page_imprimee": "31", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.43", "debut_caractere": 0, "fin_caractere_exclue": 4146, "texte": "For really these toy playthings belong to\nithe little Lyric up Hammersmith way.—To\n* enlarge them to the size of Mr. Play fair's\n■ stage, would have been to make of them a\n? natty little show ; but to swell them up to\n: the proportions of the Lyceum stage makes\nens almost sympathise with Mr. St. John Er-\nvine in his Sunday morning reflection, as he\nr gazes in his glass while shaving, that \" Ener-\n■ getic men without taste are the gravest dan-\nger to any community\nIn lending their services the Sitwells and\nLord Berners will of course have saved the\nsituation ; but then they could long ago have\ngone to Mr. Pollock or \" The Mask \" and\nrendered the same service to Mr. PI ay fair\nor any Englishman with a fancy for toying.\nIt would then have been an all-British Show\n—Penny plain and twopence coloured.\nSomehow or other I like Russians very\ndittle nowadays.\nRUSSIANS: — YESTERDAY & TODAY.\nBEFORE they cut their Tzar to pieces and\nbegan troubling us all in every part of\n'Europe and Asia I found many an artist who\nwon my admiration : but it seems that you\ncannot be a Russian subject today and not\nserve the Soviets. Either as a spy or as a\npropagandist or as a plenipotentiary or as an\nambassador (and all four jobs seem to be rol-\nled into one nowadays), be you an artist or\nan impresario, a novelist or a clerk in a\nFrench or London firm, you've got to serve\nthe Soviet. Which I consider very right and\nproper. Wherever we are, if we are Italians,\nwe have to serve the Dace if we be En-\nglish, old John Bull. Right as rain, this.\nThat's why I don't like to see any Rus-\nsians whatever in England.\nEdward Edwardovitch may not really be\na Russian;—M. Diaghileff too: both may\nbe Czeco-Slovaks or Mussulmen, ....Heaven\nknows . I've lunched dozens of times with\nEdwardovitch, and I know also that I never\ndid once ask him pat \" are you an Irishman\nor what are you? \" I let it slide. He looked\nlike a Middlesex man if you know what I\nmean,—a good old London town man.\nThat M. Diaghileff would ever condes-\ncend to be aware of the existence of the\nSoviet is very doubtful;—for is he not the very\naristocrat of impresarios ? — Can you beat it ?\nAs an impresario no one is a greater\nartist :; and a kindly being is M. Diaghileff,\nthat is certain.\nSo my theory falls to the ground—for no\none so kindly or such an artist in \" shows \"\ncould possibly serve anyone but a Prince.\nFor all this there lingers a far off faint\nsound of theatrical thunder. in mine ears—\nsomething ominous—horrid.\nIt warns me somehow or other,—1 cannot\nescape the almost imperceptible rumble I\nhear afar off. It does not seem to say\n\" Take care, this man is a dangerous politi-\ncal agent \" for I know that were impossible :\nit says \" he is a friendly agent \". That's worse.\nHe brings to England the very goods\nthat England already possesses: he comes to\nour shores bringing his Ballets and our ideas;\nhis Ballerinas and his Ballerinos. They settle\nin our land : they show us that we do not\nknow how to dance or produce Ballets, nor how\nto be showmen. The whole troupe is loveable\nand charming—and laughs at us, I suppose.\nYes, I have heard M. Diaghileff laugh-\ning at us. He does it charmingly and we\nhardly deserve such an honour. So we all\ngather round him and assist. We take him\nto Pollock's shop and there he registers ' sur-\nprise ' for us : we are entranced by that;—\nhe twiddles his little finger and round /we go.\nDelirium—Amalgamated—actually English\n—Delirium.\nMeantime, what about an English Bal-\nlet ? what about it ?\nA SUGGESTION.\nBUT there again, what about English Jour-\nnalism — what of English Theatre — En-\nglish prose — English verse — English men ?\nI heard an outrageous suggestion made\nlast week, by a true Englishman, and he\nsaid he'd wipe three quarters of Fleet Street\nout of existence, three fourths of the theatres,\nthe verse-writers, prose-writers and the rest\n— and when asked why, he said that by\ndoing so he would only be exterminating the\ndamn foreigner who is being allowed to spoil\neverything in London — and that means\nEngland.\nOne has to repeat these things when one\nhears them — they sound so awfully near the\nmark — But are they ?\n\nJ. B."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c033", "article_bluemountain": "bmtnaau_1927-01_01#c033", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "32", "page_fin": "33", "image_debut": 44, "image_fin": 45, "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=bmtnaau192701-01.2.21", "titre_corps": "THEATRE TALKS : AND A LITTLE BACK CHAT", "titre_sommaire": "THEATRE TALKS : AND A LITTLE BACK CHAT", "signature_source": "MR. GORDON CRAIG", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 44, "page_imprimee": "32", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.44", "debut_caractere": 0, "fin_caractere_exclue": 5468, "texte": "THEATRE TALKS\nAND A LITTLE BACK CHAT\nBY MR. GORDON CRAIG.\n\nE. G. C.\nD ear Semar:\nA series of interesting \" Theatre Talks \"\nis appearing in the \" Glasgow News by\nsome writer unknown, for he does not sign his\narticles.\nThe fifteenth Talk Was about me. It ap-\npeared in the number dated July last,\nand this talk back at the Writer Was printed\nin the A ugust 20th issue.\nI think y°u maycare ques-\ntions which the \" Glasgow News put to\nme, and my answers,for The Mask \" so\nhere they are : —\n\nFROM THE \" GLASGOW NEWS\nIN the fifteenth of this series of talks I de~\n1 voted the subject to a consideration—mostly\nby queries, it must be confessed—of Mr Gor-\ndon Craig, whom Bernard Shaw, the saoe\noi the day, has described as \"the most fa-\nmous theatre man in Europe Mr, Craig, from\nhis exile in Italy, has replied to some of these\nquestions, and I give his letter in full this\nweek, the only alteration made being the in-\ntroduction of headings for your easier rea-\nding and the column's better appearance. He\nwrites:\nGENGVA, 7th August, 1926.\nSIR,—I see that a series of 44 Theatre Talks \"is ap-\npearing regularly in your pages, and that one of these\n44 Theatre Talks \" was about me.\nIt appeared in your issue of July 16th, and I pro-\npose, with your permission, to talk back at the writer,\nand th's is all the more easy since he talks so well, and\nit is not to quarrel with him that I open my mouth.\nHe says that he feels sure that a number of people\nmust find me difficult to understand ; and ihat he is among\nthe number. If he did not admit this, I should be in-\nclined to think that he understood me very well.\nHe asks six questions :—\n1. Where am I bound for?\n2. What do I want?\n3. Will I define the road which the theatre must take\nto rehabilitate itself?\n4. Will I retrace my steps to act as a guide to others ?\n5. Will I not come down to earth ?\n6. Will I not cease being an angel ?\nLet me take these questions and reply to them in\nprecisely the reverse order.\nI am not an angel and I rather dread the voices of\nangels because they are so stern. Do you remember this\npassage of William Blake's :—\n14 The angel that presided o'er my birth\nSaid, 4 Little creature, formed of joy and mirth.\nGo, love without the help of anything on earth ' \" ?\n\nTHE CAT UP THE TREE\nOn. can go along and do nothing possibly without\nthe help of anything—but to go along and love and\nachieve things and not hate is something of an achieve-\nment : and it is rather too much for an angel to ask of\nan infant in this odd world.\nBlake- at 49 adds these words —\nGrown old in love from seven to seven times seven.\nI oft have wished for hell for ease from heaven\nPerhaps you will say, Sir, that I should not call on\none so vague as Blake is to help explain anything, but\nsurely Blake cannot now be difficult to understand for a\nstatue is being put up to him this year, and he dead this\nninety-nine year.\nNo, we artists are never angels. We are much more like\nordinary cats. If we are not on earth, we are not in\nheaven, we are simply up in a tree, and some instinct,\nand really I do not know what it is, some instinct tells\nus to reject al! the 44 pussy, pussy \" to come down.\n\" Will I not come down to earth ? \" asks your good\ncritic, and he by no means waiting with a lasso at the\nbottom of the tree, I am sure. But he asks like all the\nothers, will I not come down.\nAnd that leads me to the third question. I am to\ncome down so as to retrace my steps for the guidance of\nothers. Logically thinking, that would land us all back\nagain in the tree. But I think I know what your critic\nmeans. He means will I give a lead to these who\nwould follow me, and instead of going on further, come\nback a bit and show them step by step the way I\nhave come.\n\no DISCIPLINE IN THE THEATRE o\nFor in another question he says clearly 44 to define\nihe road which the theatre must take to rehabilitate itself\nThat is the fourth question. My own experience is that\nthe road we must take is an excessively hard one, but I\ndo not mind adding that it is perhaps only a hard one at\npresent. I whom you consider something of a pioneer, I\nand the other pioneers are agreed that the road is exces-\nsively hard for anyone to start out on it merely for the\nlove of the theatre, so that should I take the first step to\nretrace the road, you would not find it possible to fol-\nlow me, unless I could make it rather more comfortable\nfor you than it is at present. I should define the road as\nbeing a mass of boulders all the way when it was not a\nquagmire, and to go on foot without the help of any-\nthing on earth is not what I should wish for you. If\nI had half-a-dozen motor cars, a small army of engineers\nand their assistants, I should even then hesitate before\nasking you to come with us. The theatre to rehabilitate\nitself must be disciplined as it has never yet been discipli-\nned. But the experience of thirty years has rendered\nme sufficiently aware of what you may ask a man\nto do and what you may not. What you may not\ndo is to pile a mountain on his shoulders and tell\nhim to stand up straight. You cannot tie him up from\nhead to foot, and then say 44 Move on, there ! ,f You\ncannot gag him and say. 44 Sir, you are perfectly free to\nexpress an opinion In short, for the theatre to rehabi-\nlitate itself the men, while they must be disciplined, must\nbe free, and must be supported at least to the same\nextent that you support an expedition that you send out.\nI suppose, though 1 am sure I cannot say for certain, buf"}, {"page_pdf": 45, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 5157, "texte": "I suppose there are not very many men in the theatre\nwho would be prepared to put themselves under discipline\n. . . . they would be far more content to have the sup-\nport, the good salaries, the jolly Club, and do without\nthe discipline, and leave the theatre to rehabilitate itself as\nbest it may, which brings us to the next question—\" What\ndo I want I\n\nMR COOK'S METHOD\nAnd I assure you that what I want is to find such\nmen who will follow me when I am sufficiently well sup-\nported so that I can retrace the steps for your guidance.\nWhat I do not want is to come to such men with\nempty hands.\nPeople are apt to mistake men who are patient.\nIf for 20 years a man asks for support in order that\nhe may retrace an old path that he has discovered with\na handful of companions, and if he does not get it, and\nsmiles on and is patient, people are apt to misunderstand.\nIf, like Mr Cook, he gives them a kick, it is extraordinary\nhow quickly they comprehend. Now, though I have a\ncertain admiration for Mr Cook, I have not got it in\nmyself to use his methods. The simple sentiment that is\nin Mr Cook seems to me to be this:— He hates to see\nfellows without the means to move forward, and this is\nwhat I hate .... But then I hate equally well asking\npolitely for the means more than eight times, and so\nperhaps I appear to have a kind of divine patience, which,\nbelieve me, is not as divine as it may appear.\n\nARTISTS IN\nGORDON CRAIG.\nAgain liken me rather to the cat which sits on the\nbranch at night and waits for the mouse—nothing divine\nabout that—and to sum up—you see that is what I\nwant.,., the mouse!\nThe final question is, \" Where am I bound for?\"\nBelieve me, I do not irtend to budge, but when I have\nthe mouse in my mouth I will bring him to you, as that\nfabulous cat did to his master in the old fable. It was\nno mouse, as you well remember, that the Cat in Boots\nbrought to his master. It was a conglomeration of giant\nwho had been the curse of the nation for a very long\ntime. So if there is one among you who can tell me\nhow I can transform the theatrical Giant into something\nmy own size, I'll pounce.\nPerhaps this is being a little too jocular about a grave\nsubject, but what would you ? the long nights seated upon\nthe bough, with the wind blowing and the owls squeak-\ning in the thicket, are not conducive to taking one's off\nhours too seriously.\nIf one did, one would be discovering that there are no\ngreat men in the world, or that Germany is better to its\nartists than is England. Faithfully,\n\nShortage of space prevents a full consideration of\nMr Craig's letter, but it will be noticed that before he\ncan attack his problem he requires, first, financial back-\ning, and, secondly, the actors who will submit to his dis-\ncipline. Until he has these it is probably superfluous to\nexpect him to reply to the point which puzzles most—is\nhis vision of the marionette theatre one of the ultimate\ndesire, or does he consider it as only a stage in the edu-\ncation of the actor?\n\nAN ADDITION AL WORD.\nE. G. C.\nSO ends \"Theatre Talk\" No. 15 in the \" Glasgow\nNews \". Mr. Craig adds the following Note in reply\nto the last query :\n\" Nor you nor I will live to see whether \" the\nActor and the Uhermarionette\" is destined to affect\nthe actor at all. (0 It seems only to have offended the En-\nglish actor, though foreign actors, strange to say, can read\nit, and without getting huffy.\nI would propose that all the adverse critics of my\nsuggestion should read two books on the Theatre of\nJapan :\n1. KABUKI, the Popular Stage of Japan, by Zoe\nKincaid (Macmillan) 1925.\n2. MASTERPIECES OF CHIKAMATSU, the\nJapanese Shakespeare, by Asataro Miyamori (Kegan Paul,\nTrench) 1920.\nHaving read the former my antagonists will be bowled\nover ; on reading the latter they will come and beg my\npardon. Or tfiey are dishonest men one and all, ie, they\nhave no sense of humour left.\nFor in the first book it shows.... or ... not.... but 1\nwrote about this book in the last volume of\n\"The Mask\", page 105. If my critics will read chapter\nXVI, Page 144 to 152, they will understand that my\n\" vision \" as my good friend in the \" Glasgow News \"\ncalls it, is not quite as vague and impractical as it may\nseem, for the marionnette not only ruled the stsge in Japan\nfor a hundred years but gave the actors a rebirth to\ntheir craft.\nIn the second book, if my critics will read its Intro-\nduction, they will find that had it not been for the\nmarionnette stage of Japan, the Japanese Shakespeare Chi-\nkamatsu would not have written his hundred and four\nmasterpieces.\nAre we to run the risk of never having the hundred\nand four masterpieces of the English Chikamatsu just be-\ncause some actors are lazy ? Are we to weaken the Li-\nterature of the world when it could grow mightier ? Are\nwe going to reject a humble servant like the marionnette,\nwho lives without pride or egoism, lives silently and dies\nwhen you will—that is to say, when his work is done,\nsteps back willingly till next he is wanted.\n(i) It appeared first in \" The Mask\" 1908; was reprin-\nted in \"On the Art of the Theatre \" (Heinemann) in 191!,\nand is in the latest edition of 1925 issued by the same pub-\nlishers."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c035", "article_bluemountain": "bmtnaau_1927-01_01#c035", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "32", "page_fin": "32", "image_debut": 44, "image_fin": 44, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.2.21.2", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "E. G. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 44, "page_imprimee": "32", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.44", "debut_caractere": 59, "fin_caractere_exclue": 485, "texte": "E. G. C.\nD ear Semar:\nA series of interesting \" Theatre Talks \"\nis appearing in the \" Glasgow News by\nsome writer unknown, for he does not sign his\narticles.\nThe fifteenth Talk Was about me. It ap-\npeared in the number dated July last,\nand this talk back at the Writer Was printed\nin the A ugust 20th issue.\nI think y°u maycare ques-\ntions which the \" Glasgow News put to\nme, and my answers,for The Mask \" so\nhere they are : —"}]}, {"article_id": "bm-bmtnaau-1927-01-01-c036", "article_bluemountain": "bmtnaau_1927-01_01#c036", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "32", "page_fin": "32", "image_debut": 44, "image_fin": 44, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.2.21.3", "titre_corps": "FROM THE \"GLASGOW NEWS\"", "titre_sommaire": "FROM THE \"GLASGOW NEWS\"", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 44, "page_imprimee": "32", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.44", "debut_caractere": 487, "fin_caractere_exclue": 2240, "texte": "FROM THE \" GLASGOW NEWS\nIN the fifteenth of this series of talks I de~\n1 voted the subject to a consideration—mostly\nby queries, it must be confessed—of Mr Gor-\ndon Craig, whom Bernard Shaw, the saoe\noi the day, has described as \"the most fa-\nmous theatre man in Europe Mr, Craig, from\nhis exile in Italy, has replied to some of these\nquestions, and I give his letter in full this\nweek, the only alteration made being the in-\ntroduction of headings for your easier rea-\nding and the column's better appearance. He\nwrites:\nGENGVA, 7th August, 1926.\nSIR,—I see that a series of 44 Theatre Talks \"is ap-\npearing regularly in your pages, and that one of these\n44 Theatre Talks \" was about me.\nIt appeared in your issue of July 16th, and I pro-\npose, with your permission, to talk back at the writer,\nand th's is all the more easy since he talks so well, and\nit is not to quarrel with him that I open my mouth.\nHe says that he feels sure that a number of people\nmust find me difficult to understand ; and ihat he is among\nthe number. If he did not admit this, I should be in-\nclined to think that he understood me very well.\nHe asks six questions :—\n1. Where am I bound for?\n2. What do I want?\n3. Will I define the road which the theatre must take\nto rehabilitate itself?\n4. Will I retrace my steps to act as a guide to others ?\n5. Will I not come down to earth ?\n6. Will I not cease being an angel ?\nLet me take these questions and reply to them in\nprecisely the reverse order.\nI am not an angel and I rather dread the voices of\nangels because they are so stern. Do you remember this\npassage of William Blake's :—\n14 The angel that presided o'er my birth\nSaid, 4 Little creature, formed of joy and mirth.\nGo, love without the help of anything on earth ' \" ?"}]}, {"article_id": "bm-bmtnaau-1927-01-01-c037", "article_bluemountain": "bmtnaau_1927-01_01#c037", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "32", "page_fin": "32", "image_debut": 44, "image_fin": 44, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.2.21.4", "titre_corps": "THE CAT UP THE TREE", "titre_sommaire": "THE CAT UP THE TREE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 44, "page_imprimee": "32", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.44", "debut_caractere": 2242, "fin_caractere_exclue": 3716, "texte": "THE CAT UP THE TREE\nOn. can go along and do nothing possibly without\nthe help of anything—but to go along and love and\nachieve things and not hate is something of an achieve-\nment : and it is rather too much for an angel to ask of\nan infant in this odd world.\nBlake- at 49 adds these words —\nGrown old in love from seven to seven times seven.\nI oft have wished for hell for ease from heaven\nPerhaps you will say, Sir, that I should not call on\none so vague as Blake is to help explain anything, but\nsurely Blake cannot now be difficult to understand for a\nstatue is being put up to him this year, and he dead this\nninety-nine year.\nNo, we artists are never angels. We are much more like\nordinary cats. If we are not on earth, we are not in\nheaven, we are simply up in a tree, and some instinct,\nand really I do not know what it is, some instinct tells\nus to reject al! the 44 pussy, pussy \" to come down.\n\" Will I not come down to earth ? \" asks your good\ncritic, and he by no means waiting with a lasso at the\nbottom of the tree, I am sure. But he asks like all the\nothers, will I not come down.\nAnd that leads me to the third question. I am to\ncome down so as to retrace my steps for the guidance of\nothers. Logically thinking, that would land us all back\nagain in the tree. But I think I know what your critic\nmeans. He means will I give a lead to these who\nwould follow me, and instead of going on further, come\nback a bit and show them step by step the way I\nhave come."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c038", "article_bluemountain": "bmtnaau_1927-01_01#c038", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "32", "page_fin": "33", "image_debut": 44, "image_fin": 45, "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=bmtnaau192701-01.2.21.5", "titre_corps": "DISCIPLINE IN THE THEATRE", "titre_sommaire": "DISCIPLINE 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": 44, "page_imprimee": "32", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.44", "debut_caractere": 3718, "fin_caractere_exclue": 5468, "texte": "o DISCIPLINE IN THE THEATRE o\nFor in another question he says clearly 44 to define\nihe road which the theatre must take to rehabilitate itself\nThat is the fourth question. My own experience is that\nthe road we must take is an excessively hard one, but I\ndo not mind adding that it is perhaps only a hard one at\npresent. I whom you consider something of a pioneer, I\nand the other pioneers are agreed that the road is exces-\nsively hard for anyone to start out on it merely for the\nlove of the theatre, so that should I take the first step to\nretrace the road, you would not find it possible to fol-\nlow me, unless I could make it rather more comfortable\nfor you than it is at present. I should define the road as\nbeing a mass of boulders all the way when it was not a\nquagmire, and to go on foot without the help of any-\nthing on earth is not what I should wish for you. If\nI had half-a-dozen motor cars, a small army of engineers\nand their assistants, I should even then hesitate before\nasking you to come with us. The theatre to rehabilitate\nitself must be disciplined as it has never yet been discipli-\nned. But the experience of thirty years has rendered\nme sufficiently aware of what you may ask a man\nto do and what you may not. What you may not\ndo is to pile a mountain on his shoulders and tell\nhim to stand up straight. You cannot tie him up from\nhead to foot, and then say 44 Move on, there ! ,f You\ncannot gag him and say. 44 Sir, you are perfectly free to\nexpress an opinion In short, for the theatre to rehabi-\nlitate itself the men, while they must be disciplined, must\nbe free, and must be supported at least to the same\nextent that you support an expedition that you send out.\nI suppose, though 1 am sure I cannot say for certain, buf"}, {"page_pdf": 45, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 354, "texte": "I suppose there are not very many men in the theatre\nwho would be prepared to put themselves under discipline\n. . . . they would be far more content to have the sup-\nport, the good salaries, the jolly Club, and do without\nthe discipline, and leave the theatre to rehabilitate itself as\nbest it may, which brings us to the next question—\" What\ndo I want I"}]}, {"article_id": "bm-bmtnaau-1927-01-01-c039", "article_bluemountain": "bmtnaau_1927-01_01#c039", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "33", "page_fin": "33", "image_debut": 45, "image_fin": 45, "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=bmtnaau192701-01.2.21.6", "titre_corps": "MR COOK'S METHOD", "titre_sommaire": "MR COOK'S METHOD", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.45", "debut_caractere": 356, "fin_caractere_exclue": 1404, "texte": "MR COOK'S METHOD\nAnd I assure you that what I want is to find such\nmen who will follow me when I am sufficiently well sup-\nported so that I can retrace the steps for your guidance.\nWhat I do not want is to come to such men with\nempty hands.\nPeople are apt to mistake men who are patient.\nIf for 20 years a man asks for support in order that\nhe may retrace an old path that he has discovered with\na handful of companions, and if he does not get it, and\nsmiles on and is patient, people are apt to misunderstand.\nIf, like Mr Cook, he gives them a kick, it is extraordinary\nhow quickly they comprehend. Now, though I have a\ncertain admiration for Mr Cook, I have not got it in\nmyself to use his methods. The simple sentiment that is\nin Mr Cook seems to me to be this:— He hates to see\nfellows without the means to move forward, and this is\nwhat I hate .... But then I hate equally well asking\npolitely for the means more than eight times, and so\nperhaps I appear to have a kind of divine patience, which,\nbelieve me, is not as divine as it may appear."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c040", "article_bluemountain": "bmtnaau_1927-01_01#c040", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "33", "page_fin": "33", "image_debut": 45, "image_fin": 45, "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=bmtnaau192701-01.2.21.7", "titre_corps": "ARTISTS IN ENGLAND", "titre_sommaire": "ARTISTS IN ENGLAND", "signature_source": "GORDON CRAIG", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.45", "debut_caractere": 1406, "fin_caractere_exclue": 2510, "texte": "ARTISTS IN\nGORDON CRAIG.\nAgain liken me rather to the cat which sits on the\nbranch at night and waits for the mouse—nothing divine\nabout that—and to sum up—you see that is what I\nwant.,., the mouse!\nThe final question is, \" Where am I bound for?\"\nBelieve me, I do not irtend to budge, but when I have\nthe mouse in my mouth I will bring him to you, as that\nfabulous cat did to his master in the old fable. It was\nno mouse, as you well remember, that the Cat in Boots\nbrought to his master. It was a conglomeration of giant\nwho had been the curse of the nation for a very long\ntime. So if there is one among you who can tell me\nhow I can transform the theatrical Giant into something\nmy own size, I'll pounce.\nPerhaps this is being a little too jocular about a grave\nsubject, but what would you ? the long nights seated upon\nthe bough, with the wind blowing and the owls squeak-\ning in the thicket, are not conducive to taking one's off\nhours too seriously.\nIf one did, one would be discovering that there are no\ngreat men in the world, or that Germany is better to its\nartists than is England. Faithfully,"}]}, {"article_id": "bm-bmtnaau-1927-01-01-c041", "article_bluemountain": "bmtnaau_1927-01_01#c041", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "33", "page_fin": "33", "image_debut": 45, "image_fin": 45, "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=bmtnaau192701-01.2.21.8", "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": 45, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.45", "debut_caractere": 2512, "fin_caractere_exclue": 2987, "texte": "Shortage of space prevents a full consideration of\nMr Craig's letter, but it will be noticed that before he\ncan attack his problem he requires, first, financial back-\ning, and, secondly, the actors who will submit to his dis-\ncipline. Until he has these it is probably superfluous to\nexpect him to reply to the point which puzzles most—is\nhis vision of the marionette theatre one of the ultimate\ndesire, or does he consider it as only a stage in the edu-\ncation of the actor?"}]}, {"article_id": "bm-bmtnaau-1927-01-01-c042", "article_bluemountain": "bmtnaau_1927-01_01#c042", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "33", "page_fin": "33", "image_debut": 45, "image_fin": 45, "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=bmtnaau192701-01.2.21.9", "titre_corps": "AN ADDITIONAL WORD", "titre_sommaire": "AN ADDITIONAL WORD", "signature_source": "E. G. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.45", "debut_caractere": 2989, "fin_caractere_exclue": 5157, "texte": "AN ADDITION AL WORD.\nE. G. C.\nSO ends \"Theatre Talk\" No. 15 in the \" Glasgow\nNews \". Mr. Craig adds the following Note in reply\nto the last query :\n\" Nor you nor I will live to see whether \" the\nActor and the Uhermarionette\" is destined to affect\nthe actor at all. (0 It seems only to have offended the En-\nglish actor, though foreign actors, strange to say, can read\nit, and without getting huffy.\nI would propose that all the adverse critics of my\nsuggestion should read two books on the Theatre of\nJapan :\n1. KABUKI, the Popular Stage of Japan, by Zoe\nKincaid (Macmillan) 1925.\n2. MASTERPIECES OF CHIKAMATSU, the\nJapanese Shakespeare, by Asataro Miyamori (Kegan Paul,\nTrench) 1920.\nHaving read the former my antagonists will be bowled\nover ; on reading the latter they will come and beg my\npardon. Or tfiey are dishonest men one and all, ie, they\nhave no sense of humour left.\nFor in the first book it shows.... or ... not.... but 1\nwrote about this book in the last volume of\n\"The Mask\", page 105. If my critics will read chapter\nXVI, Page 144 to 152, they will understand that my\n\" vision \" as my good friend in the \" Glasgow News \"\ncalls it, is not quite as vague and impractical as it may\nseem, for the marionnette not only ruled the stsge in Japan\nfor a hundred years but gave the actors a rebirth to\ntheir craft.\nIn the second book, if my critics will read its Intro-\nduction, they will find that had it not been for the\nmarionnette stage of Japan, the Japanese Shakespeare Chi-\nkamatsu would not have written his hundred and four\nmasterpieces.\nAre we to run the risk of never having the hundred\nand four masterpieces of the English Chikamatsu just be-\ncause some actors are lazy ? Are we to weaken the Li-\nterature of the world when it could grow mightier ? Are\nwe going to reject a humble servant like the marionnette,\nwho lives without pride or egoism, lives silently and dies\nwhen you will—that is to say, when his work is done,\nsteps back willingly till next he is wanted.\n(i) It appeared first in \" The Mask\" 1908; was reprin-\nted in \"On the Art of the Theatre \" (Heinemann) in 191!,\nand is in the latest edition of 1925 issued by the same pub-\nlishers."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c043", "article_bluemountain": "bmtnaau_1927-01_01#c043", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "34", "page_fin": "37", "image_debut": 46, "image_fin": 49, "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=bmtnaau192701-01.2.22", "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": 46, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.46", "debut_caractere": 37, "fin_caractere_exclue": 6175, "texte": "BOOK REVIEWS.\n\nA CHAPTER IN THE EARLY\nLIFE OF SHAKESPEARE by Ar-\nthur Gray M. A. : Cambridge Univer-\nsity Press. 7/6 net.\nABOUT SHAKESPEARE AND\nHIS PLAYS by G. F.' Bradby.\nOxford University Press. 2J6 net.\nI like the notion well. And the notion\nis that Shakespeare was very rarely\nat Stratford — did not live there twenty-\none years as supposed, and that all\nthis concentration of the glad senti-\nmental eye on Stratford might with\nadvantage calm down a little. The\nnotion is that, since he never once\nreferred to Stratford in his plays and\ndoes refer to many another place, it\nis as likely as not that signs of him\nmay be found more easily in the pretty\ntowns of Polesvvorth, Wincote, Barston\nand Daventry than in the town where\nall the fuss goes on and where the late\nMarie Corelli had a charming house.\nDr Gray's suggestion is full of relief\n— even if he be not easy to read.\n44 Of Stratford, where Shakespeare\nis supposed to have passed the first\ntwenty-five years, or so, of his life\nsomething is unavoidable to say \".\nI'm quite of your opinion, Doctor, only\nyour sentence puzzled me and I was\nfain to read it three times over.\nFour times I went at the next, which\nruns thus: 44 the fruit that he had\nnoted in spring blossoming and watched\nin dreaming summer he gathered for\nuse on the mellowing of occasion\nBlossoming spring, dreaming summer,\nmellowing occasion — what three lovely\nseasons. I have read the passage twice\nmore — that make six —.\nThe author refers to Shakespeare as\n44 the greatest Englishman \". I should\nhave thought Cromwell greater — or\nHenry V or Henry VIII.\n44 The greatest poet \" would have\ndone for Shakespeare, I think ; a very\nmodest man at heart, who can doubt,\nwith no notions of ever competing for\nnotoriety as a great man with the\nNobel Prizemen of our days. Organi-\nzation and propaganda in those back-\nward days were not troubled about\nas they are today. Shakespeare gave\naway his genius to Burbage and his\nPlayhouse : today a highly reprehensible\nthing to do. Today we are told to\nsecure a percentage on eveiy line —\nto get the Cinema rights fixed up; 44 ye\nlyfe so shorte ye crafte so longe to\nlearne \" ; — pin that up over ye man-\ntleshelf designed by William Morris ;\nsyndicate every bit of nonsense you\nturn out even if it's \" Come away come\naway death \" ; there's pots of money\nin a thing like that; that's what our\nmodern practical man would have taught\nhis Shakespeare, could he have caught\nhim : — 44 William, you're to be one\nof us you know — you're to have a\nslap at the Philistine too — yes — you\nshall win through yet — you and Gran-\nville Barker are made to win through\n— you too like Barker don't you,\nwhat ? — you don't... well, you will,\nand he'll soon learn you how to rake\nin the dollars \".\nREADING Mr. Bradby's little book\nof 92 pages written so clearly that\nyou read it without effort, without\nexcitement or pause, you become cu-\nriously convinced of the actual existence\nof Shakespeare....\nHe shows you the poet and the man\nof the world, and very little of the man\nof the Theatre. This is as possible\nwith Shakespeare as it would be im-\npossible with Moliere had\nhis own playhouse — so sensible: and\nas a theatre-man stood and\nstill stands his ground. Moli£re was\nso much more fortunate in his choice\nof a city. So much cleverer too in\nhis decision to be the director as well\nas the poet-dramatist of his troupe. It\nwas an essential which Shakespeare was\ncheated of. You may say as Burbage\ndoubtless did say, that Shakespeare was\nnot practical enough to be a director.\nMo!i£re was net practical in that sense\neither. Both being essentially men of\nthe world, it stands to reason that both\nwere well fitted to be directors of\nNational Theatres. became\none and Shakespeare did not: — and\nso in 1611 he retires, having had enouglk\nof playing a second fiddie to duffers*.\nAnd he remained curiously untheatre-like.\nto the end. How often Burbage had:\nto go round to his lodgings and remon*\nstrate with him we shall never know..\nTo Burbage Shakespeare was far too.\nmuch of the Poet. would be:\nable to tell you why and able to sym-\npathize with both of them. He wou\nI think, have sided with Burbage, but\nhe would have walked for hours with\nShakespeare telling him how to become\ndirector, to succeed properly.\nStill, the conditions of the English\nstage seem to have prevented that; —\nthe fixed position of Burbage as di-\nrector seems to have settled the matter.\nAnd, added to that, Shakespeare valued\nhis dreams. 44 Why 44 grunt and sweat\"\nunder this dog's life down at the new\nTheatre ? — I' ve written their plays\nand patched up the stuff sent in by that\nold wiseacre Bacon and the worse stuff\nbought up by Burbage from God knows\nwho, and altogether they can reckon\non sixteen presentable plays mostly\nfuftny \".\n44 I could do it because Burbage:\nwas ihere to listen to and argue with\nthe duffers — and now I've grown so\ndeft doing things that way — taking\nsomething and making something roorg\nof it, that if I were now to become\nentirely original — and I'd have to be if\nI became director-playwiight — I should\nbe lost. Best have one foot on land and\none on sea and be constant to neither\n— at least best for me and everyone\ni *•\nelse .\nSo when in 1600 Burbage started\na new Theatre Shakespeare was in the\nbusiness, a share-holder and the writer\nof the plays. — But that was all. As\nanyone of thirty-six years of age knows,\nwho is working in a theatre, and has\nthe brains, genius, wit and devil of a\nman like Shakespeare or Moli&re, who\nacts and can create scenes such as they\ncreated, to be forced to spoil the whole\nthing because some Burbage or some\nLa Grange is possibly right, is all\nwrong.\nGreat men of course do not exist,\nnever have existed — that is clear,\nespecially to great men — but there1\nare grades. I may be an\ngood carpenter — a second Chippendak\n— but because 1 can fit eight hundr4\nseats into the space into which you caii\nonly squeeze six hundred, it does ncj\nfollow that I, being so deuced practic$\nwith wood, am entitled to become\ndirector of the English Drama.\nBurbage felt he was fitted to that\ntask, and who would quarrel with a\nBritish carpenter. Not Shakespeare"}, {"page_pdf": 47, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 6687, "texte": "But as he wouldn't quarrel with him\nhe put on airs. Alas, to the great\nloss of the British stage. He became\nsnore and more impossible to Burbage.\nHe wrote as he jolly well wanted to,\ninstead of paying attention to chairs,\ndoors, exits, and the other harmless\nnecessary cats of the menagerie.\nHe agrees with Burbage to stay out\nif the playhouse : he didn't even trouble\nto say \" but I shall write just as I\nfancy Poor Burbage, he's in for\nit now.\n\" Julius Caesar \" arrives at the Globe,\na beautiful poem in one scene. Bur-\nbage probably chopped it all up and,\nafter days and nights of agony, made\na serviceable chair out of it* Shakes-\npeare, probably, never saw a single per-\nformance. He was now at work on\nanother poem to be called by Burbage\nHamlet He sends over \" Twelfth\nNight by a messenger to \" Mr. Rich.\nBurbage, The Globe \" Am I to\nwait for an answer, Sir ? \" asks the\nmessenger. \" No \" says Shakespeare,\n\" just ask for a receipt \", and he turns\nto \" Hamlet \" again — that profound\npoem ; then to \" Lear \" and to \" Mac-\nbeth \" and others. He has forgotten\nthe damned theatre.\nBut what an awful pity. He keeps\n•his up until 1611, and then off. to\nWarwickshire — never again to write\nplays or see a playhouse — in fact in\n1612 public performances of plays are\nforbidden at Stratford by a resolution\npassed by the town council —- and I\nbelieve Shakespeare had a hand in\nthat. To escape Burbage and fall into\nthe hands of some local amateurs —\nheaven forbid.\nThese things that I have said are\nas likely as not to have been as 1 say,\nand Mr. Brad by's book caused me to\nsee how likely they were.\nOnly on one point do I differ from\nMr. Bradby ; — I allude to the reason\nunderlying Shakespeare's bequest to his\nwife Anne of \" his second best bed \".\nMr. Bradby discovers in this act\nsome unkindness; it cannot possibly\nbe regarded as a mark of warm affec-\nction \". No, that is true : or rather\nwould be true if Shakespeare had\nan eccentric Londoner of 1926.\nBut he was such an ordinary man of the\nworld, this poet. He had such an\nordinary reason for leaving his wife\nthe bad bed. It was because she liked\nit. For years she had slept well in it\n— he had some six or seven beds in\nthe house — he had what he consi-\ndered the best bed, and what he con-\nsidered the second best she had taken\na fancy to. There are several reasons\nto account for Mrs. Shakespeare's fancy.\nThe first is that the bed was her size\n— the second she found it more com-\nfortable — the third is she liked the\npattern carved on the end of it — the\nfourth is it filtrd her room — the fifth\nis she could sell the best bed and get\na new table and six chairs and Shake-\nspeare hoped she would do that —\nthe sixth is that people didn't collect\nthe beds of famous men in those days\n— and the seventh is she wanted Will\nto have the very best: and the last is\nthat it wasn't really the best at all.\nGoodnight to them.\n\nTHE SCIENCE OF PL AY WRIT-\nING by M. L. Malevinsky. Bren-\ntano. New York. $5.00.\nA handsome volume—a heavy one\nand well printed, — explaining\nexactly what a play is, if you leave\nMoli&e's plays out of the question.\nAnd as his plays are seldom seen\nor read it#is as well to leave them\nwhere they are, and, by speaking of less\nperfect things, of modern plays, to en-\nlighten—slowly enlighten—a few, so\nthat they in time come to blaze like\nany halfpenny dip. Whoever is eager to\ndish up a play should get this book,\nfor it is the very Mrs. Beaton of the\nDrama.\nTake care; — follow the author's di-\nrections exactly—do not allow your-\nself any liberties ; and you may easily\nconstruct a play which will attract\nthat huge public which loves its cross-\nword puzzles .... and who today does\nnot adore these ?\nThe ingredients are nine, says our\nauthor.\nWhat these nine are you must find\nout by getting the book—remembering\nthat even after you have Robin Hood's\nbow in your hands, something of the\nart still lies in being able to draw it.\n\nTHE ROMANCE OF THE AME-\nRICAN THEATRE by Mary G>\nroline Crawford. Little Brown & Co.\nBoston. 1925. $4 net.\nABOUT a dozen years ago, when\nthe first edition of Miss Craw-\nford's work appeared, there existed no\ncomplete History of the American\nTheatre. Then Mr. Arthur Hornblow\ncame along and in 1919 produced his\ntwo well known volumes. Mr. Horn-\nblow is indebted to Miss Crawford,\nand this lady in her new edition of\nher old book gives herself the plea-\nsure of thanking Mr, Hornblow for\nhis work.\nHers is a charming volume; admi-\nrably put together and well illustrated;\nfull of the facts we want to know ;\nwell stated. These facts she even\nmakes p]easant reading.... an almost\nimpossible task.\nShe is properly all American, and\nhails as American things which have\nnot been created by America. She\nis forced, it seems, sometimes, to say\ntoo little about some of the things which\nreally are quite American.\nMiss Crawford claims that America\nis now the heir of everything;—her\nlast words are : \"so the American\nTheatre presents today, as never be-\nfore, an open door of opportunity to\nmembers of every race, every craft,\nevery creed and every calling to de-\npict and advance every cause \" ; which\nis bully for Miss Crawford, but is,\nI will not say unfortunately or fortuna-\ntely, but, by the nature of causes, creeds,\ncallings and races, not exactly the case.\nBut for those to whom romance is\nanything, this charming book is just the\nvery book if it's Theatre you want to\nbe romantic about. I do, so it's for me.\n\nANTOINE AND THE THEA-\nTRE LIBRE by Samuel Montefiore\nWaxman. Cambridge ; Harvard Uni-\nversity Press. Price 3 $.\nANTOINE is the great man in the\nFrench Theatre of today, and\nAntoine is writing articles for the\nnewspapers.\nThe Com£die Frangaise is still in\nthe same position where Louis the ar-\nchitect placed it in the year 1790, but*\nuntil Antoine is in the Comedie Fran-\ngaise as its Director, the theatre wiU\nremain empty. For his own sake, I\nwould not wish him there: for the\ntheatre's sake I am sure that I want\nhim to be there ; but for the sake of\nFrance, how can he not be there!\nThat is what I want to know.\nSuppose he were to produce Mo!i&re\nin a different way from that we are used\nto — could it fail to be interesting ?\nWould it wreck ? What would\nit do.... I mean, what harm ? Was\never so much fear as has been shown\nin this century in Paris and in London\nbefore the man of ability. The mo-\nment a man of ability is proposed\nfor a certain position, everyone's face\nregisters terror.\nYou, dear reader, may possibly have\nnoticed it yourself. I never failed to\nbe struck on arriving at Paris with this\ncurious fixed expression of terror on\nthe inhabitants of the gay city, and\nuntil now I never could quite discover\nwhy is was they looked so terrified ;"}, {"page_pdf": 48, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 7301, "texte": "but now I do know; and if ever any\nman took off his hat in grave and sig-\nnificant salutation to another, it is I\nat this moment who take off my hat\nto M. Andr£ Antoine.\nWhat is there to be said about this\nbook which Mr. Waxman has sent out\nfor the world to read ? In passing, one\nmay say that one hopes the world will\nread it. But it should not be necessary\nfor the whole world to read it so that\nFrance and Paris may benefit. Antoine,\nwho it would seem was born in 1858,\nshould be now 68 years of age. That\nis to say he should be now in his prime ;\nfor according to calculations of London\nand Paris a man is in his prime when\nhe is clcse upon seventy. Then he\nmay open his mouth to speak, for\ntiny know that by this time he is\npretty w ll tired of uttering a word,\nand that is the very man to be put\nin power at the Com6die Frangaise\nand reign silently at its head. He will\nsee the place and the people tumbling\nover each other, and smile on and say\nnothing. At least that is what everyone\nhopes, but I think, in M. Antoine's\ncase, we can disillusion them.\nI was present at a rehearsal for a\nnew play which he was directing and\nthat only a few years ago. Yes, I\nthink I can safely say the people will\nbs disillusioned. I never saw a man\nof sixty so terribly active, so fearfully\nalive ; not that he lost his temper at\nall, but he did not bring it with him\ninto the theatre. After one is sixty,\none is supposed to totter round a little,\nbut Antoine seemed to jump from the\nstage into the stalls, and from the stalls\non to the stage. I never saw such a\nman. I hid as well as I could so that\nhe should not see me, but he grew so\nexcited, and through this excitement\nseemed so to mould the actors 44 into\nsomething rich and strange \" that before\nlong 1 got up and crept out of the\ntheatre feeling that I was present at\nsome sort of private rite which was\ngoing on and which it was none of my\nbusiness to witness.\nI do not quite get that Antoine in\nthis book, but there are six or seven\nAntoines, and I get most of them here.\nHe is a dreamer; he is a practical\nman; he is a passionate man; he is an\nindifferent man ; he is a director who\ndoes not wish to be a profit sharer ;\nhe is a man who dislikes being a rich\nman: he is a man ready to praise\nevery thing that has anything praise-\nworthy in it, even if it be but a speck,\nand he praises these things whole-heart-\nedly. Yet he has judgment. It is customary\nto think of him as of a man profoundly\nconvinced of the importance of realism\nand the gloomy plays of low life. And\nI should imagine that he was nothing\nof the kind. I should say that every\ngood play was welcomed by Antoine.\nHe happened to light up Ibsen's\n44 Ghosts \" and Zola's plays, and the\nplays of the other gloomy gentlemen,\nbut then he also happened to throw\nlight upon the plays of Shakespeare\nand those of Moli£re; and it must\nhave been remarked that Moliere and\nShakespeare have stood by him very\nfaithfully.\nI do not know that so much can\nbe said for the living dramatists, thou2h\nof course they know better than I.\nBut what I do know is that a number\nof his pupils, his fellow actors, fell\naway from him, and I do not know\nthat I like that. After all what was\nMr. Gamier doing, and what Mr. Co-\npeau, these two followers of Antoine....\nwhat were they doing when they went\non preparing other theatricals on their\nown, sneaking past the master, elbow-\ning in ?\nIt seems to me that as Antoine had\nshown perfectly clearly what it was he\ncould do, and what it was he\nwould do,any Frenchmen worth their\nsalt who were acting with him, or great\nbelievers in him, should have made a\nlittle more effort to stand by and show\na little more of that old spirit, which\nlet us call by the new name of the\nFascist spirit. Fascism is not easy to\ndefine, but what is perfectly easy to\nsee is that the Fascisti are men who\nwork shoulder to shoulder, with mind\nto mind, and follow a leader. I do\nnot care a rap what can be said against\nthem when that can be said for them,\nfor I suppose that is the highest thing\nmen can do — so hard it is to follow\na leader, so hard it is to remain loyal\naltogether for one thing. That other\neasy game of each man thinking he is\nprivileged to be somebody, when he is\nnobody — that is what I cannot tole-\nrate for a moment. Nature will adjust\nall these things in time and so there\nis no need to bewail the situation as\nwe find it in certain lands where the\nold spirit of all for one, one for all,\nis forgotten. It is such a simple thing\nthat brings this chaos about. It is\nnothing else but the universal conceit of\nsmall men. In the old days when a\nman heard some legend of the prowess\nof this warrior, that artist, or yonder\nchurchman, or if he read something\nthat this man had done, or had writ-\nten, or if he saw some piece of their\nwork, he would probably be moved\nvery deeply. Let us admit that such\nmen today exist and are still moved\nvery deeply. The difference of the\ntwo is this. In the old days th<**\nmen would not rest (could not rest) unless\nthey had sought out the man who had\ngiven them this particular inspiration,\nand, when they saw him, they did their\nbest to stay with him and follow him.\nThus it came about that every great\nwarrior, every great priest, and every\ngreat artist, had his followers; not merely\nenthusiastic idiots, but very useful loyal\nassistants. The instinct in them said :\n44 Let me help this man\". Joining\nhim they received their bread and butter,\nmaybe even a roof over their heads,\nand there an end. They became one\nof a clan. Soon, yet without this\nawful haste of today, they began to\nachieve just the same, perhaps even\nbetter than the man they were follow-\ning. But today what happens ? A\nyoung man having seen Antoine's per-\nformances, or after reading of the work\nof some other theairica! artist, will have\na momentary thrill, but it will be only\nmomentary. After two or three days,\nfor some reason, he will tell himself\nthat he too can do as that man has\ndone ; and, instead of learning, instead\nof becoming slowly a master and with\na master, he puts on the airs of the\nmaster, and engages a company of\nactors like the master, runs a number\nof wealthy men into the bankruptcy\ncourt, and thinks he is of service to\nhis country.\nHow many dozen such men have\nbuzzed round Andre Antoine, I cannot\nprecisely say, but I suppose there must\nhave been a round three dozen* 41 But \"\nyou say, 44 we cannot go back to the\nMiddle Ages! \" No, but we really\nmight go forward to the twentieth\ncentury. We might make the twentieth\ncentury about ten times as splendid as\nthe Middle Ages; instead of that, the\ntheatrical group at any rate are making\nit ten times stupider.\nHowever, I may be doing one French-\nman an injustice. There may be a\nbetter man than Antoine in Paris.\nIf so, I should like to hear of him:\nmeantime I am content to take my in-\nformation from those hundreds of critical\njudges who have already placed Antoine\nat the head of the French theatre.\nBut I would like to hear that all\nthe information was not mere gush,\nbut meant that he was to be\nin power.,., and kept there.\n\nMORE FABLES OF LA FON-\nTAINE hy Edward Marsh. Heine—\nmann & Co.\nmBmmmmmammmmmmmvamamamaammm' win—BMCTW «■ iMUftajiwi MI ■ unn—awri ■■nun m\\mmn\nI don't like being bored to death by\none incessant theatre book after\nanother :—my very existence as a re-"}, {"page_pdf": 49, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 4573, "texte": "viewer of books on the theatre de-\npends upon the fact that I am one of\nthe few dramatic reviewers who now\nand again delight in and read books\nof verse and of prose for their own\nsake, and who concern themselves a little\nwith those by-products of the stage,\narchitecture, music and horse-racing.\nSo that not to have received from\nMessrs Heinemann and Co either a copy\nof Edward Marsh's \" Fables \" or\n\" more \" of them is to have been\nrefused a drink of clear cool water in one\nof my parched intervals between two\nbooks on the impossible modern theatre.\nBut as I read the \" New Stales-\nman \", seriously for its sense about\nbooks, and avidly for a scream over\nthe politics, I can spot the winner\nevery time. And spotting this one I\nthought that I too would like to be\nin at the death.\nI am not sure that I get my spor-\nting phrases correct every time, but the\nsuccess of the stoat has always char-\nmed me, especially when I was sure\nI had seen the rabbit escaping over a\nfive-barred gate.\nAnd so, spotting Edward Marsh as\nbeing an easy winner, I turned to the\none translation \"Statesman\" quotes in\nhis-review, and, reading it over, eight\ntimes, I flattered myself I had the best\nof even these lucky fellows in Fleet\nStreet who had been forced to gulp\ndown a dozen of Marsh's best too\nhurridly with consequent results.\nAnd I agree with the \" New States*\nman\" when, after quoting this char-\nming thing, he writes : \" A very pretty\npoem, Mr. Marsh\" purists may say*\nbut you must not call it \"La Fon-\ntaine\". Perhaps ; only one would like\nto see the English poem you could\ncall \" La Fontaine\nI really believe Mr. Marsh must\nLave written the review himself—so*\nneat it is;\nWell, even if Heinemann does send\nme a copy after this, to make up for\nhis coldness I won't review it. I'll\nmerely keep, treasure and read it.\n\n\"THE MERCHANT OF VENICE\"\n& \"AS YOU LIKE IT\";\nWilliam Shakespeare. Cambridge Universify\nPress. Edited by Sir Arthur\nQuiller-Couch and John Dover Wilson.\nPrice 6/- each.\nIdo not think there is a nicer edition\nof Shakespeare in the world than\nthis Cambridge edition, and I think\nthere is only one grander and that is\nthe old Cambridge edition. The \" Mer-\nchant of Venice\" is quite the most\nreadable play Shakespeare ever wrote*\nso this volume is the very thing for an\narmchair, because, you can hold it in\nyour hands as you loll near the fire,\nand you can listen-in to Shakespeare\nwithout anything in the ears to tickle them.\nFor 6/- net you can get the best\nplay and the best lyrics in the English\nlanguage. Of course you know a great\ndeal more than Shakespeare ever knew\nbecause this is the 20th century, and\nhe lived in the 16th; but now and\nagain he lights upon a happy thought....\nhe makes discoveries. You arrive at\nyour wisdom through enquiry or you\nget it through the newspapers; but now\nand again you may want to find out\nthings that your people cannot tell you,\nand that your newspaper never dreams\nof speaking about. For instance, you\nmay like to know how Fancy is born ...\nyou have fancies but how is Fancy born,?\nWell, Shakespeare tells you. And the\nextraordinary thing is he is correct, pre-\ncise, practical, if we can say such a\nword in connection with Fancy. If\nyou wish to discover what the newspa-\npers mean when they talk of America's\nbeing like Shylock in these days, here\nyou have the thing in a nut-shell—\nand very much in a nut-she!i—for the\nlittle volume is most beautifully encased\nin a nut-brown cover.\nOf course the first line of the play\nhas a touch which tells against it, for\nAntonio says :\nIn sooth /1 know not why Iam so sad !\nAnd on seeing the word *' Sooth\nany hearty lady or gentleman heaves\na sigh and does not quite feel quite\ncertain that he or she would like to go\non to the next line.\nIt wearies me—you say it wearies you.\nWell, I should have thought that so\nsimple a line as that, so modern that it\nis §&st the very thing any writer today\nwould wish he could write, would wet\nthe dullest of appetites and make it\nmagically sharp. Then he goes on:\nBut how I caught it, found it, or came\nby it,\nWhat-stuff tis made of, whereof it is born,\nI am to learn.\nOf course we do not use the word\n\" learn \" in that way, so there again\nwe are let down by that old 16th\ncentury. But surely are we not rich\nenough to do a little for that poor cen-\ntury ! When a thing has lived so long\nand remained in as fresh a condition as\nit is, would it cost us too much to\nmake a little effort to put up with the\nword \"sooth\" and the word \"learn \" ?.\nAnyhow it is not devastating to\ncome across it in a book. Suppose you\nhad it through the ear-phones I"}]}, {"article_id": "bm-bmtnaau-1927-01-01-c044", "article_bluemountain": "bmtnaau_1927-01_01#c044", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "34", "page_fin": "34", "image_debut": 46, "image_fin": 46, "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=bmtnaau192701-01.2.22.1", "titre_corps": "FROM \"BRANT'S SHIP OF FOOLS\"", "titre_sommaire": "FROM \"BRANT'S SHIP OF FOOLS\"", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 46, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.46", "debut_caractere": 0, "fin_caractere_exclue": 35, "texte": "FROM \"BRANT'S SHIP OF FOOLS\". 1347."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c045", "article_bluemountain": "bmtnaau_1927-01_01#c045", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "34", "page_fin": "35", "image_debut": 46, "image_fin": 47, "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=bmtnaau192701-01.2.22.2", "titre_corps": "A CHAPTER IN THE EARLY LIFE OF SHAKESPEARE by Arthur GrayABOUT SHAKESPEARE AND HIS PLAYS by G. F. Bradby", "titre_sommaire": "A CHAPTER IN THE EARLY LIFE OF SHAKESPEARE by Arthur GrayABOUT SHAKESPEARE AND HIS PLAYS by G. F. Bradby", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 46, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.46", "debut_caractere": 52, "fin_caractere_exclue": 6175, "texte": "A CHAPTER IN THE EARLY\nLIFE OF SHAKESPEARE by Ar-\nthur Gray M. A. : Cambridge Univer-\nsity Press. 7/6 net.\nABOUT SHAKESPEARE AND\nHIS PLAYS by G. F.' Bradby.\nOxford University Press. 2J6 net.\nI like the notion well. And the notion\nis that Shakespeare was very rarely\nat Stratford — did not live there twenty-\none years as supposed, and that all\nthis concentration of the glad senti-\nmental eye on Stratford might with\nadvantage calm down a little. The\nnotion is that, since he never once\nreferred to Stratford in his plays and\ndoes refer to many another place, it\nis as likely as not that signs of him\nmay be found more easily in the pretty\ntowns of Polesvvorth, Wincote, Barston\nand Daventry than in the town where\nall the fuss goes on and where the late\nMarie Corelli had a charming house.\nDr Gray's suggestion is full of relief\n— even if he be not easy to read.\n44 Of Stratford, where Shakespeare\nis supposed to have passed the first\ntwenty-five years, or so, of his life\nsomething is unavoidable to say \".\nI'm quite of your opinion, Doctor, only\nyour sentence puzzled me and I was\nfain to read it three times over.\nFour times I went at the next, which\nruns thus: 44 the fruit that he had\nnoted in spring blossoming and watched\nin dreaming summer he gathered for\nuse on the mellowing of occasion\nBlossoming spring, dreaming summer,\nmellowing occasion — what three lovely\nseasons. I have read the passage twice\nmore — that make six —.\nThe author refers to Shakespeare as\n44 the greatest Englishman \". I should\nhave thought Cromwell greater — or\nHenry V or Henry VIII.\n44 The greatest poet \" would have\ndone for Shakespeare, I think ; a very\nmodest man at heart, who can doubt,\nwith no notions of ever competing for\nnotoriety as a great man with the\nNobel Prizemen of our days. Organi-\nzation and propaganda in those back-\nward days were not troubled about\nas they are today. Shakespeare gave\naway his genius to Burbage and his\nPlayhouse : today a highly reprehensible\nthing to do. Today we are told to\nsecure a percentage on eveiy line —\nto get the Cinema rights fixed up; 44 ye\nlyfe so shorte ye crafte so longe to\nlearne \" ; — pin that up over ye man-\ntleshelf designed by William Morris ;\nsyndicate every bit of nonsense you\nturn out even if it's \" Come away come\naway death \" ; there's pots of money\nin a thing like that; that's what our\nmodern practical man would have taught\nhis Shakespeare, could he have caught\nhim : — 44 William, you're to be one\nof us you know — you're to have a\nslap at the Philistine too — yes — you\nshall win through yet — you and Gran-\nville Barker are made to win through\n— you too like Barker don't you,\nwhat ? — you don't... well, you will,\nand he'll soon learn you how to rake\nin the dollars \".\nREADING Mr. Bradby's little book\nof 92 pages written so clearly that\nyou read it without effort, without\nexcitement or pause, you become cu-\nriously convinced of the actual existence\nof Shakespeare....\nHe shows you the poet and the man\nof the world, and very little of the man\nof the Theatre. This is as possible\nwith Shakespeare as it would be im-\npossible with Moliere had\nhis own playhouse — so sensible: and\nas a theatre-man stood and\nstill stands his ground. Moli£re was\nso much more fortunate in his choice\nof a city. So much cleverer too in\nhis decision to be the director as well\nas the poet-dramatist of his troupe. It\nwas an essential which Shakespeare was\ncheated of. You may say as Burbage\ndoubtless did say, that Shakespeare was\nnot practical enough to be a director.\nMo!i£re was net practical in that sense\neither. Both being essentially men of\nthe world, it stands to reason that both\nwere well fitted to be directors of\nNational Theatres. became\none and Shakespeare did not: — and\nso in 1611 he retires, having had enouglk\nof playing a second fiddie to duffers*.\nAnd he remained curiously untheatre-like.\nto the end. How often Burbage had:\nto go round to his lodgings and remon*\nstrate with him we shall never know..\nTo Burbage Shakespeare was far too.\nmuch of the Poet. would be:\nable to tell you why and able to sym-\npathize with both of them. He wou\nI think, have sided with Burbage, but\nhe would have walked for hours with\nShakespeare telling him how to become\ndirector, to succeed properly.\nStill, the conditions of the English\nstage seem to have prevented that; —\nthe fixed position of Burbage as di-\nrector seems to have settled the matter.\nAnd, added to that, Shakespeare valued\nhis dreams. 44 Why 44 grunt and sweat\"\nunder this dog's life down at the new\nTheatre ? — I' ve written their plays\nand patched up the stuff sent in by that\nold wiseacre Bacon and the worse stuff\nbought up by Burbage from God knows\nwho, and altogether they can reckon\non sixteen presentable plays mostly\nfuftny \".\n44 I could do it because Burbage:\nwas ihere to listen to and argue with\nthe duffers — and now I've grown so\ndeft doing things that way — taking\nsomething and making something roorg\nof it, that if I were now to become\nentirely original — and I'd have to be if\nI became director-playwiight — I should\nbe lost. Best have one foot on land and\none on sea and be constant to neither\n— at least best for me and everyone\ni *•\nelse .\nSo when in 1600 Burbage started\na new Theatre Shakespeare was in the\nbusiness, a share-holder and the writer\nof the plays. — But that was all. As\nanyone of thirty-six years of age knows,\nwho is working in a theatre, and has\nthe brains, genius, wit and devil of a\nman like Shakespeare or Moli&re, who\nacts and can create scenes such as they\ncreated, to be forced to spoil the whole\nthing because some Burbage or some\nLa Grange is possibly right, is all\nwrong.\nGreat men of course do not exist,\nnever have existed — that is clear,\nespecially to great men — but there1\nare grades. I may be an\ngood carpenter — a second Chippendak\n— but because 1 can fit eight hundr4\nseats into the space into which you caii\nonly squeeze six hundred, it does ncj\nfollow that I, being so deuced practic$\nwith wood, am entitled to become\ndirector of the English Drama.\nBurbage felt he was fitted to that\ntask, and who would quarrel with a\nBritish carpenter. Not Shakespeare"}, {"page_pdf": 47, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 2880, "texte": "But as he wouldn't quarrel with him\nhe put on airs. Alas, to the great\nloss of the British stage. He became\nsnore and more impossible to Burbage.\nHe wrote as he jolly well wanted to,\ninstead of paying attention to chairs,\ndoors, exits, and the other harmless\nnecessary cats of the menagerie.\nHe agrees with Burbage to stay out\nif the playhouse : he didn't even trouble\nto say \" but I shall write just as I\nfancy Poor Burbage, he's in for\nit now.\n\" Julius Caesar \" arrives at the Globe,\na beautiful poem in one scene. Bur-\nbage probably chopped it all up and,\nafter days and nights of agony, made\na serviceable chair out of it* Shakes-\npeare, probably, never saw a single per-\nformance. He was now at work on\nanother poem to be called by Burbage\nHamlet He sends over \" Twelfth\nNight by a messenger to \" Mr. Rich.\nBurbage, The Globe \" Am I to\nwait for an answer, Sir ? \" asks the\nmessenger. \" No \" says Shakespeare,\n\" just ask for a receipt \", and he turns\nto \" Hamlet \" again — that profound\npoem ; then to \" Lear \" and to \" Mac-\nbeth \" and others. He has forgotten\nthe damned theatre.\nBut what an awful pity. He keeps\n•his up until 1611, and then off. to\nWarwickshire — never again to write\nplays or see a playhouse — in fact in\n1612 public performances of plays are\nforbidden at Stratford by a resolution\npassed by the town council —- and I\nbelieve Shakespeare had a hand in\nthat. To escape Burbage and fall into\nthe hands of some local amateurs —\nheaven forbid.\nThese things that I have said are\nas likely as not to have been as 1 say,\nand Mr. Brad by's book caused me to\nsee how likely they were.\nOnly on one point do I differ from\nMr. Bradby ; — I allude to the reason\nunderlying Shakespeare's bequest to his\nwife Anne of \" his second best bed \".\nMr. Bradby discovers in this act\nsome unkindness; it cannot possibly\nbe regarded as a mark of warm affec-\nction \". No, that is true : or rather\nwould be true if Shakespeare had\nan eccentric Londoner of 1926.\nBut he was such an ordinary man of the\nworld, this poet. He had such an\nordinary reason for leaving his wife\nthe bad bed. It was because she liked\nit. For years she had slept well in it\n— he had some six or seven beds in\nthe house — he had what he consi-\ndered the best bed, and what he con-\nsidered the second best she had taken\na fancy to. There are several reasons\nto account for Mrs. Shakespeare's fancy.\nThe first is that the bed was her size\n— the second she found it more com-\nfortable — the third is she liked the\npattern carved on the end of it — the\nfourth is it filtrd her room — the fifth\nis she could sell the best bed and get\na new table and six chairs and Shake-\nspeare hoped she would do that —\nthe sixth is that people didn't collect\nthe beds of famous men in those days\n— and the seventh is she wanted Will\nto have the very best: and the last is\nthat it wasn't really the best at all.\nGoodnight to them."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c046", "article_bluemountain": "bmtnaau_1927-01_01#c046", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "35", "page_fin": "35", "image_debut": 47, "image_fin": 47, "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=bmtnaau192701-01.2.22.3", "titre_corps": "THE SCIENCE OF PLAYWRITING by M.L. Malevinsky", "titre_sommaire": "THE SCIENCE OF PLAYWRITING by M.L. Malevinsky", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.47", "debut_caractere": 2882, "fin_caractere_exclue": 3911, "texte": "THE SCIENCE OF PL AY WRIT-\nING by M. L. Malevinsky. Bren-\ntano. New York. $5.00.\nA handsome volume—a heavy one\nand well printed, — explaining\nexactly what a play is, if you leave\nMoli&e's plays out of the question.\nAnd as his plays are seldom seen\nor read it#is as well to leave them\nwhere they are, and, by speaking of less\nperfect things, of modern plays, to en-\nlighten—slowly enlighten—a few, so\nthat they in time come to blaze like\nany halfpenny dip. Whoever is eager to\ndish up a play should get this book,\nfor it is the very Mrs. Beaton of the\nDrama.\nTake care; — follow the author's di-\nrections exactly—do not allow your-\nself any liberties ; and you may easily\nconstruct a play which will attract\nthat huge public which loves its cross-\nword puzzles .... and who today does\nnot adore these ?\nThe ingredients are nine, says our\nauthor.\nWhat these nine are you must find\nout by getting the book—remembering\nthat even after you have Robin Hood's\nbow in your hands, something of the\nart still lies in being able to draw it."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c047", "article_bluemountain": "bmtnaau_1927-01_01#c047", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "35", "page_fin": "35", "image_debut": 47, "image_fin": 47, "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=bmtnaau192701-01.2.22.4", "titre_corps": "THE ROMANCE OF THE AMERICAN THEATRE by Mary Caroline Crawford", "titre_sommaire": "THE ROMANCE OF THE AMERICAN THEATRE by Mary Caroline Crawford", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.47", "debut_caractere": 3913, "fin_caractere_exclue": 5423, "texte": "THE ROMANCE OF THE AME-\nRICAN THEATRE by Mary G>\nroline Crawford. Little Brown & Co.\nBoston. 1925. $4 net.\nABOUT a dozen years ago, when\nthe first edition of Miss Craw-\nford's work appeared, there existed no\ncomplete History of the American\nTheatre. Then Mr. Arthur Hornblow\ncame along and in 1919 produced his\ntwo well known volumes. Mr. Horn-\nblow is indebted to Miss Crawford,\nand this lady in her new edition of\nher old book gives herself the plea-\nsure of thanking Mr, Hornblow for\nhis work.\nHers is a charming volume; admi-\nrably put together and well illustrated;\nfull of the facts we want to know ;\nwell stated. These facts she even\nmakes p]easant reading.... an almost\nimpossible task.\nShe is properly all American, and\nhails as American things which have\nnot been created by America. She\nis forced, it seems, sometimes, to say\ntoo little about some of the things which\nreally are quite American.\nMiss Crawford claims that America\nis now the heir of everything;—her\nlast words are : \"so the American\nTheatre presents today, as never be-\nfore, an open door of opportunity to\nmembers of every race, every craft,\nevery creed and every calling to de-\npict and advance every cause \" ; which\nis bully for Miss Crawford, but is,\nI will not say unfortunately or fortuna-\ntely, but, by the nature of causes, creeds,\ncallings and races, not exactly the case.\nBut for those to whom romance is\nanything, this charming book is just the\nvery book if it's Theatre you want to\nbe romantic about. I do, so it's for me."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c048", "article_bluemountain": "bmtnaau_1927-01_01#c048", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "35", "page_fin": "36", "image_debut": 47, "image_fin": 48, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.2.22.5", "titre_corps": "ANTOINE AND THE THEATRE LIBRE by Samuel Montefiore Waxman", "titre_sommaire": "ANTOINE AND THE THEATRE LIBRE by Samuel Montefiore Waxman", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.47", "debut_caractere": 5425, "fin_caractere_exclue": 6687, "texte": "ANTOINE AND THE THEA-\nTRE LIBRE by Samuel Montefiore\nWaxman. Cambridge ; Harvard Uni-\nversity Press. Price 3 $.\nANTOINE is the great man in the\nFrench Theatre of today, and\nAntoine is writing articles for the\nnewspapers.\nThe Com£die Frangaise is still in\nthe same position where Louis the ar-\nchitect placed it in the year 1790, but*\nuntil Antoine is in the Comedie Fran-\ngaise as its Director, the theatre wiU\nremain empty. For his own sake, I\nwould not wish him there: for the\ntheatre's sake I am sure that I want\nhim to be there ; but for the sake of\nFrance, how can he not be there!\nThat is what I want to know.\nSuppose he were to produce Mo!i&re\nin a different way from that we are used\nto — could it fail to be interesting ?\nWould it wreck ? What would\nit do.... I mean, what harm ? Was\never so much fear as has been shown\nin this century in Paris and in London\nbefore the man of ability. The mo-\nment a man of ability is proposed\nfor a certain position, everyone's face\nregisters terror.\nYou, dear reader, may possibly have\nnoticed it yourself. I never failed to\nbe struck on arriving at Paris with this\ncurious fixed expression of terror on\nthe inhabitants of the gay city, and\nuntil now I never could quite discover\nwhy is was they looked so terrified ;"}, {"page_pdf": 48, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 7050, "texte": "but now I do know; and if ever any\nman took off his hat in grave and sig-\nnificant salutation to another, it is I\nat this moment who take off my hat\nto M. Andr£ Antoine.\nWhat is there to be said about this\nbook which Mr. Waxman has sent out\nfor the world to read ? In passing, one\nmay say that one hopes the world will\nread it. But it should not be necessary\nfor the whole world to read it so that\nFrance and Paris may benefit. Antoine,\nwho it would seem was born in 1858,\nshould be now 68 years of age. That\nis to say he should be now in his prime ;\nfor according to calculations of London\nand Paris a man is in his prime when\nhe is clcse upon seventy. Then he\nmay open his mouth to speak, for\ntiny know that by this time he is\npretty w ll tired of uttering a word,\nand that is the very man to be put\nin power at the Com6die Frangaise\nand reign silently at its head. He will\nsee the place and the people tumbling\nover each other, and smile on and say\nnothing. At least that is what everyone\nhopes, but I think, in M. Antoine's\ncase, we can disillusion them.\nI was present at a rehearsal for a\nnew play which he was directing and\nthat only a few years ago. Yes, I\nthink I can safely say the people will\nbs disillusioned. I never saw a man\nof sixty so terribly active, so fearfully\nalive ; not that he lost his temper at\nall, but he did not bring it with him\ninto the theatre. After one is sixty,\none is supposed to totter round a little,\nbut Antoine seemed to jump from the\nstage into the stalls, and from the stalls\non to the stage. I never saw such a\nman. I hid as well as I could so that\nhe should not see me, but he grew so\nexcited, and through this excitement\nseemed so to mould the actors 44 into\nsomething rich and strange \" that before\nlong 1 got up and crept out of the\ntheatre feeling that I was present at\nsome sort of private rite which was\ngoing on and which it was none of my\nbusiness to witness.\nI do not quite get that Antoine in\nthis book, but there are six or seven\nAntoines, and I get most of them here.\nHe is a dreamer; he is a practical\nman; he is a passionate man; he is an\nindifferent man ; he is a director who\ndoes not wish to be a profit sharer ;\nhe is a man who dislikes being a rich\nman: he is a man ready to praise\nevery thing that has anything praise-\nworthy in it, even if it be but a speck,\nand he praises these things whole-heart-\nedly. Yet he has judgment. It is customary\nto think of him as of a man profoundly\nconvinced of the importance of realism\nand the gloomy plays of low life. And\nI should imagine that he was nothing\nof the kind. I should say that every\ngood play was welcomed by Antoine.\nHe happened to light up Ibsen's\n44 Ghosts \" and Zola's plays, and the\nplays of the other gloomy gentlemen,\nbut then he also happened to throw\nlight upon the plays of Shakespeare\nand those of Moli£re; and it must\nhave been remarked that Moliere and\nShakespeare have stood by him very\nfaithfully.\nI do not know that so much can\nbe said for the living dramatists, thou2h\nof course they know better than I.\nBut what I do know is that a number\nof his pupils, his fellow actors, fell\naway from him, and I do not know\nthat I like that. After all what was\nMr. Gamier doing, and what Mr. Co-\npeau, these two followers of Antoine....\nwhat were they doing when they went\non preparing other theatricals on their\nown, sneaking past the master, elbow-\ning in ?\nIt seems to me that as Antoine had\nshown perfectly clearly what it was he\ncould do, and what it was he\nwould do,any Frenchmen worth their\nsalt who were acting with him, or great\nbelievers in him, should have made a\nlittle more effort to stand by and show\na little more of that old spirit, which\nlet us call by the new name of the\nFascist spirit. Fascism is not easy to\ndefine, but what is perfectly easy to\nsee is that the Fascisti are men who\nwork shoulder to shoulder, with mind\nto mind, and follow a leader. I do\nnot care a rap what can be said against\nthem when that can be said for them,\nfor I suppose that is the highest thing\nmen can do — so hard it is to follow\na leader, so hard it is to remain loyal\naltogether for one thing. That other\neasy game of each man thinking he is\nprivileged to be somebody, when he is\nnobody — that is what I cannot tole-\nrate for a moment. Nature will adjust\nall these things in time and so there\nis no need to bewail the situation as\nwe find it in certain lands where the\nold spirit of all for one, one for all,\nis forgotten. It is such a simple thing\nthat brings this chaos about. It is\nnothing else but the universal conceit of\nsmall men. In the old days when a\nman heard some legend of the prowess\nof this warrior, that artist, or yonder\nchurchman, or if he read something\nthat this man had done, or had writ-\nten, or if he saw some piece of their\nwork, he would probably be moved\nvery deeply. Let us admit that such\nmen today exist and are still moved\nvery deeply. The difference of the\ntwo is this. In the old days th<**\nmen would not rest (could not rest) unless\nthey had sought out the man who had\ngiven them this particular inspiration,\nand, when they saw him, they did their\nbest to stay with him and follow him.\nThus it came about that every great\nwarrior, every great priest, and every\ngreat artist, had his followers; not merely\nenthusiastic idiots, but very useful loyal\nassistants. The instinct in them said :\n44 Let me help this man\". Joining\nhim they received their bread and butter,\nmaybe even a roof over their heads,\nand there an end. They became one\nof a clan. Soon, yet without this\nawful haste of today, they began to\nachieve just the same, perhaps even\nbetter than the man they were follow-\ning. But today what happens ? A\nyoung man having seen Antoine's per-\nformances, or after reading of the work\nof some other theairica! artist, will have\na momentary thrill, but it will be only\nmomentary. After two or three days,\nfor some reason, he will tell himself\nthat he too can do as that man has\ndone ; and, instead of learning, instead\nof becoming slowly a master and with\na master, he puts on the airs of the\nmaster, and engages a company of\nactors like the master, runs a number\nof wealthy men into the bankruptcy\ncourt, and thinks he is of service to\nhis country.\nHow many dozen such men have\nbuzzed round Andre Antoine, I cannot\nprecisely say, but I suppose there must\nhave been a round three dozen* 41 But \"\nyou say, 44 we cannot go back to the\nMiddle Ages! \" No, but we really\nmight go forward to the twentieth\ncentury. We might make the twentieth\ncentury about ten times as splendid as\nthe Middle Ages; instead of that, the\ntheatrical group at any rate are making\nit ten times stupider.\nHowever, I may be doing one French-\nman an injustice. There may be a\nbetter man than Antoine in Paris.\nIf so, I should like to hear of him:\nmeantime I am content to take my in-\nformation from those hundreds of critical\njudges who have already placed Antoine\nat the head of the French theatre.\nBut I would like to hear that all\nthe information was not mere gush,\nbut meant that he was to be\nin power.,., and kept there."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c049", "article_bluemountain": "bmtnaau_1927-01_01#c049", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "36", "page_fin": "37", "image_debut": 48, "image_fin": 49, "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=bmtnaau192701-01.2.22.6", "titre_corps": "MORE FABLES OF LA FONTAINE by Edward Marsh", "titre_sommaire": "MORE FABLES OF LA FONTAINE by Edward Marsh", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.48", "debut_caractere": 7052, "fin_caractere_exclue": 7301, "texte": "MORE FABLES OF LA FON-\nTAINE hy Edward Marsh. Heine—\nmann & Co.\nmBmmmmmammmmmmmvamamamaammm' win—BMCTW «■ iMUftajiwi MI ■ unn—awri ■■nun m\\mmn\nI don't like being bored to death by\none incessant theatre book after\nanother :—my very existence as a re-"}, {"page_pdf": 49, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 1807, "texte": "viewer of books on the theatre de-\npends upon the fact that I am one of\nthe few dramatic reviewers who now\nand again delight in and read books\nof verse and of prose for their own\nsake, and who concern themselves a little\nwith those by-products of the stage,\narchitecture, music and horse-racing.\nSo that not to have received from\nMessrs Heinemann and Co either a copy\nof Edward Marsh's \" Fables \" or\n\" more \" of them is to have been\nrefused a drink of clear cool water in one\nof my parched intervals between two\nbooks on the impossible modern theatre.\nBut as I read the \" New Stales-\nman \", seriously for its sense about\nbooks, and avidly for a scream over\nthe politics, I can spot the winner\nevery time. And spotting this one I\nthought that I too would like to be\nin at the death.\nI am not sure that I get my spor-\nting phrases correct every time, but the\nsuccess of the stoat has always char-\nmed me, especially when I was sure\nI had seen the rabbit escaping over a\nfive-barred gate.\nAnd so, spotting Edward Marsh as\nbeing an easy winner, I turned to the\none translation \"Statesman\" quotes in\nhis-review, and, reading it over, eight\ntimes, I flattered myself I had the best\nof even these lucky fellows in Fleet\nStreet who had been forced to gulp\ndown a dozen of Marsh's best too\nhurridly with consequent results.\nAnd I agree with the \" New States*\nman\" when, after quoting this char-\nming thing, he writes : \" A very pretty\npoem, Mr. Marsh\" purists may say*\nbut you must not call it \"La Fon-\ntaine\". Perhaps ; only one would like\nto see the English poem you could\ncall \" La Fontaine\nI really believe Mr. Marsh must\nLave written the review himself—so*\nneat it is;\nWell, even if Heinemann does send\nme a copy after this, to make up for\nhis coldness I won't review it. I'll\nmerely keep, treasure and read it."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c050", "article_bluemountain": "bmtnaau_1927-01_01#c050", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "37", "page_fin": "37", "image_debut": 49, "image_fin": 49, "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=bmtnaau192701-01.2.22.7", "titre_corps": "\"THE MERCHANT OF VENICE\" & \"AS YOU LIKE IT\"; William Shakespeare", "titre_sommaire": "\"THE MERCHANT OF VENICE\" & \"AS YOU LIKE IT\"; William Shakespeare", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 49, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.49", "debut_caractere": 1809, "fin_caractere_exclue": 4573, "texte": "\"THE MERCHANT OF VENICE\"\n& \"AS YOU LIKE IT\";\nWilliam Shakespeare. Cambridge Universify\nPress. Edited by Sir Arthur\nQuiller-Couch and John Dover Wilson.\nPrice 6/- each.\nIdo not think there is a nicer edition\nof Shakespeare in the world than\nthis Cambridge edition, and I think\nthere is only one grander and that is\nthe old Cambridge edition. The \" Mer-\nchant of Venice\" is quite the most\nreadable play Shakespeare ever wrote*\nso this volume is the very thing for an\narmchair, because, you can hold it in\nyour hands as you loll near the fire,\nand you can listen-in to Shakespeare\nwithout anything in the ears to tickle them.\nFor 6/- net you can get the best\nplay and the best lyrics in the English\nlanguage. Of course you know a great\ndeal more than Shakespeare ever knew\nbecause this is the 20th century, and\nhe lived in the 16th; but now and\nagain he lights upon a happy thought....\nhe makes discoveries. You arrive at\nyour wisdom through enquiry or you\nget it through the newspapers; but now\nand again you may want to find out\nthings that your people cannot tell you,\nand that your newspaper never dreams\nof speaking about. For instance, you\nmay like to know how Fancy is born ...\nyou have fancies but how is Fancy born,?\nWell, Shakespeare tells you. And the\nextraordinary thing is he is correct, pre-\ncise, practical, if we can say such a\nword in connection with Fancy. If\nyou wish to discover what the newspa-\npers mean when they talk of America's\nbeing like Shylock in these days, here\nyou have the thing in a nut-shell—\nand very much in a nut-she!i—for the\nlittle volume is most beautifully encased\nin a nut-brown cover.\nOf course the first line of the play\nhas a touch which tells against it, for\nAntonio says :\nIn sooth /1 know not why Iam so sad !\nAnd on seeing the word *' Sooth\nany hearty lady or gentleman heaves\na sigh and does not quite feel quite\ncertain that he or she would like to go\non to the next line.\nIt wearies me—you say it wearies you.\nWell, I should have thought that so\nsimple a line as that, so modern that it\nis §&st the very thing any writer today\nwould wish he could write, would wet\nthe dullest of appetites and make it\nmagically sharp. Then he goes on:\nBut how I caught it, found it, or came\nby it,\nWhat-stuff tis made of, whereof it is born,\nI am to learn.\nOf course we do not use the word\n\" learn \" in that way, so there again\nwe are let down by that old 16th\ncentury. But surely are we not rich\nenough to do a little for that poor cen-\ntury ! When a thing has lived so long\nand remained in as fresh a condition as\nit is, would it cost us too much to\nmake a little effort to put up with the\nword \"sooth\" and the word \"learn \" ?.\nAnyhow it is not devastating to\ncome across it in a book. Suppose you\nhad it through the ear-phones I"}]}, {"article_id": "bm-bmtnaau-1927-01-01-c051", "article_bluemountain": "bmtnaau_1927-01_01#c051", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "37", "page_fin": "44", "image_debut": 49, "image_fin": 56, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.2.23", "titre_corps": "OLD DUMAS", "titre_sommaire": "OLD DUMAS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 49, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.49", "debut_caractere": 4673, "fin_caractere_exclue": 6204, "texte": "OLD DUMAS.\n\nA NEW EDITION of Dumas s\nworks in forty-eight volomes. J. M.\nDent & Sons. Price 4/6 a volume.\nAN amalgamated Sage has recently\nasserted his grave doubts as to\nwhether there exists in Great Britain a\npublic willing to pay for the forty-eight\nvolumes of Dumas which the house of\nDent and Sons is bringing out at four\nand sixpence per volume.\nI doubt his doubts.\nWhen I was young an edition of\nDumas appeared costing, if I remember\nright, more than that per volume. I\nhad very little money indeed at that\ntime, but I bought all of them, f\nwore out half the volumes in ten years ;\nI lost about six volumes by lending to\nfriends who then told me tlxat they too\nhad worn them out.\nit's true that booksellers were very\nencouraging in those days. I knew a\ncertain Mr. Henry Glaisher and his\nsister,... both charming people and both\nborn tempters; they had a shop in the\nStrand, a little shop, near the present\nSavoy Hotel, which was not then built.\nDaily I would visit the Glaishers. In no\ntime I was owing them money... all\nDumas's fault... ; but the bookseller,\nbesides being like the serpent, was a true\nChristian and kindly allowed me time\nto pay.\nHe was paid,... but I can never\nrepay him for having displayed the Du-\nmas as he did. That was genius in him.\nDumas can't do everything; Dent can't\ndo everything — booksellers must do\nsomething. The wise ones have small\nshops and do the selling business in a\nvery friendly way. We like that. We\ndon't want to feel we are going to church\nor to a reception at some aristocratic"}, {"page_pdf": 50, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 6987, "texte": "hou$6 when we go to browse and hunt\nfor Dumas or Stendhal or Lord George\nSanger. We want to have some nook\nto get into — some corner, and there\nto rummage and find our Dumas.\nBut what is Dumas to modern rea-\nders ? 44 The Chevalier d%Harmenlal \"\nand Olympe de Cleves ? Have they\never read these ? Monte Crista and\nthe Three Musketeers they have heard\nall about; everyone feels he has read\nthem, even those who never read them.\nThe fact is that people who are\n44 unable to read Dumas\" never began\nto read him ; — that was their trouble.\nThey were semi-subtle brains and had\nheard that Dumas was jolly —- and\nfelt that he would not match with their\ngloves.\nNow there is no book more subtle\nor more elusive than a book by old\nAlexandre. He is the psychologist.\nNever is he twice alike and yet we\nare always so sure we can explain him,\n—• so direct he seems.\nIf he is ever dull it is not because\nhe is drab. He is dull ...and how\nseldom... because he had been asked\nfor copy and could not say no; he\ntherefore sometimes turns into a little\ndull baby and prattles rather monoto-\nnously — that is all.\nMoney he adored ; it stimulated and\nexhilerated him : after a taste of it he\nwould scribble away and give us good,\nbad and indifferent in equal portions.\nHe is a man that no one should lecture,\nfor he gave us all he possessed,... and\nyou can't do more. I know nothing\nof his that he witheld — and, if one\nthinks of him as the dear old man, its\nonly because he gave us his gray hair too.\nWhat an awful fault — to have\nsuch generosity; and how it stains\nevery page of his endless works.\nTo question whether the largest En-\nglish public can bring themselves to read\nthese forty-eight volumes of sound and\nbrilliant common sense is to question\nthe very sanity of Great Britain.\n\n\"ADOLPHE \" by Benjamin Con-\nslant. Messrs. Stanley Paul & Com-\npany. Price 2[6.\nTHIS is a charming story and it is\nmost admirably printed in large\ntype by Messrs. Stanley Paul & Com-\npany, and is doubtless the best of Ben-\njamin Constant. There is an interes-\nting introduction by Mr. J. Lewis\nMay who is also the translator, and\nin this introduction he tells us that\nConstant came to England where 44 he\nimbibed that love of moderation and\nconstitutional government which was\ndestined never to forsake him which,\nfor moderate institutions, seems an excel-\nlent basis provided they are modera-\ntely well aware that there are others\n— other constitutions—and these neces-\nsary to us—and that necessity knows\nno lav/. But what does it matter to\nus that Constant imbibed these things ?\nwhat matters is whether he has written\nhis story well or ill. He has written\nit very well. It is a short story and\nyet has all the good things of a long\none. You live a long time in reading\nit; but you can read it in an hour and\na half. It was written when he was\nin Weimar, soon after 1795. It is in\nthe best romantic manner and is a\nlittle work of art.\n\nTHE AMERICAN BALLET by\nTed Shawn. Henry Holt & Co.\nNew York. Price $ 7.50.\nMR. Shawn has divided his book\ninto chapters on The spiritual\nBasis ; The Sources of thematic Ma-\nterial ; the classic European Ballet tra-\ndition, how it helps and how it hin-\nders ; Social dancing ; American Music\nand cpmposor ; Dancing and nudity ;\nDancing for men ; Dancing In church ;\nDancing and the Theatre; and The\nDream.\nThere is a Preface by Mr. Have-\nlock Ellis, who writes : 44 The path\n44 of the genuine artist in danc ng to-\n44 day 's rather like the path to mar-\n44 tyrdom. The world is prepared to\n\" appreciate the dancer, but the world\n44 has not yet prepared a stage, and\n44 still less a temple, to receive the\n44 dancer**; which seems to us, after\n44 twenty years thinking about it, to be\n44 overstating our needs. 44 There is **\nMr. Ellis goes on, 44 the concert hall\n44 ready for the musician, and there is\n44 the opera house where the ancient\n44 formal Ital'an ballet is permitted to\n44 figure as a mere interlude, but other-\n44 wise the dancer must fight w th all\n44 sorts of vested and iradtional inte-\n44 rests, and in the end submit to an\n44 often heart-rend'ng compromise, in\n44 which the artist's conception is lost.\n44 It is inevitable; it must happen in\n44 the new birth of any art. But the\n44 t me is coming for the next step **.\nThere are a good many photogra-\nphic illustrations, but all seem to re-\npresent Mr. Shawn, M'ss St. Denis and\nthe r troupe ; we look in vain for one\nwhich shows us that greatest figure of\nthe American dance, ....indeed, of the\nnew spirit in the dance in a far wi-\nder sense; there is, in fact, no picture\nat all of Isadora Duncan, which seems\na strange omission. *\nMr. Shawn, it is true, does not\nignore Miss Duncan. He refers to\nher not infrequently ; but bracketted\nwith, and secondary to, Miss Ruth\nSr. Denis. 44 Just as the first great\nwaves foretell the flood to come, so\ncame the first pioneers, Ruth St. De-\nnis and Isadora Duncan \" : This\nrenaissance of the dance which is now\ntaking place, and which we all reeog-\nn ze, owes its beginning to the pio-\nneering of two great American dan-\ncers, Ruth St. Denis and Isadora Dun-\ncan \" : ....and so on, and so on.\nNow in a book which is so sa-\nliently a piece of propaganda for the\nShawn-St. Denis ideas and practice it\nis natural that Mr. Shawn should wish\nto give prominence to his own com-\npanion. But then he should surely\nhave called this nice looking volume\n44 The St. Denis-Shawn Ballet \" and\nnot 44 The American Ballet\" ; for, in\na work bearing such a title, we na-\nturally expect a large part to be given\nto the work of the greatest of them\nall, and, as has been insisted on by\n44 The Mask \" since 1908, there are\nnot two greatest but only one.\nNo history of the American dance,,\nor of the dance at all in its noblest\nsense as manifested in the last thirty\nyears, can be worth serious considera-\ntion, which does not do just'ce, and\npay adequate tribute, to the greatest\nexponent and the most inspired mo-\ndern protagonist of the Dance,\nIt is doubtless the democratic spirit\nwhich would always raise on stools\nall the surrcund ng figures lest a cen-\ntral figure should overtop them ; but,\npersonally, we dislike that artific'al pro-\ncess of levelling up even in ordinary\nand civic affa rs, and infin tely more\nso in Art.\nThe truth that M'ss Duncan is her-\nself dees not render Miss St. Denis\nand Mr. Shawn any less than they\nare: and a due sense of proportion,\nan understanding of that primal inspi-\nration to whose power the requick-\nened life of the Dance is due, would\nhave lent not only a grace, but also\na defin'te value, to Mr. Shawn's book.\nIM I Ulllll Hi 'I BM—MBaWKMPMWllB IW1IBHWWW\n\nTHESE PLAYERS. A Diary of\nthe 44 Old Vic \" by Doris Westwood.\nHeath Cranton Ltd. Price 116.\nTHIS Diary, issued as a book at the\npr ce of 7/6 net and preceded\nby a 44 Foreword\" by Miss Lilian\nBaylis, makes the 44 Old Vic\" ap-\npear even less serious and significant\nthan before.\nMiss Westwcod occupied for two\nyears the position of alternate promp-\nter and walker-on at the 44 Old Vic \" ,"}, {"page_pdf": 51, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 6944, "texte": "she 44 came to us \" writes Miss Bay-\nlis, 44 as a student in the Shakespeare\nCompany primarily as a writer who\nwanted to gain an insight into stage\nlife\". Her eagerness, and admiration\nand affection for her companions, are\nendearing qualities ; but when a thea-\ntre has made so much parade about\n'is doings, and claimed and received\nso much financial support, a good deal\nmore is expected of it than is conveyed\nin Miss Westwood's artless pages.\nThat habit of Miss Baylis's, too,\nof always holding out her hand, of\nalways echoing a certa'n scriptural\nfigure ....(was it not the horse leech's\ndaughter ?...) who perpetually cried\n44 Give, give \", becomes distasteful at\nlast, especially from one who has recei-\nved public charity on so lavish a\nscale.\nEven in a Preface of one page and\na half she cannot refrain from harping\non the same eleemosynary note. She\nadmits that they have all profited large-\nly ;—44 Gone is the disused public\n4 4 house in Oakley Street, wh'ch then\n44 served mainly as a wardrobe; the\n44 tiny saloon in the theatre, which\n44 was the emergency rehearsal room\n44 when the stage was inaccessible ; the\n44 diminutive dressing rooms shared by\n44 those playing important parts, and\n44 the large room, which, during the\n44 season of which the author writes,\n44 had been reclaimed from Lorley\n44 College, and with a partition, ser-\n44 ved as dressing-rooms for the boys\n4 4 and girls who walked on and played\n44 small parts. In their stead are a\n44 wardrobe room and workshop which\n44 any theatre might envy, a large room\n44 at the top of the building, in which\n44 the exact size of the stage is mea-\n44 sured out, and the position of the\n44 apron, curtains, etc., clearly indica-\n44 ted, and dressing rooms in plenty,\n44 complete with hot and cold water,\n44 and even a bath-rocm !' 44 Truly \",\nadds Miss Baylis 44 we have much\nfor which to be thankful I\nBut that does not prevent her from\nimmediately afterwards resuming the\nold tone.\n44 It \" (this little book,) 44 will also\n44 show how hard a repertory actor's\n44 life is, with its ceaseless study and\n44 active work, for the necessity for\n44 more rehearsal of these mighty plays\n44 is constantly emphasised. Unfortu-\n45 nately until the Vic has a second\n44 theatre and public at Sadler's Wells\n44 nothing can be done to lessen this\n44 strain which is a serious one\".\nPoor poor repertory actors of the\nOld Vic, with their hot and cold\nwater, and $1! those other conveniences\nwhich the lavish gifts of many thousands\ncan supply ; .... how hard to expect\n44 ceaseless study \" and 44 active work \"\nfrom them until an additional £ 40,000\nis found to add to the £ 14,200 al-\nready granted by the Carnegie Trust\nfor the purchase of the old Sadler's\nWells Theatre for Miss Baylis's own\nsatisfaction and the relief of these pi-\nteous wights of hers.\nIf the Old Vic and its respected\nDirectress knew a little of the condi-\ntions under which serious and momen-\ntous work is often carried on year after\nyear, without profit, without gifts or\nendowments, yet also without perpetual\nwhining, they would perhaps recognize\nthe virtue of silencing this continual\nappeal to charity ; and do something\nto justify the large sums already, hea-\nven knows why, bestowed upon this\nlittle enterprise of theirs, before beg-\nging for more money to alleviate the\nlot of what is considered to be a very\nmediocre group of players, and to\nenable them to present more and more\nimmortal plays in an inferior way.\n\nSTORIES AND DRAMAS: Hi-\ntherto Unpublished, by Leon Tolstoy>\n/. M. Dent & Sons. Price 7/6 net.\nTHESE stories and plays were first\npublished in 1926 in Paris, in\nthe Russian language, having been\ncarefully selected and edited by three\nRussian scholars, of whom one was a\nclose personal friend of Tolstoy and\nhis family. To this friend, at that\ntime head of a publishing house in\nMoscow, the manuscripts were entrus-\nted for publication, after Tolstoy's\ndeath, by his daughter and literary\nexecutor, Alexandra ; but, the publish-\ning house in Moscow having been\nsuppressed by the Soviet authorities,\nthe former director and his co-editors\nfinally issued the book in Paris, and\nthe stories and plays contained in it\nare now translated into English for the\nfirst time.\nThe contents are representative of a\nlong period, since the first story was\nwritten in 1851 and the last but four\nyears before; Tolstoy's death, and, as\nMr. Polner, one of the editors, writes\nin a Preface to the Russian edition,\n44 Thus the thirteen productions, as\n44 they pass before us, afford us thir-\n44 teen expressions of the changes in\n44 Tolstoy's spiritual life—from his rest-\n44 less, and richly talented, and many-\n44 coloured period of youth to his\n44 dry, and didactic, and apostolic old\n«« ••\nage .\nThe lively extemporary play, 44 The\nNihilist \" was written in the autumn\nof 1863, the year after ToUtoy's mar-\nriage, for some private theatricals for a\nparty of young people staying at Kras-\nnaya Polyana; <4 The Contaminated\nFamily a comedy in five acts, is a\npropaganda play which Tolstoy had\ngreatly but vainly desired to get pro-\nduced at the Imperial Theatre ; 44 Va-\nrenka \" is a charming tale about some\nlittle children being taken to the thea-\ntre, written in Moscow in 1857 ;\nwhile 44 Dramatic Scenes about the\n44 Pan (0 who became a Beggar \"\ndates from the end of 1886, and 44 Pe-\nter the Publican \" from June 1894.\n\nSIDE-WALK STUDIES by Austin\nDobson. Oxfoxd University Press.\nTHIS pretty little volume is num-\nber 257 in 44 The World's Clas-\nsics \" series issued by the Oxford Uni-\nversity Press. The collection of pa-\npers was first published by Messrs\nChatto & Windus in 1902, issued by\nthe Oxford University Press in 1923,\nand included in the present series\nin 1924.\nJn the 275 little pages we find\nessays, written in that graceful way\nwhich was Austin Dobson's own, 6n\nsuch subjects as Mrs. Woffington, St\nJames's Park, The Covent-Garden\nJournel, Chinese Shadows, 44 Dear\nMrs, Delany \", and other topics of the\nperiod, and there is an Index which\nshows at a glance that there are re-\nferences to be found relative to such\nsubjects as Astley's Amphitheatre,\nGay's ' Beggar's Opera', Bensley, the\nactor, Chetwood, the Prompter, Colley\nCibber, the Cock-Pit in St. James's\nPark, Johnson at Co vent Garden Thea-\ntre, Drury Lane Theatre, the Italian\nFantoccini, M. Seraphin and his Chi-\nnese shadows, and many more of\ninterest to those who care for the\nstage.\nOne serious fault about the Oxford\nUniversity Press is that it seems to have\na dread of telling us all the price of\nits books.\nIf I like one of a series and there\nbe 256 like volumes in the series 1\nmay want to buy ten or twelve. I may\ntonight wish to draw a cheque and\norder from my bookseller. I don't\nwant to run up a bill with him :—I\nwant to pay down at once. I there-\nfore want the Oxford University Press\nto state clearly and without any unne-\ncessary indifference or eccessive modesty\nthe prices of all these books.\n(i) A Polish lord."}, {"page_pdf": 52, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.52", "debut_caractere": 0, "fin_caractere_exclue": 6542, "texte": "THE LIFE OF BENVENUTO\nCELLINI, Translated by Anne Mac-\ndonnell. Introduction by Henry Wil-\nson. J. M. Dent & Sons. 7/6 net.\nTHE TRAVELS OF MARCO\nPOLO with an introduction by John\nMasejield. J. M. Dent & Sons ;\n7/6 net.\nTHESE two admirable reprints of\ntwo notable books will form a\nvaluable addition to every library.\nUniform in edition, they are both well\nillustrated, and contain an immense\namount of enjoyment for a very mo-\nderate price.\nMarco Polo's great travel book,\ntreating of his marvellous adventures in\nthe Orient of the thirteenth century,\nremains even today the chief authority\nfor parts of Central Asia and China ;\nit is full of rich and brilliant colour,\nof strange and curious facts and de-\ntails, with vivid descriptions of oriental\ncustoms and courts, and especially of\nthe long sojourn with the great Khan\nKublai (Coleiidge's \" Kubla Khan \")\nwho received the Venetian travellers\n\" honourably and graciously nta-\nking much especially of Marco *' who\nwas then a young gallant\".\nThere have been many editions of\nthis famous work in different langua-\nges ; but the present one, with Mr.\nMasefield's keen and informative In-\ntroduction and Itinerary of Polo's jour-\nneyings, the Index and many Notes\nand illustrations, fthe convenient form\nand low price, should render it espe-\ncially popular.\nUniform with this volume, the new\nedition of the life of Benvenuto Cel-\nlini, one of the great autobiographies of\nthe world, with its crowded record of\nadventures, intrigues, crimes, scandals, is\nas welcome as ever. Far more exci-\nting than most novels, it is well to\nread it after you have been to Italy ;\nand to read it again after you have\nlived there some years.\n\nTHE DECAMERON from the Ita-\nlian of Boccaccio.\nTHE GRASSHOPPER and other\nStories; A. Chekhov. The Interna-\ntional Library. Stanley Paul & Co.\n2/6 a volume.\nTHE SHOOTING PARTY by\nA. Chekhov. Stanley Paul & Co.\n7/6.\nMESSRS STANLEY PAUL conti-\nnue their useful work of is-\nsuing small and inexpensive editions\nof important European works. Some\nof their Dumas publications have al-\nready been praised in these pages, and\nwe now welcome a volume of Chek-\nhov's stories, newly translated by Mr.\nA. E. Chamot, who also contributes\nan introduction dealing with Chek-\nhov's life and work. \"It is diffi-\ncult says Mr. Chamot, \"to make\na selection of Chekhov's stories, which\nin general are so equal in merit, and\nthose we offer the reader have been\nchosen among his best and most cha-\nracteristic works, to show him in va-\nrious moods, both gay and sad \".\n\" The last three stories have not\nbeen translated before, and they are\ngiven as specimens of his early style,\nwhich was chiefly of a light and hu-\nmorous nature—very different from his\nlater works in which, like a skilful\ndoctor, he probes human nature to the\nvery depths of the soul \".\nThe other new volume of the\nedition is an expurgated Decameron.\nAnd even shorn of much, how enter-\ntaining are these Tales. It is useless to\nask \" why expurgate ? \" for Dr. Bowd-\nler must never be proved to have li-\nved in vain.\nBut one wishes that the Family\nBowdler were extinct. One realizes\nthey are not on reading that thrilling\nstory \" The Shooting Party \", which\nis cut, or seems to be cut, by the\ntranslator, or even by the author him-\nself, for, good as it is, it hesitates.\n1 here are Russian writers, Pushkin,\nfor example, who never seem to hesi-\ntate, and they do well. But not many\nwriters can write such a clever story\nas this one, nor lend it those deeper\nvalues which, for lack of a shorter\nword, one can but call beautiful.\n\nA SHORT ITALIAN DICTIO-\nNARY (New and Enlarged Edition)\nby Alfred Hoare. Vol. 2. English-\nItalian. Cambridge University Press.\nPrice 10/6 net.\nMR. Hoare has conferred a real\nboon on Italian-English students\nby the compilation of his up-to-date\nDictionaries,\nSome months ago we received the\nlarge handsome one-volume, \" Italian-\nDictionary \" which comprises both an\nItalian-English and English-Italian sec-\ntion.\nThe first, \" Italian-Englishsec-\ntion of this has already appeared in\na cheap and handy edition; and now\nthe English-Italian section reaches us,\nin a new and enlarged edition, well\nprinted, in a format light and pleasant\nto handle, and at a very modest price.\nThe work is compact, comprehen-\nsive and scholarly, and contains an\nabundance of idiomatic phrases.\n\nWILLIAM BLAKE by Oslerl Bur-\ndett. English Men of Letters Series.\nMacmillan. Price 5/-net.\nTHOSE who know the larger Lives\nof Blake will perhaps find little\nthat is new to them in this one; but\nit will be welcomed by many who are\nnot familiar with more detailed Bio-\ngraphies of this great artist; and in\nany case, can we any of us read too\noften the life of this man.\n\nDIE THE A TERDEKORA TION\nDES BAROCK—Paul Zucker. Ru-\ndolf Kaemm ere r Verlag. Berlin, 1925.\nPrice Marks 45.\nIHrW—l ■- ■IIMIMM ■ Hill II—I I ■■III ■■ I llllll 11 MM III II I I g\n1 Begin to think that it was very\neasy to be an actor in the Greek\ntheatre, although I once held quUe the\nopposite view and held that to perform\na Greek play as it should be played\nwas most difficult. Why I now think\nit must have been easy is because\nthere was only one performance given,\nand no one had time to be critical,\nbecause they were not going to see\nit again, and the spectator had to exert\nhimself to get the whole worth of\nit then and there or lose it altogether.\nAnd I feel somehow that Mr. Paul\nZucker, the author of this book, should\nhave been a Greek actor, because he\nmakes a great effect with his first per-\nformance ; so much so that on looking\ncarefully through his book I found\nall the plums at once. It was only\nat the second and third glance that\nthe faults began to pop out, and here\nare some of them :\nHe places Girolamo Fontana far\ntoo early in his book ; for, while the\npicture he shows us is a design of\n1690, he places it between one of\n1652 and others of 1474, whereas\nit should have come after both. Ni-\ncolo Michetti whose date is 1729, is\nplaced before designs of 1674.\nHe gives 8 designs by Filippo Ju-\nvarra and says these were designs for\na theatre at Torino, and dates them\n1750. Now they were for a theatre\nin Rome and their dates are 1710\nto 1712.\nHe gives us two designs by Bartolo-\nmeo Poli and dates these about 1 740 ;\nbut Bartolomeo died in 1737, and\nthis I feel Mr. Zucker might have\ndiscovered.\nWriting of the different opera hou-\nses of Venice, he says that the S- Mose\nwas founded in 1641, whereas the\ntheatre he means is the San Moise\nfounded in 1638-9.\nAgain he says the S. Lucca, (mea-\nning the San Luca), was founded in"}, {"page_pdf": 53, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.53", "debut_caractere": 0, "fin_caractere_exclue": 6697, "texte": "1661, whereas it was founded in\n1629, according to Galvani. It was\nthen burnt in 1652 and rebuilt in 1661.\nDr. Zucker tells us that the Tea-\ntro S. Angelo was founded in 1657\nwhereas Galvani says that it was\nbuilt in 1676..,. he tells us that the San\nGiovanni Ghrisostemo was founded in\n1699 whereas we have a record of\nperformances taking place in 1678, 79,\nand 80, afterwards year by year, and\nit was founded in 1677. He also\nspells it with a C instead a G. San\nSamuele he puts down as being founded\nin 1710 whereas according to Luigi\nTorrelii it was erected in 1655 by\nthe noble family of Grimani. He\nsays that Carlo Fontana built the Tea-\ntro Tordinone in 1675 but Fontana\nbuilt the Tor di Nona in 1660.\nFurther on in the work Dr. Paul\nZucker gives a brief account of the\nfamily Bibiena. He sketches out for\nus a small genealogical tree, showing\nnine of the family suspended thereon,\nbut, brief though he be, he manages to\nget in six mistakes. G. M. Bibiena\nwas born 1625 not 1619, Alessan-\ndro died in 1760 not 1769. Giu-\nseppe died in 1757 not 1756. Gio-\nvanni Cailo was born in 1700 (the\nauthor omits the date) and had a\ncousin Giovanna Maria (1759-1769)\nwho is omitted from the tree for some\nunknown reason, and Carlo did not\ndie in 1778 but in 1780.\nHe makes the natural mistake that\nmost people make in referring to a\npainting in the National Gallery which\nis supposed to represent the interior of\nthe theatre Farnese in Parma and\nwhich is attributed to Ferdinando Bi-\nbiena 0). Both of these statements are\nincorrect. But after all he does give\nus a number of excellent plates show-\ning what it was they did in the\nlate seventeenth and early eighteenth\ncenturies, and few of these designs are\nas a rule reproduced in the books\npublished out of Italy,\nSo it is mainly for the sake of the\ndesigns—there are fifty-five of them —\nthat you will get the book, the text\nnot being too reliable.\n\nTHE DRAMATIC INDEX FOR\n1925. F. W. Faxon Co. Boston. U. S.\nNANCY by Andre Hallays. H. Lau-\nrens. Price Frs. / 0.00.\nTHE first of these books was sent\nme for review and reached me\ntoday, and I bought the second this\nafternoon.\n(1) Reproduced in \" The Mask*'\nOctober 1926,\nI test a book of reference as you do.\nI look up what has interested me and\nsee what the author has to say about it.\nIf 'tis only a list (as is this Index) I\nlook up a dozen titles of books or ar-\nticles which seem to me important and\nif I do not find any entry I put the\nbook down as decidedly lacking in\ncommonsense.\nIn the Dramatic Index for 1925 I\nfound the following omissions in half\nan hour:\n1. The Drama. A Periodical pub-\nlished by the Drama League of England.\n2. Books and Theatres by Gordon\nCraig published by J. M. Dent & Sons.\n3-10. Ten important articles which\nappeared in \" The Mask \" during\n1925.\n1 therefore concluded that the Dra-\nmatic Index for 1925 was not a little\nincomplete.\nThe collaborators are three men and\nthirteen ladies. It must of course be\nthe men's fault that such important\nomissions occurred. How important,\nlet us specify.\nThere is an entry \" Da vies (Douras),\n(Doris) (Marion) actress 1900.—Im-\npressions of. por. Adela R. St. Johns.\nPhotoplay M. 27: Ja. 25. 59, 194\".\nThere is no entry under the name\nCraig (Edward Gordon)\": neither is\nhis article in \" The Graphic\" Sept,\n1 Ithe 1925 on \" A Reasonable Ham-\nlet at last ie, in modern dress, lis-\nted, though six cr seven other arti-\ncles on this theme are entered. The\nimportant article by W. G. Keith on\n\" John Webb and the Court Theatre\nof Charles II \" which appeared in the\nFebruary number of the \" Archi-\ntectural Review \" London, is not listed.\nIn the book by M. Hallays on\n\" Nancy \" I looked immediately for\ninformation about the Theatre and\nfound half a line and no mention of\nthe important fact that it was decora-\nted by Carlo Bibiena in 1735, under\nStanislaus King of Poland, Duke of\nLorraine and Bar, and, what is per-\nhaps more important, that the same\nTheatre was built circa 1705 by Fran-\ncesco Bibiena, a great uncle of Carlo.\nAltogether two disappointing books,\n\nROME PAST AND PRESENT\nText by William Gaunt. The Studio.\nLondon. ,\nVENICE PAST AND PRESENT\nText by Selwyn Brinton, M. A.\nThe Studio, London.\nMR. Geoffrey Holme continues to\nissue special numbers of The Stu-\ndio which grow better and better, richer\nand richer, and ever more desirable.\nIn the u Rome Past and Present \"\nthe 144 large plates, eight of which\nare in colour, allow us Londoners to\nglance over a city we should other-\nwise perhaps never see.\nIf Roma is like that, then Roma is\nsomething indeed. If it was like that,\n(for we get drawings and prints of the\nRoma of centuries ago), then indeed it\nwas something mere.\nThe plate (No. 3) which we reproduce\nby courtesy of Mr. Holme and the\nPublishers of The Studio, shows us\nthe inside of the largest Roman (?)\nTheatre of the 18th century. And\nwe find it exceptionally interesting;\nnot only because our study is the\nTheatre, but because there are very\nfew such records existing. How many\nrecords exist of St. Peter's, outside\nand inside; of the Vatican, of the\nfifty famous palaces of Roma, of the\nbridges! Everyone paints or records a\nfamous Bridge, Church or Villa; very\nfew have recorded a Theatre: hardly\nanyone the interior of a Theatre\npacked from floor to ceiling and with\nt audience witnessing some opera\nor play as Pannini has here done in\n1729. Callot gave us another in 1616 :\na third, in 1667, was left behind by Ges-\nsels. And so it is : accident yields us a\nhandful of vivid records of theatres,\nand now and again it is an artist who\ndoes a task which was left as a rule\nto scribes or the worst engraver in the\nshop.\nFor it must be admitted that the\ntask of painting or etching rows and\nrows of people all dressed more or less\nalike is but work for a nobody. How\nimpossible to make such a packed\nhouse of people look at all like it\nlooked. Pannini does it better than\nanyone else, and there is not a square\ninch in his painting that is not deli-\nciously done and a delight in itself.\nAnd who can tell us the name of\nthis Theatre ? It may be the Capra-\nnica, the Aliberti or the Theatre of the\nQueen of Poland. I am inclined to\nbelieve that it is the Aliberti, though\ntowards 1770 if not earlier it posses-\nsed six tiers ; but the sixth may have\nbeen added after this design was made\nin 1729, as was done at the Teatro\nAgcstino in Genova.\nThe volume on Venice is as\nrich in illustrations as is the one on\nRoma, though we do not find in it\nany such fine representations of thai\nTheatre life in which it was so rich.\nBut then, as M. Monnier wrote, the\nwhole city is like a set stage, perva-\nded by the life of the theatre, ani\nof such scenes we find a liberal num-\nber in this fascinating volume."}, {"page_pdf": 54, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.54", "debut_caractere": 0, "fin_caractere_exclue": 6480, "texte": "THE RECRUITING OFFICER. A\nComedy by George Farquhar. Designs\nby Vera Willoughhy. Peter Davies\nLtd. Price £,. 4.4,0, (Ten copies\nat £ 12.12.0 and thirty at £> 6.6,0\nare also issued).\nA perfectly splendid book in every\nway.\nIf I were certain that we were li-\nving in the epoch of Bernard Shaw,\nand I am almost certain we are not,\nI should hesitate as a popular reviewer\nof books to speak with any respect\nat all of this the work of a disrepu-\ntable Restoration hack, to wit—George\nFarquhar.\nBut though it's years since I first read\nthis rolicking comedy of his I cannot\nrecall having at any time since I read it\nfelt any particular animosity against this\nGeorge—or, for that matter, ' gainst any\nGeorge; for what's not in a name?...\nand in the name George is all that\nmakes for good.\nGeorge R. Sims, George Augustus\nSala, George Bernard Shaw, Georgie\nPorgie, G. R. S., G. B. S., G. A. S.;\nLord George Gordon, George jean Na-\nthan, Lord George Sanger, Sir George\nFalstaff, ....for dont't tell me he hadn't\na brother-r-an iron-fisted reformer who\nall for John's sake, amen, went about\nbreaking whisky bottles; yes, most\nJohns have brothers and these are\nGeorges.\nAnd how the poets pick the names\nthey need and how they use them.\nOh George, tell them to stop,\nThat was the cry of Mar-l-ali.\nAnd again:\n\" Georgie Porgie pudding and pie\nKiss'd the girls and made 'em cry— \"\nAnd once more:\n\" When good King George Arthur\nruled this land\nHe was a goodly king\nHe stole three pecks of Barley meal\nTo make a bag pudding.\nWhat is not in a name.... ? Con-\nceive these impossibilities:—\nGeorge Gabriel D'Annunzio.\nGeorge Irving.\nGeorge Brinsley Sheridan.\nGeorge Garrick ? ....yes, there ac-\ntually was a George Garrick, ibut it\ndon't seem credible.\nI am not for abolishing the name\nbecause it's just the very thing for a\nWashington or a Stephenson or a\nShaw, and fits Farquhar like a glove.\nYet it's not a first-class name—\nnothing can make it so. Now Richard\nis; Charles, John. William is,— and\nHenry is, and so is Philip; and Paul,\nand Daniel. But Frank, James, Robert,\nPeter, Walter, Thomas, Joseph, An-\ndrew, Ralph all rank with Hugh and\nare second-class names; while Percy,\nReginald, Frederick, Augustus, Leo-\nnard, Anthony, Samuel, Sidney, Geof-\nfrey, Lewis are distinctly third-class\nnames. And when their owners are\ndressed in the coats and hats of these\ndays and seen in London they are\nsomehow difficult to believe in.\nBut let us speak of George no\nmore and turn to Farquhar.\nFarquhar, if unfortunate in his life\nis lucky in his friends. Sir Edmund\nGosse has written him up—has writ-\nten Drury Lane down (the theatre\nwhich allowed the dramatist to die),\nand a lady has titivated him out in\ncolours, this lady being Miss V6ra\nWilloughby.\nBut who is Vera Willoughby-—what\nis she ? I know who she would be were\nthis the 18th century : ~ she'd be Mrs.\nGeorge Farquhar, ...for never has anyone\nunderstood the poor man a3 V6ra does.\nShe would have cut out \" the young\nlady from Yorkshire \", taken George in\nhand and made him outshine Congreve\nand Wycherly; prevented him from\ngoing to Dublin to act, boomed him\nin the salons of Mayfair and Belgra-\nvia, forbidden him the luxury of the\nback garret in St. Martin's Lane;\nforbidden him to die at twenty-nine ;\nmade him live, and introduced him to\nSheridan. She would have done all\nthis for she is the bride-elect of George\nFarquhar ; but then we would never\nhave had her charming drawings had\nshe lived in the 18th century ; those\nchildren of her mind, drawings to be\nfor ever associated with Farquhar and\nVera.\nThere again I am cornered by a\nname. The name Willoughby never\nwas and never can be a name to\nconjure with. I can't bring myself to\nsay it twice. I know many a nice\nbeing called W-ll-ghby and all who\nbear the name are kind : so be kind,\nMiss Vera and change it quickly and\ndo up your house just in the delicious\nway in which you've done these draw-\nings ; — smother your boudoir, your\nhall and your nursery with these love-\nly delicate colours put on as no one\nelse can do it—(and as everyone else\nwill now be trying to do it) ; and\nwhatever else you may want to do, do\nit — for you are del ghtful;—do all but\none thing—don't work for the stage.\nFor you have a talent —and you\nhave most else ; and they will ail be\nwanting you to design scenes and cos-\ntumes for five-pence-three-farthings a me-\ntre as they want eveiyone of talent to\ndo, and then drop them after a sea-\nson or so.\nRemember what happened to your\nunpractical Farquhar.\nSo stick to the illustrating of books,\nto working on paper, and you will\nnever regret it. Do the other thing,\nand you will.\nWith Mr. George Farauhar's leave\nI remain,\nMadam,\nyours admiringly\nAlexander Rich.\nP. S. Note: There are only 550\nnumbered copies and 400 or more\nwill be gone by this time,— so hurry\nup and order one, for all of the\ntwelve large colour prints are well\nworth a guinea apiece, the play is a\ntreat, and the binding is perfection.\nITTIW IWWWBMBWWBWI III I 11 IMWIIIWWWHI » 1WT.1W tWWII HTM\n\nMONTEVERDI HIS LIFE AND\nWORK, by Henry Brunieres. /. M.\nDent & Sons. Price 10/- net.\nTHIS is that other Verdi—Monte-\nverdi ; and I stress the fact only\nbecause I learn daily more and mose\nthat one should leave nothing suppo-\nsed when explaining how a spade is\nnot a bicycle but a thing for digging\nwith.\nThe book appeared some years ago\nin French and now Marie D. Muckie\nhas translated it beautifully into En-\nglish.\nThere are seventy-five lines of music\nillustrating here and there the interesting\ntext. It is altogether a readable work,...\nand mind you have a piano handy.\nMonteverdi died long ago ; it was on\nNovember 29th 1643 that he died;\nhe was born still longer ago—in 1567\nupon May 15th. So that the English\nHistorians of the Opera who can read\nno French will welcome this timely\naccount of part of his life and labours.\nLike Mozart he was made to work\nhard ; when his own special tyrant,\nthe Duke of Mantova, wanted an\nopera, he ordered Monteverdi to go\nahead and deliver one, not later than,\nlet us say, December 3rd. When by\nNovember 3rd Monteverdi had mana-\nged to get three-quarters of said opus\nready, Duke Gonzaga changed his\nmind and, in a thoroughly ladylike\nway, asked for a Ballet instead. This\nnotion of changing his mind was a\nstanding joke with the Duke. Mon-\nteverdi should never have bothered\nabout the Duke, for he had a com-\nfortable church in Venice for which\nto write his dramatic soul to tatters,\nso what he could desire more passes\nordinary comprehension."}, {"page_pdf": 55, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 6820, "texte": "Monteverdi again, like Mozart, like\nBenvenuto Cellin and like Leonardo\nand some fifty or sixty more cuckoldry\nartists, as often as not had to be writing\nto his comfortable Patron asking for\nhis pay. It's a low down sort of snob-\nbery of course to be always worrying\nover the non-arri/ai of a gentleman's\npromise—but there it is. These artists\nhave always done it. They forget to\nmistrust these rascally ; Patrons at the\nbeginning of the job, and pout and\njibber when at the end the Patron\nbegins to mistrust them. Fools all of\nthem; and the Patrons not exactly\nposh.\n\nDRAMA, by Ashley Dalies. Williams\n& Norgate Ltd. Price 1/- net\ncloth.\nE. G. C.\nTHAT celebrated little series, the\n44 Home University Library has\nissued yet another volume which closes\nwith the question of Drama where the\nothers have just touched on it.\nMr. Ashley Dukes being a Drama-\ntist, and what is more, a student of\nthe modern European Theatre, is not\nquite so insular as the job requires.\nFor Drama, the airy home of the\nDramatist, is an undefined spot in\nspace entirely surrounded by preju-\ndice.... and Mr. Dukes is unpreju-\ndiced.\nIn his first line he not only refers\nto 44 the gentle reader \" but also to\n44 the gentle playgoer M ;—sweetness of\ndisposition can go no further. 44 Gentle\nplaygoer \" seems to me to be a vile\nphrase. 44 Tame cat 44 door mat\nthese leap to my mind as describing\nthe conglomerate stuff which goes to\nthe London Theatre these days.\nThen Mr. Dukes begins to hum\nand then to coo. He says \" In the first\nplace it (the book) is a book of the\ntheatre **. The likes of this author is\nnot to be found in all England. In\nthe course of his 245 pages he does\nthe most outrageous things : he is po-\nsitively polite to people he should\n(by every law of the Garrick and\nAuthors' Clubs) be rude to. He is\ncharming to D'Annunzio, ...J mean he\nremembers his name, though he is some-\nwhat incorrect in stating that 44 du-\nring the greater part of the 19th cen-\ntury the Italian Theatre was barren\".\nt or Gailina, 1852-1897, was a cele-\nbrated commedeografo whose plays are\nstill performed when an actor is not\nfearful of comparison with Benini.\nThen there is the author of 44 La\nMorte Civile\" (1868), Paolo Giaco-\nmetti. And what of Giambattista Nic-\ncolini who, Tonelli tells us, 44 fu assai\nlodato per lo stile che passa ancora\nper splendido e magnifico \" ? Can as\nmuch (and \"precisely that) be ;said for\nSir A. W. Pinero's 44 stile \" ?\nThen let us not forget Giuseppe\nGiacosa. I don't, but Mr Dukes does.\nGiacosa wrote 44 Tristi amori \", 44 Come\nle foglie \" and 44 II piii forte \".\nIf we cannot stop a moment to\nconsider Silvio Pellico we surely must\ndo so before 44 Romanticism©\" and\nits author Gerolamo Rovetta, which\nplay Addison Macleod speaks of as\n44 perhaps the most thrilling prose play\nwe have seen \".\nBut if Mr. Dukes forgets these\nitems in the bill he is more than ge-\nnerous to some of the supernumeraries\n—myself for example, and is altoge-\nther alive to the strength of the Thea-\ntre—a very rare thing in a good\nDramatist.\n\nDAUMIER UND DAS THEA-\nTER, edited by Hans Rothe. Paul\nList Verlag, Leipzig. Price Marks 8.50.\nTHE Publisher Paul List is bringing\nout a series of much needed vo-\nlumes, nine in all, on the work of\nDaumier,—of Daumier's work ; there\nis some need to emphasize for too\noften an Editor imagines that it is\nhis opinion which we want, and so he\nwrites on and on telling us all he\nfeels and what orher people have told\nhim, and adding a few illustrations by\nthe master ; binds all this elegantly in\nstiff buckram with gold design, and,\nputting his nose high in the air—like\na Daumier caricature come to life—he\nwalks down St. Jame's and possibly\nround to Leicester Square.\nDr. Hans Rothe on the other hand\nhas let us off with nine and a half\npages of text and has given us sixty\nfour full page reproductions of Dau-\nmier's Theatrical lithographs, the re-\nproductions being, it seems, their ori-\nginal size.\nIt is useless to tell 999 out of every\n1000 actors 44 Your library is incomplete\nwithout this book; your daily work,\nyour very life, is dependent on this\nbook for they hear nothing; or, to\nbe tragically exact, those who most need\nit hear nothing.\nBut so it is; in these sixty-four\nplates he ridicules all that is most ri-\ndiculous in actors, and now and again\nhe lingers less ironically on some things\nthat are touching in their lives.\nAs for the way they are drawn,\nwell, often it is careless; sometimes,\noften, admirable; and twenty times\nout of sixty masterly.\nThe other volumes promised us deal\nwith Daumier and Politics, Daumier\nand War, Daumier and the Artists,\nDaumier and the Lawyers—and he is\never best in the Law Courts for there\nhe gets his theatre as well, and they\nmove Mess ; there is more black and\nwhite, and there too he finds that grey\nlight with which his pencil plays so\nmagnificently, — and it is more tragic.\nOne of the best of the theatrical\nseries shows a young lady's d£but with\nbouquets raining down on her, and at\nthe side, behind one of the wings, her\nold mother with clasped hands is ecs-\ntatically thanking God for it. The\ntext runs: 44 The Daughter makes her\nfirst appearance ; 4\" She is a success \"\ncries her mama ; 44 People are throw-\ning flowers to her —flowers ! God, I\nthank thee (In her ecstasy she\nforgets that she herself ordered the\nbouquets).\n\nTHE MUMMY, A Handbook of\nEgyptian Funerary Archaeology, by\nSir E. A. Wallis Budge Kt. M. A.\nLitt. D. D. Litt. D. Lit., F. S. A.\nCambridge University Press. 45/-net.\nTO talk with sense about a book\non this subject should be, one\nimagines, just the very thing a thea-\ntrical minded critic could do; for he\ntoo deals in signs and he likes the\nlook of them scattered all over this\nbook of five hundred pages.\nWhy say Bull when you can draw\nhim ?—why say lots of Bulls when,\nby adding three strokes after ycur\npicture, you can suggest immediately\nthat what you mean is more than one\nbull. Why try fumblingly to express an-\nger and wrath in words when in one\npicture of an ape with his back up\nand tall curling you can hit the nail\nat once ? Talking about Death is a\nsad and fruitless talk ; but an 0 covers the\nwhole question and leaves a lot over\nto spare.—Do not tell me you see\nwhat I mean ; put two 0 0 on a postcard\nand I shall understand—and the post-\nman won't— two lovely white eyes.\nBut for purposes of expression the\nShaws of this world are convinced\nthat there is nothing better than leather ;\nand they have my sympathy always\nfrom afar. To be in 1926 so near\nthe hub as all that, is to be too near\nthe hum.\nYet we theatrical people fully de-\nserve the contempt of the w7ordy ones\nfor we have recently given up the use\nof signs. So we complain. You can-\nnot grumble in signs; the inventors of\nthe sign language were unable to\nstretch their imaginations far enough\nto express a fog or the misty moun-"}, {"page_pdf": 56, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 4292, "texte": "tain tops of logic. A London parti-\ncular was beyond them ; they held it\nall too highbrow of the police to allow\nthat. But the signs they did make can\nall be found in this little tribute of\nfive hundred pages to 44 The Mummy \",\nand Sir Wallis Budge has made all the\nsigns clear to the reader. After reading\na page or two anyone can write a long\nletter in Egyptian—and actors at last\nhave a dictionary which need not tax\ntheir intelligence in the very least.\nA magnificent piece of work.\n\n/ 6 TO 20. by Robin Douglas. A•\nM. Philpot Ltd. Price 7/ 6.\nAT the end of this first book of his\nMr. Douglas, after wild adven-\ntures in London, finds himself married\nat twenty-one.\nThe notion is a good one. He\nhas chosen a profession and is a member\nof the Advertising Department of a\ngroup of papers, and is ambitious to\nwin his way to the top of that pro-\nfession. So perhaps we shall lose\nanother gifted writer. But what is a\nwriter to do who can't get paid for\nwork. It does not feed him and his\nfamily if you tell him that lots of ar-\ntists, writers and musicians have had\ntwenty years of that sort of treatment,\nbecause he must know that the strain\nbreaks down too many men and he\ndoesn't want to break down at twenty-\nfive, break up his house at twenty-six,\nbreak the ten commandments which he\nknows are sound, break someone's head\nand perhaps some day break into song.\nSo may be the Advertising business\nin the very thing, I know a charming\nfellow who lives in Paris; — once\nwrote and drew and had a studio;\ngave that all up because the breaking\nin process struck him as too costly.\nNow he has an advertising business^\nHow many thousands of francs pass\nand repass through his fingers each\nquarter I never dared to ask; but I\nknow they must be many thousand\nthousands.\nHe has none of the liberty of the\nartist for the office ties him down. It\nwould break me down — but there\nyou are; that's not his brittle spot,\nand the lucky thing is to know where\nthat weak spot is. Many folk lose\nthirty-five years locating it and then\ndon't discover it.\nBut what about the strong point ? Is it\never worth sacrificing one's career for that?\nBut you have to find the strong\npoint. How much time can you spare\nto do that ?\nThese reflections Mr. Douglas's book\nawakens in me.\n\nSONNETS VERSES by Enid\nClay. The Golden Cockerel Press.\n1926. 15/- net. {Limited Edition\nod 450 copies).\nTHE poems are pretty and the en-\ngravings are stern. Mr. Gill is,\nof course, a wood-engraver and a half\n— a born craftsman : but it is the way\nthe book is printed and bound which\nfor the moment holds my attention.\nMr. Gibbs has composed the thing\nwell. The press work by A. C. Cooper\nand W. R. Mills is good.\nThe books from the Golden Cocke-\nrel Press were always interesting, but\nthose I chanced to see were not care-\nfully enough bound, nor was the set-\nting and printing quite as good as these\nof a swell de luxe book might be.\nMr. Gibbings, seeing this, took over\nthe management of the Press, and now\nevery page, margin, stitch, hinge and\ncorner shows that the eye and mind of\nMr. Gibbings is at work.\nThe Golden Cockerel Press, has a\nfuture before it, more especially if it\nwill issue just a few rough and ready\npopular booklets on its off days, its\nSaturday afternoons, the workmen being\nallowed to go along easily with the\ncraft, doing their best but not trying\nto be too perfect for words.\nBeing careless is not what I mean,\nbut going a bit more easily, carrying\nthemselves a shade less stiffly. They\ncan always do that on Sundays.\n\nTHE LITTLE ROOM by Guy\nPococfc, illustrated by Henry S. Sands.\n/. M. Dent & Sons. Price 6/- net.\nA series of pleasant short essays on\ninteresting things including such\nsubjects as Fairies and Fairy-Tales,\nBallads, The Origin of Mezzotinto, the\nMaking of Anthologies, Ghosts in Arfc>\nThe Bassoon, the Building of a Picture,\nand other kindred themes.\n\nTHE OLD BRIDGE by William\nJ. Locke. The Bodley Head. Price\n7/6 net.\nTHOSE who like Mr. Locke's kindly\nand graceful tales will welcome\nthis new story of his, for the back-\nground of much of which he has se-\nlected Florence, depicting the humours\nof its pensions and tourists as well as\ndescribing enthusiastically the beauty to\nbe found in the city itself, its streets\nand galleries, and that44 Ponte Vecchio \"\nfrom which he takes the name."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c052", "article_bluemountain": "bmtnaau_1927-01_01#c052", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "37", "page_fin": "37", "image_debut": 49, "image_fin": 49, "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=bmtnaau192701-01.2.23.1", "titre_corps": "View of the Théâtre Historique built 1847 by Architects de Dreux and Sechan for Alexandre Dumas", "titre_sommaire": "View of the Théâtre Historique built 1847 by Architects de Dreux and Sechan for Alexandre Dumas", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 49, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.49", "debut_caractere": 4575, "fin_caractere_exclue": 4671, "texte": "View of the Théâtre Historique built 1847\nby Architects de Dreux and Sechan for\nAlexandre Dumas."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c053", "article_bluemountain": "bmtnaau_1927-01_01#c053", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "37", "page_fin": "38", "image_debut": 49, "image_fin": 50, "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=bmtnaau192701-01.2.23.2", "titre_corps": "A NEW EDITION of Dumas's works in forty-eight volumes", "titre_sommaire": "A NEW EDITION of Dumas's works in forty-eight volumes", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 49, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.49", "debut_caractere": 4685, "fin_caractere_exclue": 6204, "texte": "A NEW EDITION of Dumas s\nworks in forty-eight volomes. J. M.\nDent & Sons. Price 4/6 a volume.\nAN amalgamated Sage has recently\nasserted his grave doubts as to\nwhether there exists in Great Britain a\npublic willing to pay for the forty-eight\nvolumes of Dumas which the house of\nDent and Sons is bringing out at four\nand sixpence per volume.\nI doubt his doubts.\nWhen I was young an edition of\nDumas appeared costing, if I remember\nright, more than that per volume. I\nhad very little money indeed at that\ntime, but I bought all of them, f\nwore out half the volumes in ten years ;\nI lost about six volumes by lending to\nfriends who then told me tlxat they too\nhad worn them out.\nit's true that booksellers were very\nencouraging in those days. I knew a\ncertain Mr. Henry Glaisher and his\nsister,... both charming people and both\nborn tempters; they had a shop in the\nStrand, a little shop, near the present\nSavoy Hotel, which was not then built.\nDaily I would visit the Glaishers. In no\ntime I was owing them money... all\nDumas's fault... ; but the bookseller,\nbesides being like the serpent, was a true\nChristian and kindly allowed me time\nto pay.\nHe was paid,... but I can never\nrepay him for having displayed the Du-\nmas as he did. That was genius in him.\nDumas can't do everything; Dent can't\ndo everything — booksellers must do\nsomething. The wise ones have small\nshops and do the selling business in a\nvery friendly way. We like that. We\ndon't want to feel we are going to church\nor to a reception at some aristocratic"}, {"page_pdf": 50, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 1769, "texte": "hou$6 when we go to browse and hunt\nfor Dumas or Stendhal or Lord George\nSanger. We want to have some nook\nto get into — some corner, and there\nto rummage and find our Dumas.\nBut what is Dumas to modern rea-\nders ? 44 The Chevalier d%Harmenlal \"\nand Olympe de Cleves ? Have they\never read these ? Monte Crista and\nthe Three Musketeers they have heard\nall about; everyone feels he has read\nthem, even those who never read them.\nThe fact is that people who are\n44 unable to read Dumas\" never began\nto read him ; — that was their trouble.\nThey were semi-subtle brains and had\nheard that Dumas was jolly —- and\nfelt that he would not match with their\ngloves.\nNow there is no book more subtle\nor more elusive than a book by old\nAlexandre. He is the psychologist.\nNever is he twice alike and yet we\nare always so sure we can explain him,\n—• so direct he seems.\nIf he is ever dull it is not because\nhe is drab. He is dull ...and how\nseldom... because he had been asked\nfor copy and could not say no; he\ntherefore sometimes turns into a little\ndull baby and prattles rather monoto-\nnously — that is all.\nMoney he adored ; it stimulated and\nexhilerated him : after a taste of it he\nwould scribble away and give us good,\nbad and indifferent in equal portions.\nHe is a man that no one should lecture,\nfor he gave us all he possessed,... and\nyou can't do more. I know nothing\nof his that he witheld — and, if one\nthinks of him as the dear old man, its\nonly because he gave us his gray hair too.\nWhat an awful fault — to have\nsuch generosity; and how it stains\nevery page of his endless works.\nTo question whether the largest En-\nglish public can bring themselves to read\nthese forty-eight volumes of sound and\nbrilliant common sense is to question\nthe very sanity of Great Britain."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c054", "article_bluemountain": "bmtnaau_1927-01_01#c054", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "38", "page_fin": "38", "image_debut": 50, "image_fin": 50, "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=bmtnaau192701-01.2.23.3", "titre_corps": "\"ADOLPHE \" by Benjamin Constant", "titre_sommaire": "\"ADOLPHE \" by Benjamin Constant", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 50, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.50", "debut_caractere": 1771, "fin_caractere_exclue": 2908, "texte": "\"ADOLPHE \" by Benjamin Con-\nslant. Messrs. Stanley Paul & Com-\npany. Price 2[6.\nTHIS is a charming story and it is\nmost admirably printed in large\ntype by Messrs. Stanley Paul & Com-\npany, and is doubtless the best of Ben-\njamin Constant. There is an interes-\nting introduction by Mr. J. Lewis\nMay who is also the translator, and\nin this introduction he tells us that\nConstant came to England where 44 he\nimbibed that love of moderation and\nconstitutional government which was\ndestined never to forsake him which,\nfor moderate institutions, seems an excel-\nlent basis provided they are modera-\ntely well aware that there are others\n— other constitutions—and these neces-\nsary to us—and that necessity knows\nno lav/. But what does it matter to\nus that Constant imbibed these things ?\nwhat matters is whether he has written\nhis story well or ill. He has written\nit very well. It is a short story and\nyet has all the good things of a long\none. You live a long time in reading\nit; but you can read it in an hour and\na half. It was written when he was\nin Weimar, soon after 1795. It is in\nthe best romantic manner and is a\nlittle work of art."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c055", "article_bluemountain": "bmtnaau_1927-01_01#c055", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "38", "page_fin": "38", "image_debut": 50, "image_fin": 50, "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=bmtnaau192701-01.2.23.4", "titre_corps": "THE AMERICAN BALLET by Ted Shawn", "titre_sommaire": "THE AMERICAN BALLET by Ted Shawn", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 50, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.50", "debut_caractere": 2910, "fin_caractere_exclue": 6599, "texte": "THE AMERICAN BALLET by\nTed Shawn. Henry Holt & Co.\nNew York. Price $ 7.50.\nMR. Shawn has divided his book\ninto chapters on The spiritual\nBasis ; The Sources of thematic Ma-\nterial ; the classic European Ballet tra-\ndition, how it helps and how it hin-\nders ; Social dancing ; American Music\nand cpmposor ; Dancing and nudity ;\nDancing for men ; Dancing In church ;\nDancing and the Theatre; and The\nDream.\nThere is a Preface by Mr. Have-\nlock Ellis, who writes : 44 The path\n44 of the genuine artist in danc ng to-\n44 day 's rather like the path to mar-\n44 tyrdom. The world is prepared to\n\" appreciate the dancer, but the world\n44 has not yet prepared a stage, and\n44 still less a temple, to receive the\n44 dancer**; which seems to us, after\n44 twenty years thinking about it, to be\n44 overstating our needs. 44 There is **\nMr. Ellis goes on, 44 the concert hall\n44 ready for the musician, and there is\n44 the opera house where the ancient\n44 formal Ital'an ballet is permitted to\n44 figure as a mere interlude, but other-\n44 wise the dancer must fight w th all\n44 sorts of vested and iradtional inte-\n44 rests, and in the end submit to an\n44 often heart-rend'ng compromise, in\n44 which the artist's conception is lost.\n44 It is inevitable; it must happen in\n44 the new birth of any art. But the\n44 t me is coming for the next step **.\nThere are a good many photogra-\nphic illustrations, but all seem to re-\npresent Mr. Shawn, M'ss St. Denis and\nthe r troupe ; we look in vain for one\nwhich shows us that greatest figure of\nthe American dance, ....indeed, of the\nnew spirit in the dance in a far wi-\nder sense; there is, in fact, no picture\nat all of Isadora Duncan, which seems\na strange omission. *\nMr. Shawn, it is true, does not\nignore Miss Duncan. He refers to\nher not infrequently ; but bracketted\nwith, and secondary to, Miss Ruth\nSr. Denis. 44 Just as the first great\nwaves foretell the flood to come, so\ncame the first pioneers, Ruth St. De-\nnis and Isadora Duncan \" : This\nrenaissance of the dance which is now\ntaking place, and which we all reeog-\nn ze, owes its beginning to the pio-\nneering of two great American dan-\ncers, Ruth St. Denis and Isadora Dun-\ncan \" : ....and so on, and so on.\nNow in a book which is so sa-\nliently a piece of propaganda for the\nShawn-St. Denis ideas and practice it\nis natural that Mr. Shawn should wish\nto give prominence to his own com-\npanion. But then he should surely\nhave called this nice looking volume\n44 The St. Denis-Shawn Ballet \" and\nnot 44 The American Ballet\" ; for, in\na work bearing such a title, we na-\nturally expect a large part to be given\nto the work of the greatest of them\nall, and, as has been insisted on by\n44 The Mask \" since 1908, there are\nnot two greatest but only one.\nNo history of the American dance,,\nor of the dance at all in its noblest\nsense as manifested in the last thirty\nyears, can be worth serious considera-\ntion, which does not do just'ce, and\npay adequate tribute, to the greatest\nexponent and the most inspired mo-\ndern protagonist of the Dance,\nIt is doubtless the democratic spirit\nwhich would always raise on stools\nall the surrcund ng figures lest a cen-\ntral figure should overtop them ; but,\npersonally, we dislike that artific'al pro-\ncess of levelling up even in ordinary\nand civic affa rs, and infin tely more\nso in Art.\nThe truth that M'ss Duncan is her-\nself dees not render Miss St. Denis\nand Mr. Shawn any less than they\nare: and a due sense of proportion,\nan understanding of that primal inspi-\nration to whose power the requick-\nened life of the Dance is due, would\nhave lent not only a grace, but also\na defin'te value, to Mr. Shawn's book.\nIM I Ulllll Hi 'I BM—MBaWKMPMWllB IW1IBHWWW"}]}, {"article_id": "bm-bmtnaau-1927-01-01-c056", "article_bluemountain": "bmtnaau_1927-01_01#c056", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "38", "page_fin": "39", "image_debut": 50, "image_fin": 51, "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=bmtnaau192701-01.2.23.5", "titre_corps": "THESE PLAYERS by Doris Westwood", "titre_sommaire": "THESE PLAYERS by Doris Westwood", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 50, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.50", "debut_caractere": 6601, "fin_caractere_exclue": 6987, "texte": "THESE PLAYERS. A Diary of\nthe 44 Old Vic \" by Doris Westwood.\nHeath Cranton Ltd. Price 116.\nTHIS Diary, issued as a book at the\npr ce of 7/6 net and preceded\nby a 44 Foreword\" by Miss Lilian\nBaylis, makes the 44 Old Vic\" ap-\npear even less serious and significant\nthan before.\nMiss Westwcod occupied for two\nyears the position of alternate promp-\nter and walker-on at the 44 Old Vic \" ,"}, {"page_pdf": 51, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 3451, "texte": "she 44 came to us \" writes Miss Bay-\nlis, 44 as a student in the Shakespeare\nCompany primarily as a writer who\nwanted to gain an insight into stage\nlife\". Her eagerness, and admiration\nand affection for her companions, are\nendearing qualities ; but when a thea-\ntre has made so much parade about\n'is doings, and claimed and received\nso much financial support, a good deal\nmore is expected of it than is conveyed\nin Miss Westwood's artless pages.\nThat habit of Miss Baylis's, too,\nof always holding out her hand, of\nalways echoing a certa'n scriptural\nfigure ....(was it not the horse leech's\ndaughter ?...) who perpetually cried\n44 Give, give \", becomes distasteful at\nlast, especially from one who has recei-\nved public charity on so lavish a\nscale.\nEven in a Preface of one page and\na half she cannot refrain from harping\non the same eleemosynary note. She\nadmits that they have all profited large-\nly ;—44 Gone is the disused public\n4 4 house in Oakley Street, wh'ch then\n44 served mainly as a wardrobe; the\n44 tiny saloon in the theatre, which\n44 was the emergency rehearsal room\n44 when the stage was inaccessible ; the\n44 diminutive dressing rooms shared by\n44 those playing important parts, and\n44 the large room, which, during the\n44 season of which the author writes,\n44 had been reclaimed from Lorley\n44 College, and with a partition, ser-\n44 ved as dressing-rooms for the boys\n4 4 and girls who walked on and played\n44 small parts. In their stead are a\n44 wardrobe room and workshop which\n44 any theatre might envy, a large room\n44 at the top of the building, in which\n44 the exact size of the stage is mea-\n44 sured out, and the position of the\n44 apron, curtains, etc., clearly indica-\n44 ted, and dressing rooms in plenty,\n44 complete with hot and cold water,\n44 and even a bath-rocm !' 44 Truly \",\nadds Miss Baylis 44 we have much\nfor which to be thankful I\nBut that does not prevent her from\nimmediately afterwards resuming the\nold tone.\n44 It \" (this little book,) 44 will also\n44 show how hard a repertory actor's\n44 life is, with its ceaseless study and\n44 active work, for the necessity for\n44 more rehearsal of these mighty plays\n44 is constantly emphasised. Unfortu-\n45 nately until the Vic has a second\n44 theatre and public at Sadler's Wells\n44 nothing can be done to lessen this\n44 strain which is a serious one\".\nPoor poor repertory actors of the\nOld Vic, with their hot and cold\nwater, and $1! those other conveniences\nwhich the lavish gifts of many thousands\ncan supply ; .... how hard to expect\n44 ceaseless study \" and 44 active work \"\nfrom them until an additional £ 40,000\nis found to add to the £ 14,200 al-\nready granted by the Carnegie Trust\nfor the purchase of the old Sadler's\nWells Theatre for Miss Baylis's own\nsatisfaction and the relief of these pi-\nteous wights of hers.\nIf the Old Vic and its respected\nDirectress knew a little of the condi-\ntions under which serious and momen-\ntous work is often carried on year after\nyear, without profit, without gifts or\nendowments, yet also without perpetual\nwhining, they would perhaps recognize\nthe virtue of silencing this continual\nappeal to charity ; and do something\nto justify the large sums already, hea-\nven knows why, bestowed upon this\nlittle enterprise of theirs, before beg-\nging for more money to alleviate the\nlot of what is considered to be a very\nmediocre group of players, and to\nenable them to present more and more\nimmortal plays in an inferior way."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c057", "article_bluemountain": "bmtnaau_1927-01_01#c057", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "39", "page_fin": "39", "image_debut": 51, "image_fin": 51, "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=bmtnaau192701-01.2.23.6", "titre_corps": "STORIES AND DRAMA: Hitherto Unpublished by Leon Tolstoy", "titre_sommaire": "STORIES AND DRAMA: Hitherto Unpublished by Leon Tolstoy", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 51, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.51", "debut_caractere": 3453, "fin_caractere_exclue": 5357, "texte": "STORIES AND DRAMAS: Hi-\ntherto Unpublished, by Leon Tolstoy>\n/. M. Dent & Sons. Price 7/6 net.\nTHESE stories and plays were first\npublished in 1926 in Paris, in\nthe Russian language, having been\ncarefully selected and edited by three\nRussian scholars, of whom one was a\nclose personal friend of Tolstoy and\nhis family. To this friend, at that\ntime head of a publishing house in\nMoscow, the manuscripts were entrus-\nted for publication, after Tolstoy's\ndeath, by his daughter and literary\nexecutor, Alexandra ; but, the publish-\ning house in Moscow having been\nsuppressed by the Soviet authorities,\nthe former director and his co-editors\nfinally issued the book in Paris, and\nthe stories and plays contained in it\nare now translated into English for the\nfirst time.\nThe contents are representative of a\nlong period, since the first story was\nwritten in 1851 and the last but four\nyears before; Tolstoy's death, and, as\nMr. Polner, one of the editors, writes\nin a Preface to the Russian edition,\n44 Thus the thirteen productions, as\n44 they pass before us, afford us thir-\n44 teen expressions of the changes in\n44 Tolstoy's spiritual life—from his rest-\n44 less, and richly talented, and many-\n44 coloured period of youth to his\n44 dry, and didactic, and apostolic old\n«« ••\nage .\nThe lively extemporary play, 44 The\nNihilist \" was written in the autumn\nof 1863, the year after ToUtoy's mar-\nriage, for some private theatricals for a\nparty of young people staying at Kras-\nnaya Polyana; <4 The Contaminated\nFamily a comedy in five acts, is a\npropaganda play which Tolstoy had\ngreatly but vainly desired to get pro-\nduced at the Imperial Theatre ; 44 Va-\nrenka \" is a charming tale about some\nlittle children being taken to the thea-\ntre, written in Moscow in 1857 ;\nwhile 44 Dramatic Scenes about the\n44 Pan (0 who became a Beggar \"\ndates from the end of 1886, and 44 Pe-\nter the Publican \" from June 1894."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c058", "article_bluemountain": "bmtnaau_1927-01_01#c058", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "39", "page_fin": "39", "image_debut": 51, "image_fin": 51, "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=bmtnaau192701-01.2.23.7", "titre_corps": "SIDE-WALK STUDIES by Austin Dobson", "titre_sommaire": "SIDE-WALK STUDIES by Austin Dobson", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 51, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.51", "debut_caractere": 5359, "fin_caractere_exclue": 6944, "texte": "SIDE-WALK STUDIES by Austin\nDobson. Oxfoxd University Press.\nTHIS pretty little volume is num-\nber 257 in 44 The World's Clas-\nsics \" series issued by the Oxford Uni-\nversity Press. The collection of pa-\npers was first published by Messrs\nChatto & Windus in 1902, issued by\nthe Oxford University Press in 1923,\nand included in the present series\nin 1924.\nJn the 275 little pages we find\nessays, written in that graceful way\nwhich was Austin Dobson's own, 6n\nsuch subjects as Mrs. Woffington, St\nJames's Park, The Covent-Garden\nJournel, Chinese Shadows, 44 Dear\nMrs, Delany \", and other topics of the\nperiod, and there is an Index which\nshows at a glance that there are re-\nferences to be found relative to such\nsubjects as Astley's Amphitheatre,\nGay's ' Beggar's Opera', Bensley, the\nactor, Chetwood, the Prompter, Colley\nCibber, the Cock-Pit in St. James's\nPark, Johnson at Co vent Garden Thea-\ntre, Drury Lane Theatre, the Italian\nFantoccini, M. Seraphin and his Chi-\nnese shadows, and many more of\ninterest to those who care for the\nstage.\nOne serious fault about the Oxford\nUniversity Press is that it seems to have\na dread of telling us all the price of\nits books.\nIf I like one of a series and there\nbe 256 like volumes in the series 1\nmay want to buy ten or twelve. I may\ntonight wish to draw a cheque and\norder from my bookseller. I don't\nwant to run up a bill with him :—I\nwant to pay down at once. I there-\nfore want the Oxford University Press\nto state clearly and without any unne-\ncessary indifference or eccessive modesty\nthe prices of all these books.\n(i) A Polish lord."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c059", "article_bluemountain": "bmtnaau_1927-01_01#c059", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "40", "page_fin": "40", "image_debut": 52, "image_fin": 52, "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=bmtnaau192701-01.2.23.8", "titre_corps": "THE LIFE OF BENVENUTO CELLINITHE TRAVELS OF MARCO POLO", "titre_sommaire": "THE LIFE OF BENVENUTO CELLINITHE TRAVELS OF MARCO POLO", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 52, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.52", "debut_caractere": 0, "fin_caractere_exclue": 1674, "texte": "THE LIFE OF BENVENUTO\nCELLINI, Translated by Anne Mac-\ndonnell. Introduction by Henry Wil-\nson. J. M. Dent & Sons. 7/6 net.\nTHE TRAVELS OF MARCO\nPOLO with an introduction by John\nMasejield. J. M. Dent & Sons ;\n7/6 net.\nTHESE two admirable reprints of\ntwo notable books will form a\nvaluable addition to every library.\nUniform in edition, they are both well\nillustrated, and contain an immense\namount of enjoyment for a very mo-\nderate price.\nMarco Polo's great travel book,\ntreating of his marvellous adventures in\nthe Orient of the thirteenth century,\nremains even today the chief authority\nfor parts of Central Asia and China ;\nit is full of rich and brilliant colour,\nof strange and curious facts and de-\ntails, with vivid descriptions of oriental\ncustoms and courts, and especially of\nthe long sojourn with the great Khan\nKublai (Coleiidge's \" Kubla Khan \")\nwho received the Venetian travellers\n\" honourably and graciously nta-\nking much especially of Marco *' who\nwas then a young gallant\".\nThere have been many editions of\nthis famous work in different langua-\nges ; but the present one, with Mr.\nMasefield's keen and informative In-\ntroduction and Itinerary of Polo's jour-\nneyings, the Index and many Notes\nand illustrations, fthe convenient form\nand low price, should render it espe-\ncially popular.\nUniform with this volume, the new\nedition of the life of Benvenuto Cel-\nlini, one of the great autobiographies of\nthe world, with its crowded record of\nadventures, intrigues, crimes, scandals, is\nas welcome as ever. Far more exci-\nting than most novels, it is well to\nread it after you have been to Italy ;\nand to read it again after you have\nlived there some years."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c060", "article_bluemountain": "bmtnaau_1927-01_01#c060", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "40", "page_fin": "40", "image_debut": 52, "image_fin": 52, "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=bmtnaau192701-01.2.23.9", "titre_corps": "THE DECAMERON from the Italian of BoccaccioTHE GRASSHOPPER. A. ChekhovTHE SHOOTING PARTY by A. Chekhov", "titre_sommaire": "THE DECAMERON from the Italian of BoccaccioTHE GRASSHOPPER. A. ChekhovTHE SHOOTING PARTY by A. Chekhov", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 52, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.52", "debut_caractere": 1676, "fin_caractere_exclue": 3549, "texte": "THE DECAMERON from the Ita-\nlian of Boccaccio.\nTHE GRASSHOPPER and other\nStories; A. Chekhov. The Interna-\ntional Library. Stanley Paul & Co.\n2/6 a volume.\nTHE SHOOTING PARTY by\nA. Chekhov. Stanley Paul & Co.\n7/6.\nMESSRS STANLEY PAUL conti-\nnue their useful work of is-\nsuing small and inexpensive editions\nof important European works. Some\nof their Dumas publications have al-\nready been praised in these pages, and\nwe now welcome a volume of Chek-\nhov's stories, newly translated by Mr.\nA. E. Chamot, who also contributes\nan introduction dealing with Chek-\nhov's life and work. \"It is diffi-\ncult says Mr. Chamot, \"to make\na selection of Chekhov's stories, which\nin general are so equal in merit, and\nthose we offer the reader have been\nchosen among his best and most cha-\nracteristic works, to show him in va-\nrious moods, both gay and sad \".\n\" The last three stories have not\nbeen translated before, and they are\ngiven as specimens of his early style,\nwhich was chiefly of a light and hu-\nmorous nature—very different from his\nlater works in which, like a skilful\ndoctor, he probes human nature to the\nvery depths of the soul \".\nThe other new volume of the\nedition is an expurgated Decameron.\nAnd even shorn of much, how enter-\ntaining are these Tales. It is useless to\nask \" why expurgate ? \" for Dr. Bowd-\nler must never be proved to have li-\nved in vain.\nBut one wishes that the Family\nBowdler were extinct. One realizes\nthey are not on reading that thrilling\nstory \" The Shooting Party \", which\nis cut, or seems to be cut, by the\ntranslator, or even by the author him-\nself, for, good as it is, it hesitates.\n1 here are Russian writers, Pushkin,\nfor example, who never seem to hesi-\ntate, and they do well. But not many\nwriters can write such a clever story\nas this one, nor lend it those deeper\nvalues which, for lack of a shorter\nword, one can but call beautiful."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c061", "article_bluemountain": "bmtnaau_1927-01_01#c061", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "40", "page_fin": "40", "image_debut": 52, "image_fin": 52, "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=bmtnaau192701-01.2.23.10", "titre_corps": "A SHORT ITALIAN DICTIONARY", "titre_sommaire": "A SHORT ITALIAN DICTIONARY", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 52, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.52", "debut_caractere": 3551, "fin_caractere_exclue": 4322, "texte": "A SHORT ITALIAN DICTIO-\nNARY (New and Enlarged Edition)\nby Alfred Hoare. Vol. 2. English-\nItalian. Cambridge University Press.\nPrice 10/6 net.\nMR. Hoare has conferred a real\nboon on Italian-English students\nby the compilation of his up-to-date\nDictionaries,\nSome months ago we received the\nlarge handsome one-volume, \" Italian-\nDictionary \" which comprises both an\nItalian-English and English-Italian sec-\ntion.\nThe first, \" Italian-Englishsec-\ntion of this has already appeared in\na cheap and handy edition; and now\nthe English-Italian section reaches us,\nin a new and enlarged edition, well\nprinted, in a format light and pleasant\nto handle, and at a very modest price.\nThe work is compact, comprehen-\nsive and scholarly, and contains an\nabundance of idiomatic phrases."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c062", "article_bluemountain": "bmtnaau_1927-01_01#c062", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "40", "page_fin": "40", "image_debut": 52, "image_fin": 52, "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=bmtnaau192701-01.2.23.11", "titre_corps": "WILLIAM BLAKE by Osbert Burdett", "titre_sommaire": "WILLIAM BLAKE by Osbert Burdett", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 52, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.52", "debut_caractere": 4324, "fin_caractere_exclue": 4692, "texte": "WILLIAM BLAKE by Oslerl Bur-\ndett. English Men of Letters Series.\nMacmillan. Price 5/-net.\nTHOSE who know the larger Lives\nof Blake will perhaps find little\nthat is new to them in this one; but\nit will be welcomed by many who are\nnot familiar with more detailed Bio-\ngraphies of this great artist; and in\nany case, can we any of us read too\noften the life of this man."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c063", "article_bluemountain": "bmtnaau_1927-01_01#c063", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "40", "page_fin": "41", "image_debut": 52, "image_fin": 53, "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=bmtnaau192701-01.2.23.12", "titre_corps": "DIE THEATERDEKORATION DES BAROCK-Paul Zucker", "titre_sommaire": "DIE THEATERDEKORATION DES BAROCK-Paul Zucker", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 52, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.52", "debut_caractere": 4694, "fin_caractere_exclue": 6542, "texte": "DIE THE A TERDEKORA TION\nDES BAROCK—Paul Zucker. Ru-\ndolf Kaemm ere r Verlag. Berlin, 1925.\nPrice Marks 45.\nIHrW—l ■- ■IIMIMM ■ Hill II—I I ■■III ■■ I llllll 11 MM III II I I g\n1 Begin to think that it was very\neasy to be an actor in the Greek\ntheatre, although I once held quUe the\nopposite view and held that to perform\na Greek play as it should be played\nwas most difficult. Why I now think\nit must have been easy is because\nthere was only one performance given,\nand no one had time to be critical,\nbecause they were not going to see\nit again, and the spectator had to exert\nhimself to get the whole worth of\nit then and there or lose it altogether.\nAnd I feel somehow that Mr. Paul\nZucker, the author of this book, should\nhave been a Greek actor, because he\nmakes a great effect with his first per-\nformance ; so much so that on looking\ncarefully through his book I found\nall the plums at once. It was only\nat the second and third glance that\nthe faults began to pop out, and here\nare some of them :\nHe places Girolamo Fontana far\ntoo early in his book ; for, while the\npicture he shows us is a design of\n1690, he places it between one of\n1652 and others of 1474, whereas\nit should have come after both. Ni-\ncolo Michetti whose date is 1729, is\nplaced before designs of 1674.\nHe gives 8 designs by Filippo Ju-\nvarra and says these were designs for\na theatre at Torino, and dates them\n1750. Now they were for a theatre\nin Rome and their dates are 1710\nto 1712.\nHe gives us two designs by Bartolo-\nmeo Poli and dates these about 1 740 ;\nbut Bartolomeo died in 1737, and\nthis I feel Mr. Zucker might have\ndiscovered.\nWriting of the different opera hou-\nses of Venice, he says that the S- Mose\nwas founded in 1641, whereas the\ntheatre he means is the San Moise\nfounded in 1638-9.\nAgain he says the S. Lucca, (mea-\nning the San Luca), was founded in"}, {"page_pdf": 53, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.53", "debut_caractere": 0, "fin_caractere_exclue": 1897, "texte": "1661, whereas it was founded in\n1629, according to Galvani. It was\nthen burnt in 1652 and rebuilt in 1661.\nDr. Zucker tells us that the Tea-\ntro S. Angelo was founded in 1657\nwhereas Galvani says that it was\nbuilt in 1676..,. he tells us that the San\nGiovanni Ghrisostemo was founded in\n1699 whereas we have a record of\nperformances taking place in 1678, 79,\nand 80, afterwards year by year, and\nit was founded in 1677. He also\nspells it with a C instead a G. San\nSamuele he puts down as being founded\nin 1710 whereas according to Luigi\nTorrelii it was erected in 1655 by\nthe noble family of Grimani. He\nsays that Carlo Fontana built the Tea-\ntro Tordinone in 1675 but Fontana\nbuilt the Tor di Nona in 1660.\nFurther on in the work Dr. Paul\nZucker gives a brief account of the\nfamily Bibiena. He sketches out for\nus a small genealogical tree, showing\nnine of the family suspended thereon,\nbut, brief though he be, he manages to\nget in six mistakes. G. M. Bibiena\nwas born 1625 not 1619, Alessan-\ndro died in 1760 not 1769. Giu-\nseppe died in 1757 not 1756. Gio-\nvanni Cailo was born in 1700 (the\nauthor omits the date) and had a\ncousin Giovanna Maria (1759-1769)\nwho is omitted from the tree for some\nunknown reason, and Carlo did not\ndie in 1778 but in 1780.\nHe makes the natural mistake that\nmost people make in referring to a\npainting in the National Gallery which\nis supposed to represent the interior of\nthe theatre Farnese in Parma and\nwhich is attributed to Ferdinando Bi-\nbiena 0). Both of these statements are\nincorrect. But after all he does give\nus a number of excellent plates show-\ning what it was they did in the\nlate seventeenth and early eighteenth\ncenturies, and few of these designs are\nas a rule reproduced in the books\npublished out of Italy,\nSo it is mainly for the sake of the\ndesigns—there are fifty-five of them —\nthat you will get the book, the text\nnot being too reliable."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c064", "article_bluemountain": "bmtnaau_1927-01_01#c064", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "41", "page_fin": "41", "image_debut": 53, "image_fin": 53, "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=bmtnaau192701-01.2.23.13", "titre_corps": "THE DRAMATIC INDEX FOR 1925", "titre_sommaire": "THE DRAMATIC INDEX FOR 1925", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 53, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.53", "debut_caractere": 1899, "fin_caractere_exclue": 4034, "texte": "THE DRAMATIC INDEX FOR\n1925. F. W. Faxon Co. Boston. U. S.\nNANCY by Andre Hallays. H. Lau-\nrens. Price Frs. / 0.00.\nTHE first of these books was sent\nme for review and reached me\ntoday, and I bought the second this\nafternoon.\n(1) Reproduced in \" The Mask*'\nOctober 1926,\nI test a book of reference as you do.\nI look up what has interested me and\nsee what the author has to say about it.\nIf 'tis only a list (as is this Index) I\nlook up a dozen titles of books or ar-\nticles which seem to me important and\nif I do not find any entry I put the\nbook down as decidedly lacking in\ncommonsense.\nIn the Dramatic Index for 1925 I\nfound the following omissions in half\nan hour:\n1. The Drama. A Periodical pub-\nlished by the Drama League of England.\n2. Books and Theatres by Gordon\nCraig published by J. M. Dent & Sons.\n3-10. Ten important articles which\nappeared in \" The Mask \" during\n1925.\n1 therefore concluded that the Dra-\nmatic Index for 1925 was not a little\nincomplete.\nThe collaborators are three men and\nthirteen ladies. It must of course be\nthe men's fault that such important\nomissions occurred. How important,\nlet us specify.\nThere is an entry \" Da vies (Douras),\n(Doris) (Marion) actress 1900.—Im-\npressions of. por. Adela R. St. Johns.\nPhotoplay M. 27: Ja. 25. 59, 194\".\nThere is no entry under the name\nCraig (Edward Gordon)\": neither is\nhis article in \" The Graphic\" Sept,\n1 Ithe 1925 on \" A Reasonable Ham-\nlet at last ie, in modern dress, lis-\nted, though six cr seven other arti-\ncles on this theme are entered. The\nimportant article by W. G. Keith on\n\" John Webb and the Court Theatre\nof Charles II \" which appeared in the\nFebruary number of the \" Archi-\ntectural Review \" London, is not listed.\nIn the book by M. Hallays on\n\" Nancy \" I looked immediately for\ninformation about the Theatre and\nfound half a line and no mention of\nthe important fact that it was decora-\nted by Carlo Bibiena in 1735, under\nStanislaus King of Poland, Duke of\nLorraine and Bar, and, what is per-\nhaps more important, that the same\nTheatre was built circa 1705 by Fran-\ncesco Bibiena, a great uncle of Carlo.\nAltogether two disappointing books,"}]}, {"article_id": "bm-bmtnaau-1927-01-01-c065", "article_bluemountain": "bmtnaau_1927-01_01#c065", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "41", "page_fin": "41", "image_debut": 53, "image_fin": 53, "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=bmtnaau192701-01.2.23.14", "titre_corps": "ROME PAST AND PRESENT. Text by William GauntVENICE PAST AND PRESENT by Selwyn Brinton", "titre_sommaire": "ROME PAST AND PRESENT. Text by William GauntVENICE PAST AND PRESENT by Selwyn Brinton", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 53, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.53", "debut_caractere": 4036, "fin_caractere_exclue": 6697, "texte": "ROME PAST AND PRESENT\nText by William Gaunt. The Studio.\nLondon. ,\nVENICE PAST AND PRESENT\nText by Selwyn Brinton, M. A.\nThe Studio, London.\nMR. Geoffrey Holme continues to\nissue special numbers of The Stu-\ndio which grow better and better, richer\nand richer, and ever more desirable.\nIn the u Rome Past and Present \"\nthe 144 large plates, eight of which\nare in colour, allow us Londoners to\nglance over a city we should other-\nwise perhaps never see.\nIf Roma is like that, then Roma is\nsomething indeed. If it was like that,\n(for we get drawings and prints of the\nRoma of centuries ago), then indeed it\nwas something mere.\nThe plate (No. 3) which we reproduce\nby courtesy of Mr. Holme and the\nPublishers of The Studio, shows us\nthe inside of the largest Roman (?)\nTheatre of the 18th century. And\nwe find it exceptionally interesting;\nnot only because our study is the\nTheatre, but because there are very\nfew such records existing. How many\nrecords exist of St. Peter's, outside\nand inside; of the Vatican, of the\nfifty famous palaces of Roma, of the\nbridges! Everyone paints or records a\nfamous Bridge, Church or Villa; very\nfew have recorded a Theatre: hardly\nanyone the interior of a Theatre\npacked from floor to ceiling and with\nt audience witnessing some opera\nor play as Pannini has here done in\n1729. Callot gave us another in 1616 :\na third, in 1667, was left behind by Ges-\nsels. And so it is : accident yields us a\nhandful of vivid records of theatres,\nand now and again it is an artist who\ndoes a task which was left as a rule\nto scribes or the worst engraver in the\nshop.\nFor it must be admitted that the\ntask of painting or etching rows and\nrows of people all dressed more or less\nalike is but work for a nobody. How\nimpossible to make such a packed\nhouse of people look at all like it\nlooked. Pannini does it better than\nanyone else, and there is not a square\ninch in his painting that is not deli-\nciously done and a delight in itself.\nAnd who can tell us the name of\nthis Theatre ? It may be the Capra-\nnica, the Aliberti or the Theatre of the\nQueen of Poland. I am inclined to\nbelieve that it is the Aliberti, though\ntowards 1770 if not earlier it posses-\nsed six tiers ; but the sixth may have\nbeen added after this design was made\nin 1729, as was done at the Teatro\nAgcstino in Genova.\nThe volume on Venice is as\nrich in illustrations as is the one on\nRoma, though we do not find in it\nany such fine representations of thai\nTheatre life in which it was so rich.\nBut then, as M. Monnier wrote, the\nwhole city is like a set stage, perva-\nded by the life of the theatre, ani\nof such scenes we find a liberal num-\nber in this fascinating volume."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c066", "article_bluemountain": "bmtnaau_1927-01_01#c066", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "42", "page_fin": "42", "image_debut": 54, "image_fin": 54, "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=bmtnaau192701-01.2.23.15", "titre_corps": "THE RECRUITING OFFICER. A comedy by George Farquhar", "titre_sommaire": "THE RECRUITING OFFICER. A comedy by George Farquhar", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 54, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.54", "debut_caractere": 0, "fin_caractere_exclue": 4992, "texte": "THE RECRUITING OFFICER. A\nComedy by George Farquhar. Designs\nby Vera Willoughhy. Peter Davies\nLtd. Price £,. 4.4,0, (Ten copies\nat £ 12.12.0 and thirty at £> 6.6,0\nare also issued).\nA perfectly splendid book in every\nway.\nIf I were certain that we were li-\nving in the epoch of Bernard Shaw,\nand I am almost certain we are not,\nI should hesitate as a popular reviewer\nof books to speak with any respect\nat all of this the work of a disrepu-\ntable Restoration hack, to wit—George\nFarquhar.\nBut though it's years since I first read\nthis rolicking comedy of his I cannot\nrecall having at any time since I read it\nfelt any particular animosity against this\nGeorge—or, for that matter, ' gainst any\nGeorge; for what's not in a name?...\nand in the name George is all that\nmakes for good.\nGeorge R. Sims, George Augustus\nSala, George Bernard Shaw, Georgie\nPorgie, G. R. S., G. B. S., G. A. S.;\nLord George Gordon, George jean Na-\nthan, Lord George Sanger, Sir George\nFalstaff, ....for dont't tell me he hadn't\na brother-r-an iron-fisted reformer who\nall for John's sake, amen, went about\nbreaking whisky bottles; yes, most\nJohns have brothers and these are\nGeorges.\nAnd how the poets pick the names\nthey need and how they use them.\nOh George, tell them to stop,\nThat was the cry of Mar-l-ali.\nAnd again:\n\" Georgie Porgie pudding and pie\nKiss'd the girls and made 'em cry— \"\nAnd once more:\n\" When good King George Arthur\nruled this land\nHe was a goodly king\nHe stole three pecks of Barley meal\nTo make a bag pudding.\nWhat is not in a name.... ? Con-\nceive these impossibilities:—\nGeorge Gabriel D'Annunzio.\nGeorge Irving.\nGeorge Brinsley Sheridan.\nGeorge Garrick ? ....yes, there ac-\ntually was a George Garrick, ibut it\ndon't seem credible.\nI am not for abolishing the name\nbecause it's just the very thing for a\nWashington or a Stephenson or a\nShaw, and fits Farquhar like a glove.\nYet it's not a first-class name—\nnothing can make it so. Now Richard\nis; Charles, John. William is,— and\nHenry is, and so is Philip; and Paul,\nand Daniel. But Frank, James, Robert,\nPeter, Walter, Thomas, Joseph, An-\ndrew, Ralph all rank with Hugh and\nare second-class names; while Percy,\nReginald, Frederick, Augustus, Leo-\nnard, Anthony, Samuel, Sidney, Geof-\nfrey, Lewis are distinctly third-class\nnames. And when their owners are\ndressed in the coats and hats of these\ndays and seen in London they are\nsomehow difficult to believe in.\nBut let us speak of George no\nmore and turn to Farquhar.\nFarquhar, if unfortunate in his life\nis lucky in his friends. Sir Edmund\nGosse has written him up—has writ-\nten Drury Lane down (the theatre\nwhich allowed the dramatist to die),\nand a lady has titivated him out in\ncolours, this lady being Miss V6ra\nWilloughby.\nBut who is Vera Willoughby-—what\nis she ? I know who she would be were\nthis the 18th century : ~ she'd be Mrs.\nGeorge Farquhar, ...for never has anyone\nunderstood the poor man a3 V6ra does.\nShe would have cut out \" the young\nlady from Yorkshire \", taken George in\nhand and made him outshine Congreve\nand Wycherly; prevented him from\ngoing to Dublin to act, boomed him\nin the salons of Mayfair and Belgra-\nvia, forbidden him the luxury of the\nback garret in St. Martin's Lane;\nforbidden him to die at twenty-nine ;\nmade him live, and introduced him to\nSheridan. She would have done all\nthis for she is the bride-elect of George\nFarquhar ; but then we would never\nhave had her charming drawings had\nshe lived in the 18th century ; those\nchildren of her mind, drawings to be\nfor ever associated with Farquhar and\nVera.\nThere again I am cornered by a\nname. The name Willoughby never\nwas and never can be a name to\nconjure with. I can't bring myself to\nsay it twice. I know many a nice\nbeing called W-ll-ghby and all who\nbear the name are kind : so be kind,\nMiss Vera and change it quickly and\ndo up your house just in the delicious\nway in which you've done these draw-\nings ; — smother your boudoir, your\nhall and your nursery with these love-\nly delicate colours put on as no one\nelse can do it—(and as everyone else\nwill now be trying to do it) ; and\nwhatever else you may want to do, do\nit — for you are del ghtful;—do all but\none thing—don't work for the stage.\nFor you have a talent —and you\nhave most else ; and they will ail be\nwanting you to design scenes and cos-\ntumes for five-pence-three-farthings a me-\ntre as they want eveiyone of talent to\ndo, and then drop them after a sea-\nson or so.\nRemember what happened to your\nunpractical Farquhar.\nSo stick to the illustrating of books,\nto working on paper, and you will\nnever regret it. Do the other thing,\nand you will.\nWith Mr. George Farauhar's leave\nI remain,\nMadam,\nyours admiringly\nAlexander Rich.\nP. S. Note: There are only 550\nnumbered copies and 400 or more\nwill be gone by this time,— so hurry\nup and order one, for all of the\ntwelve large colour prints are well\nworth a guinea apiece, the play is a\ntreat, and the binding is perfection.\nITTIW IWWWBMBWWBWI III I 11 IMWIIIWWWHI » 1WT.1W tWWII HTM"}]}, {"article_id": "bm-bmtnaau-1927-01-01-c067", "article_bluemountain": "bmtnaau_1927-01_01#c067", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "42", "page_fin": "43", "image_debut": 54, "image_fin": 55, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.2.23.16", "titre_corps": "MONTEVERDI HIS LIFE AND WORK by Henry Brunieres", "titre_sommaire": "MONTEVERDI HIS LIFE AND WORK by Henry Brunieres", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 54, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.54", "debut_caractere": 4994, "fin_caractere_exclue": 6480, "texte": "MONTEVERDI HIS LIFE AND\nWORK, by Henry Brunieres. /. M.\nDent & Sons. Price 10/- net.\nTHIS is that other Verdi—Monte-\nverdi ; and I stress the fact only\nbecause I learn daily more and mose\nthat one should leave nothing suppo-\nsed when explaining how a spade is\nnot a bicycle but a thing for digging\nwith.\nThe book appeared some years ago\nin French and now Marie D. Muckie\nhas translated it beautifully into En-\nglish.\nThere are seventy-five lines of music\nillustrating here and there the interesting\ntext. It is altogether a readable work,...\nand mind you have a piano handy.\nMonteverdi died long ago ; it was on\nNovember 29th 1643 that he died;\nhe was born still longer ago—in 1567\nupon May 15th. So that the English\nHistorians of the Opera who can read\nno French will welcome this timely\naccount of part of his life and labours.\nLike Mozart he was made to work\nhard ; when his own special tyrant,\nthe Duke of Mantova, wanted an\nopera, he ordered Monteverdi to go\nahead and deliver one, not later than,\nlet us say, December 3rd. When by\nNovember 3rd Monteverdi had mana-\nged to get three-quarters of said opus\nready, Duke Gonzaga changed his\nmind and, in a thoroughly ladylike\nway, asked for a Ballet instead. This\nnotion of changing his mind was a\nstanding joke with the Duke. Mon-\nteverdi should never have bothered\nabout the Duke, for he had a com-\nfortable church in Venice for which\nto write his dramatic soul to tatters,\nso what he could desire more passes\nordinary comprehension."}, {"page_pdf": 55, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 566, "texte": "Monteverdi again, like Mozart, like\nBenvenuto Cellin and like Leonardo\nand some fifty or sixty more cuckoldry\nartists, as often as not had to be writing\nto his comfortable Patron asking for\nhis pay. It's a low down sort of snob-\nbery of course to be always worrying\nover the non-arri/ai of a gentleman's\npromise—but there it is. These artists\nhave always done it. They forget to\nmistrust these rascally ; Patrons at the\nbeginning of the job, and pout and\njibber when at the end the Patron\nbegins to mistrust them. Fools all of\nthem; and the Patrons not exactly\nposh."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c068", "article_bluemountain": "bmtnaau_1927-01_01#c068", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "43", "page_fin": "43", "image_debut": 55, "image_fin": 55, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.2.23.17", "titre_corps": "DRAMA, by Ashley Dukes", "titre_sommaire": "DRAMA, by Ashley Dukes", "signature_source": "E. G. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 55, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.55", "debut_caractere": 568, "fin_caractere_exclue": 3027, "texte": "DRAMA, by Ashley Dalies. Williams\n& Norgate Ltd. Price 1/- net\ncloth.\nE. G. C.\nTHAT celebrated little series, the\n44 Home University Library has\nissued yet another volume which closes\nwith the question of Drama where the\nothers have just touched on it.\nMr. Ashley Dukes being a Drama-\ntist, and what is more, a student of\nthe modern European Theatre, is not\nquite so insular as the job requires.\nFor Drama, the airy home of the\nDramatist, is an undefined spot in\nspace entirely surrounded by preju-\ndice.... and Mr. Dukes is unpreju-\ndiced.\nIn his first line he not only refers\nto 44 the gentle reader \" but also to\n44 the gentle playgoer M ;—sweetness of\ndisposition can go no further. 44 Gentle\nplaygoer \" seems to me to be a vile\nphrase. 44 Tame cat 44 door mat\nthese leap to my mind as describing\nthe conglomerate stuff which goes to\nthe London Theatre these days.\nThen Mr. Dukes begins to hum\nand then to coo. He says \" In the first\nplace it (the book) is a book of the\ntheatre **. The likes of this author is\nnot to be found in all England. In\nthe course of his 245 pages he does\nthe most outrageous things : he is po-\nsitively polite to people he should\n(by every law of the Garrick and\nAuthors' Clubs) be rude to. He is\ncharming to D'Annunzio, ...J mean he\nremembers his name, though he is some-\nwhat incorrect in stating that 44 du-\nring the greater part of the 19th cen-\ntury the Italian Theatre was barren\".\nt or Gailina, 1852-1897, was a cele-\nbrated commedeografo whose plays are\nstill performed when an actor is not\nfearful of comparison with Benini.\nThen there is the author of 44 La\nMorte Civile\" (1868), Paolo Giaco-\nmetti. And what of Giambattista Nic-\ncolini who, Tonelli tells us, 44 fu assai\nlodato per lo stile che passa ancora\nper splendido e magnifico \" ? Can as\nmuch (and \"precisely that) be ;said for\nSir A. W. Pinero's 44 stile \" ?\nThen let us not forget Giuseppe\nGiacosa. I don't, but Mr Dukes does.\nGiacosa wrote 44 Tristi amori \", 44 Come\nle foglie \" and 44 II piii forte \".\nIf we cannot stop a moment to\nconsider Silvio Pellico we surely must\ndo so before 44 Romanticism©\" and\nits author Gerolamo Rovetta, which\nplay Addison Macleod speaks of as\n44 perhaps the most thrilling prose play\nwe have seen \".\nBut if Mr. Dukes forgets these\nitems in the bill he is more than ge-\nnerous to some of the supernumeraries\n—myself for example, and is altoge-\nther alive to the strength of the Thea-\ntre—a very rare thing in a good\nDramatist."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c069", "article_bluemountain": "bmtnaau_1927-01_01#c069", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "43", "page_fin": "43", "image_debut": 55, "image_fin": 55, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.2.23.18", "titre_corps": "DAUMIER UND DAS THEATER. Paul List Verlag", "titre_sommaire": "DAUMIER UND DAS THEATER. Paul List Verlag", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 55, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.55", "debut_caractere": 3029, "fin_caractere_exclue": 5313, "texte": "DAUMIER UND DAS THEA-\nTER, edited by Hans Rothe. Paul\nList Verlag, Leipzig. Price Marks 8.50.\nTHE Publisher Paul List is bringing\nout a series of much needed vo-\nlumes, nine in all, on the work of\nDaumier,—of Daumier's work ; there\nis some need to emphasize for too\noften an Editor imagines that it is\nhis opinion which we want, and so he\nwrites on and on telling us all he\nfeels and what orher people have told\nhim, and adding a few illustrations by\nthe master ; binds all this elegantly in\nstiff buckram with gold design, and,\nputting his nose high in the air—like\na Daumier caricature come to life—he\nwalks down St. Jame's and possibly\nround to Leicester Square.\nDr. Hans Rothe on the other hand\nhas let us off with nine and a half\npages of text and has given us sixty\nfour full page reproductions of Dau-\nmier's Theatrical lithographs, the re-\nproductions being, it seems, their ori-\nginal size.\nIt is useless to tell 999 out of every\n1000 actors 44 Your library is incomplete\nwithout this book; your daily work,\nyour very life, is dependent on this\nbook for they hear nothing; or, to\nbe tragically exact, those who most need\nit hear nothing.\nBut so it is; in these sixty-four\nplates he ridicules all that is most ri-\ndiculous in actors, and now and again\nhe lingers less ironically on some things\nthat are touching in their lives.\nAs for the way they are drawn,\nwell, often it is careless; sometimes,\noften, admirable; and twenty times\nout of sixty masterly.\nThe other volumes promised us deal\nwith Daumier and Politics, Daumier\nand War, Daumier and the Artists,\nDaumier and the Lawyers—and he is\never best in the Law Courts for there\nhe gets his theatre as well, and they\nmove Mess ; there is more black and\nwhite, and there too he finds that grey\nlight with which his pencil plays so\nmagnificently, — and it is more tragic.\nOne of the best of the theatrical\nseries shows a young lady's d£but with\nbouquets raining down on her, and at\nthe side, behind one of the wings, her\nold mother with clasped hands is ecs-\ntatically thanking God for it. The\ntext runs: 44 The Daughter makes her\nfirst appearance ; 4\" She is a success \"\ncries her mama ; 44 People are throw-\ning flowers to her —flowers ! God, I\nthank thee (In her ecstasy she\nforgets that she herself ordered the\nbouquets)."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c070", "article_bluemountain": "bmtnaau_1927-01_01#c070", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "43", "page_fin": "44", "image_debut": 55, "image_fin": 56, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.2.23.19", "titre_corps": "THE MUMMY by Sir E.A. WAllis Budge", "titre_sommaire": "THE MUMMY by Sir E.A. WAllis Budge", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 55, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.55", "debut_caractere": 5315, "fin_caractere_exclue": 6820, "texte": "THE MUMMY, A Handbook of\nEgyptian Funerary Archaeology, by\nSir E. A. Wallis Budge Kt. M. A.\nLitt. D. D. Litt. D. Lit., F. S. A.\nCambridge University Press. 45/-net.\nTO talk with sense about a book\non this subject should be, one\nimagines, just the very thing a thea-\ntrical minded critic could do; for he\ntoo deals in signs and he likes the\nlook of them scattered all over this\nbook of five hundred pages.\nWhy say Bull when you can draw\nhim ?—why say lots of Bulls when,\nby adding three strokes after ycur\npicture, you can suggest immediately\nthat what you mean is more than one\nbull. Why try fumblingly to express an-\nger and wrath in words when in one\npicture of an ape with his back up\nand tall curling you can hit the nail\nat once ? Talking about Death is a\nsad and fruitless talk ; but an 0 covers the\nwhole question and leaves a lot over\nto spare.—Do not tell me you see\nwhat I mean ; put two 0 0 on a postcard\nand I shall understand—and the post-\nman won't— two lovely white eyes.\nBut for purposes of expression the\nShaws of this world are convinced\nthat there is nothing better than leather ;\nand they have my sympathy always\nfrom afar. To be in 1926 so near\nthe hub as all that, is to be too near\nthe hum.\nYet we theatrical people fully de-\nserve the contempt of the w7ordy ones\nfor we have recently given up the use\nof signs. So we complain. You can-\nnot grumble in signs; the inventors of\nthe sign language were unable to\nstretch their imaginations far enough\nto express a fog or the misty moun-"}, {"page_pdf": 56, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 486, "texte": "tain tops of logic. A London parti-\ncular was beyond them ; they held it\nall too highbrow of the police to allow\nthat. But the signs they did make can\nall be found in this little tribute of\nfive hundred pages to 44 The Mummy \",\nand Sir Wallis Budge has made all the\nsigns clear to the reader. After reading\na page or two anyone can write a long\nletter in Egyptian—and actors at last\nhave a dictionary which need not tax\ntheir intelligence in the very least.\nA magnificent piece of work."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c071", "article_bluemountain": "bmtnaau_1927-01_01#c071", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "44", "page_fin": "44", "image_debut": 56, "image_fin": 56, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.2.23.20", "titre_corps": "16 TO 20 by Robin Douglas", "titre_sommaire": "16 TO 20 by Robin Douglas", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.56", "debut_caractere": 488, "fin_caractere_exclue": 2255, "texte": "/ 6 TO 20. by Robin Douglas. A•\nM. Philpot Ltd. Price 7/ 6.\nAT the end of this first book of his\nMr. Douglas, after wild adven-\ntures in London, finds himself married\nat twenty-one.\nThe notion is a good one. He\nhas chosen a profession and is a member\nof the Advertising Department of a\ngroup of papers, and is ambitious to\nwin his way to the top of that pro-\nfession. So perhaps we shall lose\nanother gifted writer. But what is a\nwriter to do who can't get paid for\nwork. It does not feed him and his\nfamily if you tell him that lots of ar-\ntists, writers and musicians have had\ntwenty years of that sort of treatment,\nbecause he must know that the strain\nbreaks down too many men and he\ndoesn't want to break down at twenty-\nfive, break up his house at twenty-six,\nbreak the ten commandments which he\nknows are sound, break someone's head\nand perhaps some day break into song.\nSo may be the Advertising business\nin the very thing, I know a charming\nfellow who lives in Paris; — once\nwrote and drew and had a studio;\ngave that all up because the breaking\nin process struck him as too costly.\nNow he has an advertising business^\nHow many thousands of francs pass\nand repass through his fingers each\nquarter I never dared to ask; but I\nknow they must be many thousand\nthousands.\nHe has none of the liberty of the\nartist for the office ties him down. It\nwould break me down — but there\nyou are; that's not his brittle spot,\nand the lucky thing is to know where\nthat weak spot is. Many folk lose\nthirty-five years locating it and then\ndon't discover it.\nBut what about the strong point ? Is it\never worth sacrificing one's career for that?\nBut you have to find the strong\npoint. How much time can you spare\nto do that ?\nThese reflections Mr. Douglas's book\nawakens in me."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c072", "article_bluemountain": "bmtnaau_1927-01_01#c072", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "44", "page_fin": "44", "image_debut": 56, "image_fin": 56, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.2.23.21", "titre_corps": "SONNETS & VERSES by Enid Clay", "titre_sommaire": "SONNETS & VERSES by Enid Clay", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.56", "debut_caractere": 2257, "fin_caractere_exclue": 3501, "texte": "SONNETS VERSES by Enid\nClay. The Golden Cockerel Press.\n1926. 15/- net. {Limited Edition\nod 450 copies).\nTHE poems are pretty and the en-\ngravings are stern. Mr. Gill is,\nof course, a wood-engraver and a half\n— a born craftsman : but it is the way\nthe book is printed and bound which\nfor the moment holds my attention.\nMr. Gibbs has composed the thing\nwell. The press work by A. C. Cooper\nand W. R. Mills is good.\nThe books from the Golden Cocke-\nrel Press were always interesting, but\nthose I chanced to see were not care-\nfully enough bound, nor was the set-\nting and printing quite as good as these\nof a swell de luxe book might be.\nMr. Gibbings, seeing this, took over\nthe management of the Press, and now\nevery page, margin, stitch, hinge and\ncorner shows that the eye and mind of\nMr. Gibbings is at work.\nThe Golden Cockerel Press, has a\nfuture before it, more especially if it\nwill issue just a few rough and ready\npopular booklets on its off days, its\nSaturday afternoons, the workmen being\nallowed to go along easily with the\ncraft, doing their best but not trying\nto be too perfect for words.\nBeing careless is not what I mean,\nbut going a bit more easily, carrying\nthemselves a shade less stiffly. They\ncan always do that on Sundays."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c073", "article_bluemountain": "bmtnaau_1927-01_01#c073", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "44", "page_fin": "44", "image_debut": 56, "image_fin": 56, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.2.23.22", "titre_corps": "THE LITTLE ROOM by Guy Pocock", "titre_sommaire": "THE LITTLE ROOM by Guy Pocock", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.56", "debut_caractere": 3503, "fin_caractere_exclue": 3851, "texte": "THE LITTLE ROOM by Guy\nPococfc, illustrated by Henry S. Sands.\n/. M. Dent & Sons. Price 6/- net.\nA series of pleasant short essays on\ninteresting things including such\nsubjects as Fairies and Fairy-Tales,\nBallads, The Origin of Mezzotinto, the\nMaking of Anthologies, Ghosts in Arfc>\nThe Bassoon, the Building of a Picture,\nand other kindred themes."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c074", "article_bluemountain": "bmtnaau_1927-01_01#c074", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "44", "page_fin": "44", "image_debut": 56, "image_fin": 56, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.2.23.23", "titre_corps": "THE OLD BRIDGE by William J. Locke", "titre_sommaire": "THE OLD BRIDGE by William J. Locke", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.56", "debut_caractere": 3853, "fin_caractere_exclue": 4292, "texte": "THE OLD BRIDGE by William\nJ. Locke. The Bodley Head. Price\n7/6 net.\nTHOSE who like Mr. Locke's kindly\nand graceful tales will welcome\nthis new story of his, for the back-\nground of much of which he has se-\nlected Florence, depicting the humours\nof its pensions and tourists as well as\ndescribing enthusiastically the beauty to\nbe found in the city itself, its streets\nand galleries, and that44 Ponte Vecchio \"\nfrom which he takes the name."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c075", "article_bluemountain": "bmtnaau_1927-01_01#c075", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "44", "page_fin": "45", "image_debut": 56, "image_fin": 57, "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=bmtnaau192701-01.2.24", "titre_corps": "EDITORIAL NOTES", "titre_sommaire": "EDITORIAL NOTES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.56", "debut_caractere": 4294, "fin_caractere_exclue": 4320, "texte": "EDITORIAL NOTES.\n\nMIRACLE."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c077", "article_bluemountain": "bmtnaau_1927-01_01#c077", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "44", "page_fin": "45", "image_debut": 56, "image_fin": 57, "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=bmtnaau192701-01.2.24.2", "titre_corps": "MIRACLE", "titre_sommaire": "MIRACLE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.56", "debut_caractere": 4312, "fin_caractere_exclue": 4320, "texte": "MIRACLE."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c078", "article_bluemountain": "bmtnaau_1927-01_01#c078", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "44", "page_fin": "45", "image_debut": 56, "image_fin": 57, "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=bmtnaau192701-01.2.24.2.1", "titre_corps": "HOW TO BRING GRIMALDI, KEAN, BUCKSTONE, AND OTHERS TO LIFE", "titre_sommaire": "HOW TO BRING GRIMALDI, KEAN, BUCKSTONE, AND OTHERS TO LIFE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.56", "debut_caractere": 4322, "fin_caractere_exclue": 5604, "texte": "HOW TO BRING GRIMALDI, KEAN,\nBUCKSTONE, AND OTHERS TO LIFE.\nHAVING described all the wonders\nwhich our forefathers witnessed\nat the old Sadler's Wells Theatre,\nhaving spoken of the glories of the\nplace, of King, the original 44 Sir Peter\nTeazle of £ 10,000 cleared in a\nsingle season, of the astounding perfor-\nmances of 44 the immortal Joey Gri*\nmaldi of Edmund Kean's appearance,\nof Mrs. Fitzwilliam, of Buckstone and;\nJ. B. Booth, of T. P. Cooke and.\nSamuel Phelps, a writer in 44 Notes &\nQueries \", that ever delightful publi-\ncation, winds up an interesting article\nwith an immortal phrase: —\nu It is these glories that are, if\n11 the Duke of Devonshire's appeal\na meets with a generous response, to\n\" be now revived\nWhich, unless King, Grimaldi, Kean,\nBuckstone, Booth, Cook, and Phelps\ncan also be revived, seems to be opti-\nmistic.\nTo revive glories one must be a\nmagician. To create new glories only\nan artist is needed — but make sure\nthese glories can compare with the old\nones. So hurry up ! Look around for\ntalent, even genius. Bring it into exis-\ntence — bring it up — bring it to-\nLondon. But take care, for even then\nit might not find its way up to the\nnew Sadler's Wells which the 44 Old\nVic \" group with Miss Baylis are so >\nkeen to see filled with the poor people"}, {"page_pdf": 57, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 277, "texte": "of the district, those 44 countless thou-\nsands \" (of people) who will, they tell\nus, receive 44 knowledge and wisdom\ncombined '*, adding 44 Trams and buses\npass the doors .as though poor peo-\nple could afford either a tram or a bus in\nwhich even to pass this new 4 Old Vic '.."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c079", "article_bluemountain": "bmtnaau_1927-01_01#c079", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "45", "page_fin": "45", "image_debut": 57, "image_fin": 57, "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=bmtnaau192701-01.2.24.2.2", "titre_corps": "FOOLING THE PUBLIC : \"The Silent Lie\"", "titre_sommaire": "FOOLING THE PUBLIC : \"The Silent Lie\"", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 57, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.57", "debut_caractere": 279, "fin_caractere_exclue": 1479, "texte": "FOOLING THE PUBLIC.\no 14T H E SILENT LIE\", o\nTHE 44 Church Times\", in its re-\nview of the New British Ency-\nclopaedia, draws attention to the fact\nthat, whereas Dr. Barnes has twenty-\none lines devoted to him, the work of\nDr. Gore is given but seven lines.\nPassing to the stage, the 44 Church\nTimes \" is 44 surprised to find that\nwhereas Miss Edith Craig, described\nas 4 British theatrical producer ' is the\nsubject of a separate article, her illus-\ntrious brother, Mr. Gordon Craig, is\nmentioned only at the end of the\narticle on his sister \".\nThe question is, who wrote the\nChurch's notes, who the Stage's?\nWe learn that Mr. St. John Ervine\nwrote the Stage notes ;—and, as Mr.\nCraig put it in a letter to the 44 Mor-\nning Post \" only a month or two ago,\n44 if Mr. St. John Ervine is a great\nman he is also a great baby \". IF ?\nAnd indeed, sensitive babies playing\nin a nursery go on very much in the\nway that grown Englishmen do in cer-\ntain sections of the Press.\n44 I won't—you shan't—if you pull\nmy dollie's leg I shall tell your muv-\n»»\nver .\nIt's pretty, — awfully pretty — but\nit is rather a waste of time, and not\na little insulting to the British Public.\nI III —' w wmmmmmmmmtmAmmmaammm ■mm"}]}, {"article_id": "bm-bmtnaau-1927-01-01-c080", "article_bluemountain": "bmtnaau_1927-01_01#c080", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "45", "page_fin": "45", "image_debut": 57, "image_fin": 57, "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=bmtnaau192701-01.2.24.2.3", "titre_corps": "MISAPPREHENSIONS", "titre_sommaire": "MISAPPREHENSIONS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 57, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.57", "debut_caractere": 1481, "fin_caractere_exclue": 2394, "texte": "MISAPPREHENSIONS.\nTWATRW » <■ i— 11—M—■HIHII urn HI IW\n44 By no means the least inspiring thing\nabout On the Art of the Theatre by\nMr. Craig is the utter lack ot cocksure-\nness The Times Literary Supplement.\nTHE 44 Clarion \" is troubled about\n44 The Mask \" and with Mr.\nCraig.—It finds 44 he is deliciously\ncocksure of himself \".\n44 The Clarion \" says it cannot make\nout what exactly are the aims and\nends of Mr. Craig, but adds : 44 you do\nnot quite agree with anything he says\nThis is, after all, symptomatic of people\nin a great hurry ;—they are prone to dis-\nagree with anyone when they cannot\npause to make out what it is they are\nsaying. And to pause for a moment\nand listen is quite out of the question.\nAnd* so the Old Vic is exalted as\nthe highest possible standard, since to\nunderstand the aims of the Old Vic\nall you have to do is to accept them\nwhile catching a bus and without un-\nderstanding a word."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c081", "article_bluemountain": "bmtnaau_1927-01_01#c081", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "45", "page_fin": "45", "image_debut": 57, "image_fin": 57, "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=bmtnaau192701-01.2.24.2.4", "titre_corps": "SOME SMUGNESS", "titre_sommaire": "SOME SMUGNESS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 57, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.57", "debut_caractere": 2396, "fin_caractere_exclue": 3320, "texte": "SOME SMUGNESS.\nSENDING us a copy of the latest\nprospectus for an 44 International\nTheatre Arts Institute \" established in\nAmerica, a friend from Germany has\nwritten on the cover 44 What do you\nthink of this Immense Enterprise ?\nEnough to discourage a century of ar-\ntists We agree.\nA 44 Description of the Courses\"\nturnc the blood cold ; it has much of\nthe pretension of such Institutes of the\nkind as were started before the war.\nAnyone who wishes to judge for\nhimself the kind of thing that it is\nproposed to teach, and to note the\nhigh fallutin tones in which the ma-\nnifesto unfolds itself, should write for\na prospectus to No. 102 Remsen\nStreet, Brooklyn, New York. U. S. A.\nSelf-conscious smugness has hardly\never been expressed better.\nIt is probably a school founded upon\na misconception of the work of some\nsix week's student under Reinhardt, or\nStanislawsky, and who was sent away\nfor not attending to his studies."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c082", "article_bluemountain": "bmtnaau_1927-01_01#c082", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "45", "page_fin": "45", "image_debut": 57, "image_fin": 57, "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=bmtnaau192701-01.2.24.2.5", "titre_corps": "HOW MUCH ENCHANTMENT DOES DISTANCE LEND?", "titre_sommaire": "HOW MUCH ENCHANTMENT DOES DISTANCE LEND?", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 57, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.57", "debut_caractere": 3322, "fin_caractere_exclue": 4122, "texte": "HOW MUCH ENCHANTMENT\nDOES DISTANCE LEND?\nAS we had always understood that\nthe late Mr. Harry Furness was\none of the best caricaturists London\nboasted of in ! 880-1900, and stood\nas representative of the man in the\nstreet, the following quite upsets us:—\nSOME VICTORIA L MEN, By\nHarry Furness. New York : Dodd,\nMead & Company.\nA volume of laboured and wit-\nless anecdotes, adorned with third-\nrate caricatures. A stupider book it\nwould be hard to imagine\".\nThis is brief review of the book\ntaken lock, stock and barrel from 44 The\nAmerican Mercury \" and written by\nH. L. Mencken.\nThe worst of it is we daresay he's\nright. But Furness was almost always\nmerry. He and Mencken would have\ngot along famously. What would Menc-\nken have written about 44 Some Vic-\ntorian Men \" if he'd known Furness.\nPuzzle."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c083", "article_bluemountain": "bmtnaau_1927-01_01#c083", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "45", "page_fin": "45", "image_debut": 57, "image_fin": 57, "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=bmtnaau192701-01.2.24.2.6", "titre_corps": "THE EGG OF COLUMBUS", "titre_sommaire": "THE EGG OF COLUMBUS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 57, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.57", "debut_caractere": 4124, "fin_caractere_exclue": 5561, "texte": "THE EGG OF COLUMBUS.\nOR: HOW TO ACHIEVE THE\nUNATTAINABLE WITH EASE.\nAFTER the production of 44 The\nPretenders \" at Copenhagen by\nMr. Gordon Craig and Mr. Johannes\nPoulsen, the London newspaper 04 The\nStar\" (Nov. 22nd.) expressed the\nhope that Mr, Gordon Craig might\nnow be \" lured from his continental\nfastnesses \" and the manifestation of\nsome of his more ambitious schemes\nfor theatrical decorations be seen in\nLondon,\nWe suppose that Mr. Craig might\nbe glad to produce something in London ;\nbut, as is well known, theatrical deco-\nration is but an item in his scheme,-—\nand it was not to make a few decors\nthat he visited Copenhagen. This is\nwhere ye merrie olde London Critic\nalways goes wrong.\nWe also* suppose from rumours co-\nming from authoritative sources that\nall Mr. Craig asks is a sign of sincere\nfriendship—the genuine article—from\nthose who invite his cooperation.\nAre there any British impresarios,\nmanagers, promoters or actors who ap-\npreciate what this Englishman stands for ?\n-—who realize that the foreigners whom\nthey worship, ....the Reinhardts, Diaghi-\nleffs, Copeaus and the like, are all\nmore or less pupils or disciples of\nCraig ?\nIf English Impresarios want to exploit\nCraig it should be quite easyall\nthey have to do is to employ ordinary\ntact and express some sincere appre-\nciation of what he has done, and\nCraig would be at work with them\nin less than half an hour.\nAt least, knowing Craig, so we\nsuppose."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c084", "article_bluemountain": "bmtnaau_1927-01_01#c084", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "45", "page_fin": "45", "image_debut": 57, "image_fin": 57, "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=bmtnaau192701-01.2.24.2.7", "titre_corps": "OUR 1927 VOLUME", "titre_sommaire": "OUR 1927 VOLUME", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 57, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.57", "debut_caractere": 5563, "fin_caractere_exclue": 6513, "texte": "OUR 1 927 VOLUME.\nTHE new volume of THE MASK\nis actually, according to sequence,\nvolume XIII. But, since some of our\nreaders and contributors manifest some\nkind of prejudice against the number\nthirteen, we have decided to call it\n44 Volume XII \" bis \\vhi!e it is appearing,\nand only bind it up as 44 Volume XIII \"\nwhen it has reached a successful close.\nWe ask subscribers and others, there-\nfore, in ordering separate numbers,\nor stating with which number they\nwish to begin, to specify either No. 1,\nNo. 2, No. 3, No. 4 1927, or,\nJanuary, April, July or October 1927.\nAs we hope it is to be a specially\nfavourable year for the progress of\n44 The Mask \" itself and the cause\nwhich it exists to support and forward,\nwe have not wished to jeopardise the\nfulfilment of the many good wishes\nwhich have reached us by even so\nslight a matter as a number ; so here,\nbetween volumes twelve and fourteen,\nappears, January 1927, part one of\nvolume Twelve bis."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c085", "article_bluemountain": "bmtnaau_1927-01_01#c085", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "46", "page_fin": "46", "image_debut": 58, "image_fin": 58, "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=bmtnaau192701-01.2.25", "titre_corps": "\"TRULY, MY SATAN, THOU ART BUT A DUNCE....\"", "titre_sommaire": "\"TRULY, MY SATAN, THOU ART BUT A DUNCE....\"", "signature_source": "W. B.", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 58, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.58", "debut_caractere": 1115, "fin_caractere_exclue": 3239, "texte": "\"TRULY, MY SATAN, THOU ART BUT A DUNCE....\"\nW. B.\nW. B. 1784.\nAN unrecorded copy of William Blake's Songs of Innocence (1789-1794),\ncontaining the 54 plates proper to the combined edition — the property\nof Mr. Alfred G. Gray — realised £ 1,350 at Messrs. Sotheby's, London.\nLondon Daily Paper.\nIN the year 1807, living at 17 South\nMolton St. near Poverty Lane London,\non January 20th Blake, aged fifty, made\nan entry in his MS Book: \"Tuesday\nJanry 20, 1807, between ten and seven in\nthe evening Despair \".\nIn the same year in August he wrote\nthese verses:—\nI rose up at the dawn of day —\nGet thee away ! get thee away !\nPray'st thou for riches ? Away ! away !\nThis is the Throne of Mammon grey.\nSaid I, This, sure, is very odd :\nI took it to be the Throne of God.\nFor everything besides I have :\nIts only for riches that I can crave.\nI have mental joy, and mental health,\nAnd mental friends, and mental wealth\nI 've a wife I love, and that loves me ;\nI' ve all but riches bodily.\nI am in God's presence night and day,\nAnd He never turns His face away ;\nThe accuser of sins by my side doth\nstand,\nAnd he holds my money-bag in his hand\nFor my worldly things God makes\nhim pay,\nAnd he'd pay more if to him I would\npray ;\nAnd so you may do the worst you\ncan do;\nBe assur'd, Mr. Devil, I wont pray\nto you.\nThen if for riches I must not pray\nGod knows, I little of prayer need\nsay ;\nSo as a church is known by its\nsteeple,\nIf I pray it must be for other people.\nHe says, if I do not worship him for\na God,\nI shall eat coarser food, and go\nworse shod;\nSo, as I don't value such things as\nthese,\nYou must do, Mr. Devil, just as God\nplease.\nw. B.\nTHE best book of Blake's Poetical\nWorks is the Oxford Edition, Oxford\nUniversity Press ; (cloth) ; and the chea-\npest. The Notes, the Bibliographical\nintroduction and the Chronological Table\nare illuminating, and there are fifteen\nfull page designs by Blake and one por-\ntrait.\nBlake died in 1827, August 12th at\nthe age of seventy. In the same year\ndied Beethoven.\nThere's Doctor Clash\nAnd Signor Falalasole,\nO they sweep in the cash\nInto their purse hole !\nFa me la sol,\nLa me fa sol."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c086", "article_bluemountain": "bmtnaau_1927-01_01#c086", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "46", "page_fin": "46", "image_debut": 58, "image_fin": 58, "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=bmtnaau192701-01.2.26", "titre_corps": "ASLEEP OR AWAKE?", "titre_sommaire": "ASLEEP OR AWAKE?", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 58, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.58", "debut_caractere": 4434, "fin_caractere_exclue": 6674, "texte": "ASLEEP OR AWAKE?\nIN the last number of 44 The Mask\",\nJ. B. enquired whether 44 any steps\nare taken by the authorities or citizens\nof the chief towns (of England) to ascer-\ntain what percentage of people are thea-\ntre-goers and lovers of art \" ; and in the\nsame number a book reviewer commented\non the report that the cities of England\nare 44 full of dull people \" ; that 44 when\nyou ask, have they sympathy and under-\nstanding for the theatre and the arts ?\nThey are fast asleep, dull — prejudiced'\nis the report\nWe have not yet data for any defi-\nnite conclusions; but we may put for-\nward a recent experience as evidence\nof the attitude of one city towards its\nenergetic and in many ways praiseworthy\ntheatre.\nWe published an article of some\nlength, in two parts, upon this Theatre\nin our July and October numbers, 1926.\nThe writer bestowed on it much praise, as\nwell as serious and constructive criticism,\nand, by these articles, helped to make its\nendeavours known to others engaged in\nlike enterprises all over the world.\nNow it might have been assumed that\nthe citizens of that city would have ta-\nken some satisfaction in the prominence\ngiven to their local enterprise: and that\nespecially would all the workers in the\ntheatre, from the Director downwards,\nhave felt not only encouraged and sti-\nmulated, but have realised afresh,... or\nperhaps for the first time.... that 44 The\nMask \" exists and works to champion\nevery bit of good work in the Theatre\nwheresoever it may be, and to make it\nknown to all the other scattered workers,\n....to establish links in one united chain\nof effort running round the world.\nYet not one person connected with\nthat theatre or from that city sent one\nword to 44 The Mask \" on the subject,\nand booksellers' reports were that not\none of the copies in their hands had been\nbought; .... which leads us unwillingly\nto assume that not one worker in that\ntheatre cared enough to secure as a little\npermanent possession and memento this\nserious study of their work written by\nthe leader of the Modern Movement in\nthe Theatre. Perhaps they all borrowed\nthe Director's copy and 44 passed it on \" ;\n....but would the wide awake and enthu-\nsiastic do that ?\nWe put the question, and leave our\nreaders to reply."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c089", "article_bluemountain": "bmtnaau_1927-01_01#c089", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "46", "page_fin": "46", "image_debut": 58, "image_fin": 58, "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=bmtnaau192701-01.2.27", "titre_corps": "LONDON REALISM", "titre_sommaire": "LONDON REALISM", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 58, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 1113, "texte": "LONDON REALISM.\nMR. Leon M. Lion, Bookseller, of the\nAmbassadors Theatre, W. C. 2.\nholds a varied stock of 1,000 books.\n4tIn the dramatisation of44 Riceyman\nSteps\", he becomes the 44 compleal \"\nbookseller, strutting his little hour or two\nin the atmosphere of a real bookshop ! \"\nThis, we are assured, is 44 the first time\nthat a real bookshop has been presented\nin the theatre. The usual stage book-\nshelf is like the pantomime sword, and\nthe Christmas turkey, a mere property\nof painted wood. Mr. Lion's realism\nconstitutes an interesting event in the\nhistory of bookselling and of the stage,\nand Foyles, of Charing Cross Road,\nhaving been privileged to lend the books,\nwish their 44 rival \" every success in his\nnew venture \".\nSo much for Charing Cross Road\nreclame. But as a matter of fact it's a\nmighty poor advertisement for the Bri-\ntish stage.\nTo plump a real library on the\nboards of a theatre is to shirk the whole\ndifficulty of painting realistically.\nAnd what sort of play is 44 Riceyman\nSteps \" that a real bookshop on the stage\nbecomes it ?\nPerfect as reclame, the real library\nis theatrically bosh."}]}, {"article_id": "bm-bmtnaau-1927-01-01-c091", "article_bluemountain": "bmtnaau_1927-01_01#c091", "volume": "bmtnaau_1927-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "46", "page_fin": "46", "image_debut": 58, "image_fin": 58, "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=bmtnaau192701-01.2.28", "titre_corps": "AN ATOM OF TIME", "titre_sommaire": "AN ATOM OF TIME", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 58, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.58", "debut_caractere": 3241, "fin_caractere_exclue": 4432, "texte": "AN ATOM OF TIME.\nAN hour has sixty minutes — each\nminute has sixty seconds ; so that\nthere are three thousand six hundred\nseconds in every hour.\nSomething can be done in an hour,\nand even in a second.\nWhat can be done in an atom of\ntime ? For it appears that there is an\natom of time. In an hour there are\ntwenty two thousand, five hundred and\nsixty atoms.\nThis we learn from that ever enter-\ntaining, surprising publication 44 Notes\nand Queries \" which is now in its se-\nventy-seventh year.\nThis way of reckoning time is me-\ndiaeval and is found in the Cambridge\nUniversity MS of the 44 Cloud of Unknow-\ning \". There we learn that a point is\nthe fourth part of an hour; a moment is\nthe tenth part of a point; an ounce is\nthe twelfth part of a moment, and an\natom is the forty-seventh part of an\nounce.\nA moment was therefore one and a\nhalf minutes, ie, ninety seconds.\nWhen we used to speak of 4 half a\nmoment \" we suppose we meant three\nquarters of a minute.\nThat was taking time practically ;\nfor in three quarters of a minute some-\nthing really can bb done thoroughly;\nwhereas in an atom of time at the most\nall one can do is to conceive an entire\npoem — if one be Dante, or Shakespeare."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.1", "texte": "THE MASK\nVOLUME TWELVE BIS\nNUMBER ONE\nJANUARY\n19 2 7\nmirrmirmrmmT'r* —\nANNUAL SUBSCRIPTION EDITION DE LUXE\nTEN SHILLINGS iltpRSCEm TWENTY SHILLINGS\n(POST FREE) %J|;R (P0ST FREE) j|'' j\nTWO & A HALF DOLLARS ©PY/i FIVE DOLLARS\nFOR AMERICA FOR AMERICA\nADDRESS: BOX 444. FLORENCE. ITALY.\n\nTHE ACCADEM1A DEGLI INDIFFE-\nRENTI: A Record of Some Experiences by\nChi lo sa.\nPOETRY IN DRAMA, and the Impression\nmade upon the Audience by Sound in Verse,\nby William Poel.\nBEN JONSON, INIGO JONES, INVEN-\nIORS, by Paul McPharlin. I\nJ\nHPHE CONCLUSION OF THE OPERA\nJL REGISTER, 1712-1734, kept by Francis\nColman, and now printed for the first time.\nIBSEN'S \" PRETENDERS \"AS PRODUCED\nAT THE ROYAL THEATRE, COPENHA-\nGEN. An Interview with Mr. Gordon Craig.\nBLUSHING IN THE LIMELIGHT, A NOTE\non how the great and less-great take their\n\" Calls by Henry Phips.\nON THE MEMOIRS OF ACTRESSES:\nAnd some Reflections on the best methods\nfor the emotional Actress to adopt, by J. S.\nA SURPRISE FOR M. DIAGHILEFF:\nBeing news of a Discovery made fourteen\nyears behind the Hime, by J. B."}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.2", "texte": "THE MASK. JANUARY 1927\nNOTICE TO CON7 R1BUTORS. The Editor is always glad to consider articles and illustrations from\nexperts in theatre history and arts which result from special research or personal experience. Where stamped\nand addressed envelopes are included, every effort will be made to return in due course rejected contributions :\nbut in no circumstances can he hold himself responsible for safe custody or return. All articles should be\ntypewritten.\nAddress: The Editor : \" The Mask Box 444, Florence, Italy.\n\nLITERARY CONTENTS.\nESSENTIALS J. S Page 1\nTHE ACCADEMIA DEGLI INDIFFERENT! . . . Chi lo sa 3\nPOETRY IN DRAMA William Poel 7\nVENEZIA AND ITS FOOLISH COLLABORATION of\nPoet, Musician, Architect, and Scenographer A. C. . 9\nBEN JONSON: 1NIGO JONES: INVENTORS . . Paul McPharlin. . . . .10\nARTHUR SYMONS. ....... The Producer of Acis & Galatea, 1901. 15\nENTHUSIASM IN THREE THEATRES.... J. B 17\nOPERA REGISTER 1712-1734 (concluded) . ; . Francis Colman , . . . .18\nIBSEN'S \" PRETENDERS \" AT COPENHAGEN . . Conrad Tower . . . .24\nBLUSHING IN THE LIMELIGHT . . .f . . Henry Phips 28\nON THE MEMOIRS OF ACTRESSES .... J. S 29\nDISCOVERY AFTER FOURTEEN YEARS . . . J. B. 30\nTHEATRE TALKS, and a Little Back Chat by Mr. Gordon\nCraig. ......... Editor & E. G. C. . . . .32\nBOOK REVIEWS. EDITORIAL NOTES.\n\nILLUSTRATION.\nMR. GORDON CRAIG. A recent Photograph. ....... Plate 1, Face 1\nTHE COiMEDIANS . From a Dutch Print, 1719 n 2, \" 12\nA PERFORMANCE WITH MUSIC G. P. Pannini . . \" 3, I 20\nTHE TEATRO IN MACERATA Anon.... n 4, « 22\nDESIGN FOR A STAGE SCENE Gordon Craig . . n 5, n 26\nPALAZZO CAVALLI, Venezia ..... Anon ...... 9\nTHE BANQUETING HOUSE, WHITEHALL, A cut . Paul McPharlin . . . . .10\nAN OLD DESIGN . . . . . . . . Brant's \" Ship of Fools . . .34\nTHE THEATRE HISTORIQUE PARIS . . . . Designed by Architects de Dreux & Sechan 37\nHead and Tail Pieces from old and modern Designs."}, {"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.4", "texte": "Mr. GORDON CRAIG.\nA Recent Portrait taken in the garden of his Villa at Genova, Italy.\nPlate 1.\n\nTHE MASK\n1927"}, {"page_pdf": 5, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.5", "texte": "The Mask\n1908 1927\n\nESSENTIALS.\n\nIT is not only in our Theatre world that men quarrel\nabout a lot of unimportant unessentials while forgetting\nto unite to remedy the essential.\nHow long did the fight for and against footlights\ngo on — how long was our world divided on the sil-\nly little subject \" To make up or not to make up \" ? on the\nyet sillier themes \" Scenery or no scenery \" ? and \" Does\nShakespeare spell ruin \" ?\nThese herrings are poor sport by the side of the real\nfox. Why not combine and give the fox a run for a change.\nTHERE are some things on which we have to agree\nand since it should be as easy as breathing let us get\nat them.\nT70R example, Courtesy in the How are we\ngoing to advance until we go back to the old courtesy ?"}, {"page_pdf": 6, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.6", "texte": "WE know that it is this lack of courtesy which is keeping some\nof the best brains of the Theatre off the stage. These men who\nknow more and can do more on a stage in a day than the pushful\nelbowers can know or do in a month, naturally do not come into a\nTheatre where Smith the mechanic (who is generally very courteous,\nby the way) and Hash the chief actor are a couple of boors, or, if\nnot boors, are sensitive fools whose feelings must not be offended. To\ncall a fool a fool is the most courteous thing we can think of, ....it\ngives him an opportunity of showing us that we too can be wrong.\nIt is not any fastidious effete courtesy we ask to see revived but\nsomething of the grand old manners of the best times.\nFirst of all — respect for brains ; secondly — respect for charac-\nter ; thirdly — respect for the ability of the genuine craftsman.\nWhat is the very essence of discourtesy is silent mutiny — ill\nwill —; such folk are sick and need rousing up. They are in a\nstate of revolt; not against the stupidity of their Theatre (that's healthy\nenough) but against the best things. It is due perhaps to ignorance,\nbut whatever it be due to it is the worst evil in the Theatrical world.\nWhile it broods and smoulders on, our English stage cannot do any-\nthing like its best. This discourteous sickness explodes not in the thea-\ntre, it leaks out in the clubs ; some journalists are subject to its fumes\nand are asphixiated by them. Actors and actresses have the habit of\ncackling — not merely their own grievances find an outlet ; they even\nchampion the grievances of their fellows.\nNow there are no real grievances: there is nothing for any single\nman to complain of, nor for any group either. Every man has his\nwages — can eat, drink, smoke, dress well, and succeed if he will.\nNo theatrical people are better paid than are the English. But while\neach man, each group has reason to be comfortable (if not happy) the\nentire English Theatrical Profession has one big grievance.\nIt is being killed : — it is dying of itself.\nWe are no Doctors; we offer no prescription, for to get up and\nshake yourself is not to take medicine. And the sole thing the English\nTheatre needs to do is to shake itself. To do this it must separate\nwhat is essential to its health from what is unessential. Neither Drama\nLeagues, amateur Societies, clubs, or avoidance of the facts, can do this,\nor do this for it. It must do it itself — and we know that in our\nEnglish Theatre there are many ready to help it to do this.\n\nJ. S."}, {"page_pdf": 7, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.7", "texte": "THE ACCADEMIA DEGLI INDIFFERENTI\n\nIwas a producer. I was looking through\nan interleaved copy of \" Macbeth \" in\nwhich I had written down the entire mise-\nen-scene for the play, ....for the arrangement\nof each scene, ...notes, suggestions, mea-\nsurements ; there were really quite a number\nof pages....\nAnd i was looking at a series of minia-\nture drawings of mine of the scenes for this\nplay which I had sketched into this book.\nAs 1 read the notes I passed quickly\nfrom one to the next, on to the last. At\nthe end I asked myself, what is ail this\nfor the Theatre? I spoke aloud: and re-\nplied with so much hesitation that 1 really\nforget what it was I found these things to\nbe worth. But it led me to attempt a re-\nstatement of what the Theatre really is, as\nyou shall presently discover.\nThe designs themselves were not bad,\nbutt hey seemed to represent an unnecessary\noutlay in canvas and wood, and that, of\ncourse, is bad. For we do not repeat\n\" Hamlet \" or \" Lear \" in a theatre for\nthe benefit of the carpenter and the linen\ndraper. £ 600 seems rather a large sum\nto expend on wood, canvas, and linen,\non ropes, nails, and workmen's time for\na new production of a play. Yet that is\noften spent these days, ....even ten times\nthat amount..., and the best spectators\ntell us that it is not in the best of taste;\nthat the scenic things disturb them, and\nthat they prefer the play in altogether\na simpler setting.\nLooking at my designs, I soon began\nto agree quite well with my critics of 1910\nwho used to say that the notions I had\nwere fantastic and too elaborate, and I\nbegan to agree also with those better specta-\ntors who want all things simpler, ....no\nmore trappings.\nAfter looking, reading, relooking, re-\nreading, I grew quite captious about it all;\nand, as I sat thinking, I found myself going\nover entirely to my critics, and with a di-\nstinct dislike for the notions I was leaving:\nbut as I went over I seemed to glance\nback and became immediately aware how\nvast was the crowd of people who clustered\nround these same notions which I was just\nleaving. The people were honest enough ;\nthey liked very well the things 1 once\nwanted to give them. They too wanted to\nsee more and more of them realized on stages;\nand, indeed, seemed to consider that this\nmethod solved the entire problem of stage\nproduction.\nNot till I was leaving them had I\nnoticed the size of this crowd. It was\nenormous. It was an odd crowd, rather\nhearty and eager about things; a material\ncrowd, too noisy perhaps, rather ruddy in\nface and over-quick to say what it liked;\nconsidering for hardly more than a moment\nor two, whether or no it was overestima-\nting its special fancy.\nBut now, on getting away from this\ncrowd, and in the circle of my critics, with\nwhom I was vastly happy to be, I became\nmightily content to listen carefully to them\nso as to understand something I did not\nyet quite understand.\nThis ignorance of mine, this lack of\nunderstanding, is what had made me leave\nthe others and go over to the enemy, ....I\nmean my enemy, i.e. enemies now to be\nmy true friends; those who I could see\nknew, who wished to impart, wished to\ndiscipline and bring me up. I went\nover to these, glad to the soul to be\nbrought up.\nMy only discomfort was a feeling that\nit was all a hopeless task for them, since I"}, {"page_pdf": 8, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.8", "texte": "had no brains, little knowledge, and less\njudgement; was a mass of instinct, rather\ntroublesome to myself, and therefore desti-\nned to be a rare trouble to anyone who\nshould attempt my education. Anyhow,\nI promised myself I should at any rate do\nmy very best; that is to say, i would\nspare my tutors every possible annoyance\nby taking pains.\nI wanted to learn what the Theatre\nwas; 1 wanted this simple thing made clear\nto me.\n1 took pains. I was very attentive,\n....at least I thought 1 was, and my tutors\nwere only too kind to tell me when I was\nmissing anything. 1 had to twist and turn\nto catch the intellectual ball, catch a glimpse\nof it, rather, as it flashed from tutor to\ntutor.\nLest I convey by the use of this word\n44 tutor \" that I was in a school, I had\nbetter change it to the word 4 4 brain''. From\nbrain to brain sped this silvered ball. I sat\nlistening, watching, puzzled but flattered to\nbe there, now fancying I had the ball, now\naware I had it not, that I never could\nhave it.\n\" I know not what this love may be\nwhich cometh to all and not to me \"\nran through my bit of a brain ; and it\nwas so like me to confuse love and brain,\nsoul and body, body and soul, heart and\nhead, heads and tails. Still, 1 had tossed\nup and gone over to the brains, and I sat\nand hoped and had patience, and was sorry\nfor the fine company I was in, that 1 was\nsuch a fool.\nIn this fine company sat ladies. I am\nuncertain whether they were many or few.\nAnyone with brains could have said, 44 Six,\nI believe \". But something even preven-\nted my achieving a calculation as small as\nthis. I listened and heard these ladies\ngently correcting the wise men. They did\nthis only now and again, and in a certain\nfirm- way that confused me more and more:\nso much so indeed that I even came to\nfancy that these ladies had once been as\nignorant as 1, and that their wisdom had\nbeen acquired from the wise men they\nwere now correcting. And all this made\nme, as you can suppose, no happier. Be-\nsides, I could not be positive that they\never had been ignorant,' ....not really as\nignorant as I.\nI was sure of nothing, Wisdom sur-\nged around me but seemed to refuse to\nenter me. 1 was tossing with the ball upon\na strong ocean; a deep one, I was sure.\nIts waves were its words; its currents\nwere its meanings; and its depths.... its\ndepths, .... 1 shuddered.... were to be my\ndeath. They were not beyond me, but\nthey were terribly beneath me.\nOne thing only was left me to do.\nTo fling myself upon my back and float\nif I could; to throw myself upon the\nmercy of the court, since i could not throw\nmyself upon its ignorance as did the old\nman in Colorado. I could not feel as he\ndid; I felt this really was no moment\nto jest.\nLet me here remind you who I was\nand what my calling.\nI was a stage manager, a 4 4 producer\nmy calling the Theatre. Of the Theatre and\nits Stage 1 knew how little 1 had acquired\neven after a rather long apprenticeship of\ntwenty years. Full thirty years had come and\ngone; I thought myself rather well informed,\nand yet here amongst the wise men and wise\nladies all this seemed nothing. They spoke\nof things I ought to have known more\nabout, and about which I seemed to know\nnothing; and they never once spoke about\nthe Theatre. Not that it was beneath them,\nfor when I did come to mention it, they im-\nmediately entered exhaustively into the whole\nmatter, remarking that what Aristotle had\nsaid was just, and that the Frenchman Abbe"}, {"page_pdf": 9, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.9", "texte": "Hedelin d'Aubignac and the Italians, Count\nScipione-Maffei and Count Algarotti were\nto be read attentively.\nThese four writers they discussed, del-\nving, with all the most delicate, pincer-\nlike phrases, into their several works, com-\nparing what they pulled out, and I sat\nsilent, all the while unable to say more\nthan \" that is true \" or \" so it is \".\nFor, without exaggeration, I never\ncould find a single fault with anything they\nsaid. They really seemed to know all\nabout Drama and Stage as about all\nelse. When it was not brilliant, then it\nwas profound; and sometimes it was both.\nI had read Aristotle, and d'Aubignac, Al-\ngarotti and Maffei, and so I grew confi-\ndent and happy on hearing their names\nmentioned. But this confidence soon left\nme as I perceived how much better my\nnew friends knew the works of these men\nthan I did. For though it is true that I\nhad read the books, I really had never\nunderstood them.\nI have too lively a fancy properly to\nunderstand things which are so far off.\nWhen reading Aristotle, all I could do to\nconcentrate was never quite enough to obli-\nterate the thought, or rather the vision, of\nArchitecture. I saw columns of burnt marble,\norange and brown, and white marble, and\na blue sky, and I saw a little curve\nof steps and some silent people, and\nother people leaping and singing in a\nring. When I read d'Aubignac, I saw\nRichelieu in a red robe in a room of\nbrown wood, rebuilding France as his\nlittle beard grew grey. Algarotti's eight\nvolumes breathed of sleep and\nto me, and Maffei and his book summon-\ned up a big library of other books, pre-\nsided over by Aristotle; ....so back I\n<came to the architecture, a bit broken up.\nThe ancients had just this effect on\ntme. They conjured up visions which\nnothing could explain away: and I was\nnot born with much gift for explanation.\nWith more modern times it was dif-\nferent. But when my new friends spoke\nof to-day, I had to be very nimble, for\nit always led them to Maffei, on to\nd'Aubignac, and so back to Aristotle;\nand many a time I was in danger of being\nleft behind in this century.\nI do not mean to say that these were\nthe only writers mentioned by them, for\nColeridge, Brunetiere, Sarcey and Henry\nArthur Jones were often named; although\nJones, being more of a practitioner than\na theorist, was naturally not to be taken\nquite so seriously as the others.\nAnd Diderot was not forgotten;\nSchlegel and Beaumarchais, Voltaire I\nheard all their names. The good Lessing's\ntoo, and Castelvetro. At hearing this name\nmy heart began to beat, a habit I had\nnot cured it of, although by this time I had\nbeen three years in the company and under\nthe tuition of my new friends. 1 remem-\nbered a couple of lines from Castelvetro's\nnotes on Aristotle. I remembered badly, I\nam sure, but what he said amounted to\nthis: \" Tragedy is a dead thing until acted\nand staged\nI forget all else that he said because\nit seemed to me that if this were true, to\ndiscuss further or to read more about tra-\ngedy until after you had seen Tragedy,\nand heard Tragedy staged and acted,\nwould be a little ridiculous; and to discuss\nit afterwards would be even more ridi-\nculous.\nThis stupid platitude, you may well\nimagine, I was not so dull as to utter\naloud. But it laboured in me, it laboured\nto hide itself, and 1 felt no lighter and\nhappier about myself; and was only com-\nforted if I turned my full attention on\nthe speech of my friends and so forgot my\nown existence."}, {"page_pdf": 10, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.10", "texte": "In short, I brought myself to such a\nstate of despair when amongst my good\nfriends, that it may be said I only existed\nwhen I was silent, ....dumb....dead. For\nthree years I had not seen that other public,\nthe size and quality of which I had only\nbecome aware of just as I was leaving it.\nAnd now, one day, when we were\non the terrace of the Accademia degli\nIndifferenti, (for this was their name),\nafter a long discussion.... the President\nwalking all the time — (three full hours)\n— up and down, up and down the long\nTerrazza dell'Ombra.... and after it had\nended and all wise men and ladies had\ndescended into the garden or to the house\nor gone away to their own homes, I awoke\nto find a round-faced, round-eyed servant\ngirl looking at me.\n\" You have been calling out, sir \"\nshe said, \" calling aloud. I came, but you\nwere sleeping. Is there anything you want? \"\n\" A Theatre ....a real Theatre\" I\nanswered, and was amused to hear m yself\nspeaking at ail — definitely — and to a\nliving being.\n\" I do not know what that is \" she\nanswered.\n<| It was these seven words which\ndecided me to return to the vast healthy\ncommon public 1 had left three years pre-\nviously, a public which does not know\nwhat a Theatre is.\nI could delay no longer. I got back.\nI went first to Leningrad, then to\nParis, and then to London.\nI went to their gatherings; ....all had\npretty dumpling or dollish faces, ....or\nhonest ploughboy's eyes ....or tightlipped\njockey's mouths; and cocked their heads\nso, or frowned a bit thus. Some were\nquite hearty and healthy, and some were\nnervous wrecks, and some were half and\nhalf, and I was a \" jolly good fellow\nThey seemed a little altered.\nWhen things were quieted down a bit I\nasked them what they understood by the\nword Theatre.\nThey explained.\nI will not keep you listening as long\nas they kept me: — it would do no good;\nyou would become as they became, ....you\nwould slowly go out.\nOut went the light from their eyes as\nthey explained ; they died piecemeal; ....and\nas they died some queer new life moved\nthem. Not as little toy puppets exactly —\nfor these seem like suddenly dead things,\n....things which died at the right moment,\n....things loved by the gods, with their\nopen-eyed wonder still fresh upon them.\nNothing like this was upon these people.\nAs they faded out so they came fading\nin again; slowly. Their youth died out\nslowly, their age died up again slowly.\nThey became more terrible to sit with\nthan huddled mummeys in the tombs. The\nair became horrible — movement ceased.\nI could barely move as they told me what\nit was all about, — this Theatre.\nWhen they had ceased I asked them\nto say how they had discovered this\nTheatre — this New Theatre — and whe-\nther they were quite sure, ( sure) it\nreally was the thing the world wanted.\nYes \" they answered, \" it is; —\nwe know that it is — we have the whole\ntheory and practice which is founded on\nthe very finest tradition of — \"\n\" ....of a great artist? \" I asked, flaring;\nup with hope but not really knowing what\nI said.\n\" ....of the Accademia degli Indiffe-\nrenti \" they answered.\n* *\nI heard what I took to be a stone\nfalling through the darkness of a bottomless\nwell... or was it far-off laughter?\n\nCHI LO SA."}, {"page_pdf": 11, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.11", "texte": "POETRY IN DRAMA\nBY WILLIAM POEL.\n\nIN Sir Philip Sidney's Apologie Poetry\nthe main argument of his thesis turns on the\nquestion as to whether the dramatic poet is\nmore successful than the philosopher and the\nhistorian in \" the winning of the mind from\nwickedness to virtue \".\nShelley in his Defence of Poetry says that\na man to be greatly a poet must imagine in-\ntensely and comprehensively, and that he must\nbe able to put himself sympathetically in the\nplace of not merely one of his fellow beings\nbut of all of them. He contends that the\ngreatest instrument for good that exists for\nman's welfare is to be found in the imagina-\ntion, and that poetry vitalises both mind and\nmorals because it explains what it is that de-\nvitalises man's natural aptitude for good.\nTo look further back among the Greek\nclassics we find Aristophanes, in one of his\namusing farces, asking Euripides why drama-\ntists should be encouraged to write plays ?\nEuripides replies, \" Because it is the busi-\nness of these men to make folk into better\ncitizens\nWe know, also, that Orpheus with the\nhelp of his music civilized not only the wild\nmen of the woods, but tamed even wild\ncats, a rather difficult task to accomplish! On\nthe other hand Plato omitted the dramatist as\na person unfit to exist in his Utopia because\nhe thought the playwright did not take his\nwork sufficiently seriously.\nIn mediaeval times the Church was said\nto keep its congregations in ignorance in order\nto preserve the spiritual faith of its members.\nIt was this mistrust of knowledge which begat\na reaction in the form of the Reformation, to\nbe followed by a revival of learning and of\nthe arts. Speaking of Hakluyt's ,\nwritten in Elizabethan times, Russell-Lowell\nremarks ; \"We are almost startled now and\nthen to find that even common sailors could\nnot tell the story of their wanderings without\nrising to an almost Odyssean strain, and habi-\ntually using a diction that we should be glad\nto buy back from desuetude at any cost ' .\nWhere was this diction acquired? There were\nno newspapers in those times, and few schools\nfor the poor. It was at the playhouses, where\nthe poets reigned supreme, men of education,\nof genius', and with a sense of responsibility\ntowards their fellow-men. Today Commercia-\nlism sits as watch-dog at the stage-door, deter-\nmined to keep out everything but the com-\nmonplace. It may, perhaps, think that vulgar\ndialogue with mediocre singing and dancing\nare what the public demand. \" And yet\nsays Lord Chesterfield, every man, if he\npleases, may choose good words instead of\nbad ones; may speak properly instead of darkly\nand muddily. He may have grace instead of\nawkwardness in his motions and gestures; and,\nin short, may be a very agreeable instead of\na very disagreeable fellow, if he will take care\nand pains \".\nDrama on the stage to-day is an illusion\nwhich is due to the proscenium arch, to scenic\nbackground and to artificial lighting, giving the\ncharacters an appearance resembling figures\ngrouped on a canvas. But in Shakespeare's\ntime the presentation of a play on the open\nplatform meant to the Elizabethan playgoers\nan actual event; it was not makebelieve but\nreality, not to the eye but to the ear, and\nthence to the mind. Poetry makes her own\npictures as she makes her own music. She\ncan reveal the loveliness of nature, and she\ncan also describe its terrors. Unsurpassed in\npower over the imagination is Shakespeare's\ndescription of a storm at sea ( , Act I,\nSc. ii, 3.). Poetry takes precedence of history\nin its power to illuminate the past. It mellows\nthe pictures of memory with a special beauty,\nand has a more lasting and subtle influence\nover the mind than has either music or painting.\nIn fact the art of the poet presupposes and\ncomprehends all the other arts. Not a few of\nthe most beautiful ideas of Homer furnish no\npictures for the artist. But the superiority of\nthe poem over the picture depends not only\non technical efficiency such as vocabulary and\nmetre, but also on whether the writer or\nthe artist is the better gifted with poetic inspi-\nration.\nAnd, moreover, the Elizabethan dramatists\nignored the painter's art. The consciousness\nof the greater freedom that language possesses\nmade the poets of that period impatient of the"}, {"page_pdf": 12, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.12", "texte": "limitations of the picture. For instance, Ben\nJonson writes : —\nWhat poesy e'er was painted on a wall ?\nAgain, Lady Macbeth says : —\nthe sleeping and the dead\nAre but as pictures, 'tis the eye of childhood\nThat fears a painted*devil.\nAnd Olivia, in offering her portrait to\nViola : —\n. 4 'tis my picture\nRefuse it not, it hath no tongue to vex you.\nAnd the King to Laertes : —\nOr are you like the painting of a sorrow\nA face without a heart.\nBut today more and more do men and\nwomen distrust their own intuitions. They\nturn to pictures for the realisation of what\nthey themselves hesitate to realise. They\nfancy that their own perceptions do not\ndisclose the author's meaning without the help\nof illustrations. They forget that in most cases\nit is the illustrator, and not the author, who\ndetermines the limits of the reader's imagina-\ntion. Two centuries later, Wordsworth, in-\ncensed at the introduction of illustrations into\nbooks and journals, expressed his disapproval\nin a sonnet of which the following are con-\ncluding lines : —\nAvaunt, this vile abuse of pictured page,\nMust eyes be all in all, the tongue and ear\nNothing ? Heaven keep us from a lower stage!\nAnd Coleridge exclaims : —\nAs idle as a painted ship\nUpon a painted ocean.\nCertainly the picture stage is not suited\nto Elizabethan Drama, and since the intro-\nduction of the proscenium arch English clas-\nsical drama has steadily declined in both li-\nterary and dramatic value.\nBut poetry in drama cannot be limited to\nthe use of rhythmic sounds or verbal felicities.\nTo write verse that will convey to all who\nread it at sight a definite meaning is by no\nmeans an easy task, in acted drama however\nit is the business of the actor to find a tune\nto fit the author's words and then to give the\nlistener the impression that what is spoken is\nthe spontaneous utterance of a living person. Yet\na voice cannot instinctively echo the sense of\nwords that are not native to the speaker. Thus,\nin the delivery of verse, it is only the trained\nelocutionist who can avoid making havoc of\nthe author's music and meaning, while abuse\nof the cadence becomes in the unskilful a\nmonotonous infliction on the ear. Mere readers\nwill mark the swing and lilt and scansion of\nthe verses to the confusion of the sense. They\nhave no choice, no more than the amateur\nwho having learnt but one tune on the piano\nentertains all friends alike with it. But variety\nof time and tune are essential for spoken\nwords. To quote Clifford Harrison : — \"It\nis necessary to call out the inner force of the\nvital word till it answers to the call, and\ntouches the hearer with the startling sense of\nunexpected and unsuspected presence \". This\nis an art which demands a special combination\nof voice, brain and temperament. The actress\nRachel was like Kean, in that she had a\npower of concentrating into a single phrase a\nworld of intense feeling; and indeed Kean\nhimself could not have surpassed the terrific\nexclamation ; — Miserable ! etje vis. Moreover\nKean's musical ear and voice saved him from\nthat still more unpardonable defect, the disso-\nciation of rhythm from meaning. The amateur\ndetermines his emphasis and pause by the\nformal structure of the verse — as if the sense\nended with the line.\nIt must be remembered, then, that verse\nis not necessarily poetry, and that prose may\nsometimes be poetry. Hamlet's speech, be-\nginning, \" What a piece of work is man !\nis prose, but it is also poetry. Only a small\nproportion of pure poetry comes into Shakes-\npeare's plays. Perhaps Richard II and Mid-\nsummer Night's Dream are the two plays\nwhich contain most poetry. Of the tragedy,\nthe central figure is a man who thinks and\nspeaks in words embodying poetical imagery;\nthe comedy is a fairy story. The play of\nJulius Caesar contains very little poetry. Even\nwhen plays are written in verse, the dialogue,\nexcepting of course the soliloquies, is conver-\nsation, and the actor should give prominence\nto those words in the verses which give point\nto the action of the play. Thus Macbeth is\ncertainly speaking poetry when he says,\nLight thickens, and the crow\nMakes wing to the rooky wood.\nBut what is more important still, he is\ntelling the audience, who are seated in the"}, {"page_pdf": 13, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.13", "texte": "Globe playhouse in broad daylight, that for\nthe purpose of the story they must imagine\nnight to be approaching; and he is also telling\nLady Macbeth of the near approach of Banquo's\nmurder. Now if the actor is thinking of the\npoetry in which the words are clothed, and\nnot of the implied meanings that underlie the\npoetry, he may fail to hold the attention of\nthe audience who have gone to the theatre,\nin the first place, not only to hear poetry hut\nto see action illustrating character.\nThe question how Shakespeare's verse\nshould be spoken on the stage involves some\nconsideration of how it was spoken there in\nShakespeare's time. Poetry was, then, a na-\ntural and spontaneous expression of the Eli-\nzabethan mind and heart, it may have arisen,\nand probably did arise in the first instance,\nthrough the efforts of scholars. It was perfected\nthrough the schooling of the theatre, and poetry,\nas it was understood and appreciated in the\ntheatre, was not in favour with academicians.\nIt was liked, in fact, by the groundlings\nchiefly for the great variety of euphonius\nsounds that the actors got out of the words.\nOn the audience sound in verse made a great\nimpression, partly because of its novelty, but\nchiefly because the broad pronunciation in use\nin Shakespeare's day gave a foreign and not\nunpleasing colour to speech. As the Clown\nin Twelfth Night reminded Olivia, in a play,\n\" You must allow Vox to the groundlings\na tame madman would he unendurable. The\nsound of the rhymed couplet was especially\na delight to the illiterate besides being used\nas a cue for applause at the end of a soliloquy\nor at the exit of a character. Shakespeare\nthough, disliked these verbal puerilities, and\nin The Tempest there is only one rhymed\ncouplet in the whole play.\nThe decay of the actor's art today is in\na great part due to an increased demand for\nover elaborate work by the producer. Ben\nJonson foresaw the effect the Court pageants\nwould ultimately have on the serious drama\nin Jacobean times, and warned his public of\nwhat would happen ; — \"It is a noble and\njust advantage that the things subjected to\nunderstanding have of those which are objected\nto sense; that the one are but momentary and\nmerely taking; the other impressing and last-\ning : else the glory of all these solemnities\nhad perished like a blaze and gone out in the\nbeholders' eyes, so short lived are the bodies\nof things in comparison of their souls \". When\nthese words were written Shakespeare was no\nlonger alive. But the platform stage remained\nand his plays were still being acted in the\ncentre of the arena of the Globe playhouse.\nWe know, too, the impression a performance\nof Juli us Caesar made upon one of the spec-\ntators :\nSo have I seen when Caesar would appear\nAnd on the stage at half-sword parley were\nBrutus and Cassius Oh! how the audience\nWere ravished, with what wonder they went thence !\nThese contemporary lines show the pro-\nfound impression that could be made on an\naudience, three centuries ago, by Shakespeare's\nwords spoken on an open platform.\n\nPALAZZO CAVALLI, VENEZIA.\n\nVENEZIA AND ITS FOOLISH COLLABORATION\nOF POET, MUSICIAN,\nARCHITECT AND SCENOGRAPHER.\nA C.\nI say foolish because some there are who like things\nmore select and simple—they prefer words and all\nwords—music and all music ; they seem not to like ordinary\ncollaboration.\nI have had the same feeling—happily am now rid of it.\nAnd so to me it seems sensible that the Venetians brought\ntogether all which might make Opera and Drama excellent\nwithout doing so at the expense of the pedants.\nThis Palazzo Cavalli shown above contained a little\nTeatro, the property of Alessandro Pepoli, the author of\nseveral tragedies and other pieces; and there they were\ngiven. The Accademia de Rinnovati was founded by\nPepoli, and with it he did delightful productions in this\npalace. In the other theatres the same collaboration of\nthe crafts ruled from the end of the 16th century on until\nthe end of the 18th.\nAs it always must rule sensible people."}, {"page_pdf": 14, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.14", "texte": "BEN JONSON: INIGO\nJONES: INVENTORS.\nBY PAUL McPHARLIN.\n\nTHE BANQUETING HOUSE. WHITE HALL.\nA cut by PAUL McPHARLIN.\nThis Banqueting House, built by Inigo Jones in 1619, was\nthe only part of his design for a huge new palace that was\ncompleted, and which escaped a fire in 1698 that destroyed\nthe older section. The Masque of January 1622, was\nthe first of many given in the hall that occupies the upper\nstory. The accoufits of the Treasurer of the Chamber specify,\n\" the upper story [rs by no by] 55 feet in height, to the laying\non of the roof... with 14 windows on each side [that is 14 divided\nby two sides] and one great window at the upper end...\nwith a gallery upon the two sides\n\nCette lutte entre deux hommes superieurs, egalement\nenerglques et author itahes, est au fond celle de deux con-\nceptions, de deux elemens, de deux arts qui se disputent\nla preponderance dans le ballet.\nPaul Reyher. Les Masques Anglais.\nWILLIAM Drummond received Ben Jonson\nas his guest at Hawthornden near\nEdinburgh for about a fortnight in January\n1619, and kept notes of their conversations\ntogether. Jonson talked much about himself,\nand Drummond, perhaps a little weary, sum-\nmed him up thus when he had gone: \"He\nis a great lover and praiser of himself, a con-\ntemner and Scorner of others, given rather to\nlosse a friend, than a jest, jealous of every\nword and action of those about him.... he is\npassionately kynde and angry, carelesse either\nto gaine or keep.... Interpreteth best sayings\nand deeds often to the worst: oppressed with\nfantasie, which hath ever mastered his reason,\na generall disease in many poets\nThere is no contemporary account that\nso fully sketches the character of Inigo Jones.\nThat he was neither meek nor unassertive,\nhowever, is well known. He had been com-\nmissioned to reconstruct a porch for Old St.\nPaul's, and in order to give his design a vista,\nhe started to tear down the little church\nof St. Gregory which closely encroached.\nIts incensed parishioners raised a cry and ap-\npealed to parliament. The Surveyor of the\nWorks issued his ultimatum: he would not\nundertake the repairs on St. Paul's \" unless\nhe might be the sole monarch, or might have\nthe principality thereof \". Pie was reasonable.\nBut legislatures favor ethics before aesthetics,\nand the parishioners, sustained in their com-\nplaint, rebuilt the broken wall of their church\nwith stone that Jones had brought for the\nwork on St. Paul's.\nThese two positive men, at the desire of\nAnne of Denmark, queen of James I, met to\nprepare a masque. Disguising had been po-\npular with the English court since the time\nof Edward III to celebrate birthdays and\nmarriages and to entertain illustrious guests.\nIn the reign of James the masque achieved\nsurpassing splendor; two men were respon-\nsible.\nIt had the elements of what we now\ncall opera, in a reverse ratio of importance:\ndance, scene, music. The queen herself often\ntook part; discovered on the stage with her\nladies en tableau, she led them down to the\nfloor where, after stepping a stately figure,\nshe advanced to the chair of state and bade\nthe king be her dancing partner. In contrast\nto the grace of the galliards and corantoes\nthere were grotesque antics by the antimas-\nquers, whose make-up and costume were\ncontrived to set off those of the masquers.\nThe scene, on a stage erected at one end of\nthe hall, showed painted classical avenues,\nforests, mountains and seas. Buildings were\ngiven the appearance of solidity, one canvas\nface toward the spectators, the other running\nback in false perspective. Later, to facilitate\nquick changes, which took place without the\nlowering of a curtain, Jones perfected a •se-\nries of wings such as were taken over by the\npublic theatre and used until the beginning\nof this century.\nMachines that rose, sank, advanced, re-\nceded and revolved, together with plenty of\ncolored lamps and torches, completed the\nspectacle. Verses, giving a thread of plot to\nthe dances, were either sung or delivered in\nrecitative. Jonson developed a form of anti-"}, {"page_pdf": 15, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.15", "texte": "in spoken comic lines as well. The\nmusicians were frequently costumed as per-\nsonifications, and had a place in the scene.\nMoney was not spared; the best poet and\narchitect available collaborated.\nAt the time he was called by the queen\nBen Jonson was 32. He had produced five\nplays for the public theatre. He was known\nto Anne because of the verses he had written\nfor an entertainment welcoming her to Althorp,\nNorthants, in 1603 when she first came to\nEngland; of those delivered at the entry of\nJames into London; and for a May Day en-\ntertainment given by Sir William Cornwallis\nat Highgate in 1604.\nInigo Jones was a year and a month\nyounger than Jonson. John Webb, his rela-\ntive, pupil and heir, gave this account of him:\n\" Christianus IV, King of Denmark, first en-\ngrossed him to himself, sending for him out\nof Italy, where, especially at Venice, he had\nmany years resided. Upon the first coming\nof that king into England, he attended him,\nbeing desirous that his own native soil, ra-\nther than a foreign, should enjoy the fruits of\nhis laborious studies. Queen Anne here ho-\nnored him with her service first; and not\nlong after, Prince Henry \".\nAnne had seen their work and knew that\nher men could provide a splendid masque,\nwith jewels and gowns and strange devices\naplenty after her own gay heart, and verses\nwith learned classical allusions that would\nplease James. She wanted to appear with\nher ladies as blackamoors. Jonson, enriching\nthe whim with his learning, suggested that\nthey be daughters of Niger. Jones visualized\na mechanical sea, a shell in which the mas-\nquers, decked in orient pearls, might sit,\nsea-monsters for the torch-bearers to ride, and\na vaulted silk sky studded with star-lamps.\nThe poet and architect, having agreed upon\na scenario together, parted and set to com-\nposing and designing.\nOn 6 January 1605 the Elizabethan\nbanqueting house at Whitehall beheld the\nMasque of Blackness. Among the invited were\nthe Spanish and Venetian ambassadors, who\nsat in state by the king. (M. Beaumont,\nambassador from France, stayed away in a\njealous passion). Curious commoners could\nlater obtain the printed text, in which Jonson\ndescribed the scenes, machines and costumes\nat length, dwelt upon the fashionable innova-\ntion of perspective and, concluding with \" So\nmuch for the bodily part, which was of mas-\nter Inigo Jones's design and acthe pro-\nceeded to his verses.\nAn architect fresh from his studies in\nItaly, where court entertainments outdid all\nEurope in splendor, might differ with Jonson's\nconception of the masque. If spectacle was\nnot its core, the soul rather than the bodily\npart, then what was? Moreover, the verse-\nmaker asserted, \" the invention was derived\nby me and presented thus \" as if he alone\nknew all about Italy\".\nNov/ Jonson saw what a fascination\nspectacle had for the court. And he de-\nplored it. Poetry was a lofty art, to be\npreferred to vulgar show. Scenes glittered\nfor a day, and then were firewood. \"So\nshort lived are the bodies of all things, in\ncomparison of their souls \". If he described\nthis body with a word between his verses,\nit too lived on. But the fact remains that,\nno matter how timeless his verses, no matter\nhow much he wished poetry to be the soul\nof masque, it was always overwhelmed by\nballet and spectacle.\nOn 5 and 6 January 1606 Whitehall\nsaw Hymenaei and a Barriers, or mock-tour-\nnement, as a wedding celebration. \" Both\nInigo, Ben, and the actors men and women\ndid-their partes with great commendation\",\nsaid an eye-witness. \" The Designe and\nAct of all which, together with the Device\nof their habits, belongs properly to the Merit\nand Reputation of Maister Ynigo Iones, with\nwhom I take modest occasion in this fit place,\nto remember, lest his own worth might acuse\nmee of an ignorant neglect for my silence\nsaid Jonson in the quarto edition published\nshortly after.\nOn 10 January 1608 the queen gave the\nMasque of Beauty. Jonson supplied the\nwords, and Jones probably the spectacle, but\nhe was busy at work on the Haddington\nMasque and could not superintend the exe-\ncution of his designs. From his descriptions\nJonson seems to have made suggestions.\n\" The order of the scene was carefully and\ningeniously disposed; and as happily put in\nact (for the motions)\" — which were an\nisland turning clockwise, and steps holding\ncupids turning counter-clockwise about it, each\ncarrying lights, the whole advancing — \"by\nthe king's master carpenter. The painters, I"}, {"page_pdf": 16, "page_imprimee": "12", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.16", "texte": "must needs say, (not to belie them), lent\nsmall color to any, to attribute much of the\nspirit of these things to their pencils. But\nthat must not be imputed a crime, either to\nthe invention or design\nThe Haddin gton Masque, the Hue and\nCry after Cupid, was a nuptial celebration,\nand took place 9 February 1608. Jonson\nwrote, \" The device and act of the scene\nM. Ynigo Jones his, with addition of the\ntrophies [gilt proscenium decorations]. For\nthe invention of the whole and the verses,\nAssertor qui dicat esse meos, imponet plagia-\nrio pudorem \". Again Jonson appropriated\ntoo much credit. Had Jones been an easy-\ngoing fellow there could have been no fric-\ntion; but he was not. In the introduction\nto the printed text Jonson says that since the\nperformance his conception has been censured,\nbut that he \" cannot but smile at their tyran-\nnous ignorance that will offer to slight me (in\nthese things being an artificer) and give them-\nselves a peremptory license to judge, who\nhave never touched so much as the bark, or\nutter shell of any knowledge \". It has been\nadmitted that the poet always looked at his\nown learning through one end of the spy-\nglass, and at that of others through the other.\nPersonal differences must be forgotten\nwhen the crown commands. The collabora-\ntors prepared the Masque of Queens for\n2 February 1609. As an antimasque there\nwere eleven witches. \" The device of\ntheir attire was master Jones's, with the in-\nvention, and architecture of the whole scene,\nand machine. Only I prescribed them their\nproperties of vipers, snakes, bones, herbs,\nroots, and other ensigns of their magic, out\nof the authority of ancient and late writers,\nwherein the faults are mine, if there be any\nfound; and for that cause I confess them\".\nLater he says of the House of Fame in which\nthe masquers appeared, \" The structure and\nornament of which (as is profest before) was\nentirely Mr. Jones his invention and design....\nAll which I willingly acknowledge for him;\nsince it is a virtue planted in good natures,\nthat what respects they wish to obtain fruit-\nfully from others, they will give ingenuously\nthemselves\". 'Was this surprising submis-\nsion prompted by the fear that Jones had\ninfluence to damage his standing at court ?\nJonson had addressed Prince Henry in the\nintroductory epistle to the Masque of Queens\nin such a way that the fifteen year old boy\nmust have been pleased. Yet Samuel Daniel\nprovided the verses for Tethys* Festival, which\nwas given 5 June 1610, the day on which\nHenry was created Prince of Wales. Daniel,\nto taunt Jonson, deliberately belittled the part\nplayed by poetry in masque : \" But in these\nthings wherein the onely life consists in shew,\nthe art and inuention of the Architect giues\nthe greatest grace, and is of most importance;\nours, the least part and the least note in the\ntime of the performance thereof \". How.Jonson\nsquirmed to see Jones himself describe the\nscenes, and overbalance verse by prose ! No\ndoubt of which collaborator commanded !\nThe irascible poet was received back into1\nfavor, however, (there were many strings to\nbe pulled in those days as now) and worked\nwith Jones on Oberon the Fairy Prince, 1 Ja-\nnuary 1611. Each received forty pounds for\nhis labors (which must be multiplied by eight\nto give the present value) ; but Jones had an\nadditional sixteen pounds from Prince Henry..\nLet it be hoped that Jonson did not know of\nthis. The two received a like amount for\nLove Freed from Ignorance and 3 Feb-\nruary 1611. It was diplomatic to put them\non this exactly equal footing. They were\ngiven to understand that neither one nor the\nother exceeded in importance. As a matter\nof fact J ones' burden was the heavier, for he\nnot only designed but also superintended his\nend of the production, as a bill of account\nshows :\nImprimis to mr Beniamin Johnson for his\ninvention 40 Ii.\nItem to ml Inigo Johnes for his paynes and\nInvention 40 li.\nSometime before this, Jonson, \" being at\nye end of my Lord Salisburies table with\nInigo lones & demanded by my Lord, why\nhe was not glad : My Lord, said he, you\npromised I should dine with you, bot I doe\nnot, for he had none of his meate; he esteamed\nonly yt his meate which was of his dish \".\nObviously the collaborators were not at ease\ntogether in society.\nThe winter of 1612-13 J onson spent in\nFrance as Governor to the eldest son of Sir\nWalter Raleigh, with small disciplinarian suc-\ncess. While he was gone, the marriage of\nthe Elector Palatine and Princess Elizabeth\nwas celebrated with the Lords Masque by\nThomas Campion, 14 February 1613. \" The."}, {"page_pdf": 17, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.17", "texte": "THE COMEDIANS.\nFrom \"Iets Poor Allen, Zynde een Verhandeling E.n Verbeelding van allerhande, Stan den,\nStudien, Konsten, Wetenschappen, Handwerken enz ; Door den berugten Peter Abraham van St,\nClara. In't Nederduyts overgebragt Door J.le Long. t'Amsteldam, 1719.\nPlate 2.\n\nTHE MASK\n1927"}, {"page_pdf": 19, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.19", "texte": "stars moved in an exceeding strange and de-\nlightful manner \", says Campion, \" and I sup-\npose few have ever seen more neat artifice\nthan Master Inigo Jones showed in contriving\ntheir motion, who in all the rest of the work-\nmanship which belonged to the whole inven-\ntion showed extraordinary industry and skill '\\\nThe next day the festivities proceeded with\nthe Masque of the Middle Temple and Lin-\ncoln's Inn. it was \" inuented, and fashioned,\nwith the ground, and speciall structure of the\nwhole worke, By our Kingdoraes most Artfull\nand ingenious Architect Innigo Iones. Sup-\nplied, Aplied, Digested, and Written, By\nGeo. Chapman \". Jones was now in high\nfavor, and it did no harm for poets to submit\nto his ideas and admire them.\nWith the death of Henry in November\nJones' office of Surveyor of the Works to the\nprince's household had terminated. Detained\nonly by the marriage masques, he left for\niltaly. Jonson returned and wrote three masques\nthat were given during Jones' absence. None\nrequired elaborate settings. Campion, colla-\nborating with Constantino dei Servi, a Flo-\nrentine architect, on the Masque of Squires,\n-26 December 1613, complained, \" he being\n;too much of himself, and no way to be drawn\nlio impart his intentions, failed so far in the\nassurance he gave that the main invention,\n<even at the last cast, was of force drawn\ninto a far narrower compass than was from\nithe beginning intended \". Jones was easier\nto work with.\nAlthough the architect was back in England\nby January 1615, full of what he had seen\n'of the theatre in Italy, there are no records\nof his work with Jonson until three years\nafter. I believe, however, that he worked\non the scenes for the Golden Age Restored,\n1 January 1616, and the Vision of Delight,\n25 December 1617. We know that they\nhad streets in perspective, clouds, and bowers\nthat opened to discover masquers. Nicholas\nLanier \" ordered and made both the scene\nand the music \" of Lovers Made Men, 22\nFebruary 1617.\nBut on 6 January and 17 February 1618\nthe old collaborators produced Pleasure Re-\nconciled to Virtue. Jones, stimulated by Italy,\nshould have provided something less stereo-\ntyped than woods that vanished and mountains\nthat opened, and Jonson should have striven\nlo do his best. Instead, \" the masque was\npoor, and Inigo Jones has lost reputation, for\nsomething extraordinary was expected \", said\na contemporary. Another: \"The masque....\nis not commended of any. The poet is grown\nso dull that his device is not worth the re-\nlating \". Jonson tried to improve it by adding\nan antimasque in a Welsh accent, and a goat\ndance.\nShamed with their failure, each blamed\nthe other. Jonson went off to Scotland and\ntold Drummond that \" he said to Prince\nCharles of Inigo Jones, that when he wanted\nwords to express the greatest Villaine in ye\nworld he would call him ane Inigo \". (Pun\non iniquo). Jones tried to make amends by\nbuilding a splendid banqueting house at White-\nhall to replace the one that had been de-\nstroyed by fire 12 January 1619.\nThe first entertainment in the new ban-\nqueting house, which still stands, was the\nMasque of Augers, 6 January and 6 May\n1622. Jones and Jonson had cooled off suf-\nficiently to work together again. There is\nlittle record of the scenes: a light opens above\nand Apollo breaks forth; persons come forth\nas from tombs, and \" the Earth rise th \". Van-\ngoose, who \"is a Briton born, but hath\nlearned to misuse his own tongue in travel,\nand now speaks all languages in ill English ;\na rare artist.... and a projector of masques \",\ncould not have been a take-off on Jones ; he\nwould have remonstrated.\nFor Time Vindicated to himself and his\nHonors, 19 January 1623, Jones provided a\n\" scene.... three times changed during the\ntyme of the Masque, wherein the first that\nwas disclosed was a prospective of Whitehall,\nwith the Banqueting House ; the second was\nthe Masquers in a cloud; and the third a forest.\"\nand for Pan's Anniversary, date uncertain, a\n\" fountain of light \". \" The inventors, Inigo\nJones, Ben Jonson Happily the latter could\nnot see the order of precedence when this\nappeared in the 1640 folio. Neptune's\nTriumph, prepared for 6 January 1624, could\nnot be given until 9 January 1625, when it\nwas rewritten as the Fortunate Isles. Jones'\nscenes, having no topical allusions, needed\nno alteration.\nOf their last two productions together,\nLove'sTrivmph thru Callipolis, 6 January 1631,\nand Chlorida, 22 February 1631, there are\nrecords to show the manner of collaboration.\n\" The inventors, Ben Jonson, Inigo Jones \","}, {"page_pdf": 20, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.20", "texte": "\" after some debate of cogitation.... resolved\non the.... argument , that is, the scenario or\nplot. Then Jonson sent off the verses as soon\nas they were composed to be set to music.\nJones, consulting his plot-notes, devised the\nscenes and costumes and machines. For an\nimportant costume, like that to be worn by\nQueen Henrietta as Chloris, he sent a sketch\nfor approval, with a little note, \" This dessigne\nI conceaue to bee fitt for the inuehtion and\nif it please hir ma5 e to add or alter any thing\nI desier to receaue hir mais command and\nthe desseigne againe by this bearer. The\ncollors allso are in hir mais choise ; but my\noppinion is that seueral fresh greenes mixt\nwith gould and siluer will bee most propper \".\nOf course her majesty graciously approved.\nChlorida was the most spectacular of all\nthe masques that had so far been given.\nThere exists a very full set of Jones' sketches\nfor it in the collection of the Duke of De-\nvonshire. The scenes brought Spring to the\nFebruary evening. There were hills planted\nwith young trees and flowers, and fountains\ngliding down them to empty into a river that\nmeandered up the back drop. Dwarfs came\nforth from an underground opening; there was\na horrid storm, and then behind the Bower\nof Chloris appeared a rainbow. The back\ndrop became a skyscape with clouds that\nopened up to disclose Juno, Ins and airy\nspirits. A hill rose, and from its top Fame\non a globe ascended to the heavens to be\nhidden among the clouds. Then the hill\nsank, the heavens closed, a dance was danced\nand the masque was done.\nOn 1 January 1632 a contemporary wrote\nthat Jones' collaborator was now Aurelian\n1 ownshend, \" Ben Jonson being for the time\ndiscarded, by reason of the predominant power\nof his antagonist, Inigo Jones, who this time\ntwelvemonth, was angry with him for putting\nhis own name before his in the title page,\nwhich Ben Jonson has made the subject of a\nbitter satire or two against Inigo \". Prece-\ndence of name on a title page was the osten-\nsible cause of their final break. Jonson disease-\nridden and poor, saw Jones still in his prime,\na great favorite at court, building structures\nthat would probably be less perishable monu-\nments to fame than paper poems. His bitter-\nness welled up in the famous Expostulation\nwith Inigo Jones, but his \" quill dipt in gall \"\nturned the court from him. It consented to\nsee his Tale of a Tub, after the part of\nVitruvius Hoop had been struck out'exception\nbeing taken against it by \" Inigo Jones, Sur-\nveyoi of the Kings as a personal\ninjury to him \". It was \" not Iikt\". In an\nentertainment at Bolsover, 30 July 1634,\nJonson took a final thrust with Iniquo\nvius. But he was no longer court poet.\nOthers were to collaborate with Jones in his\nthirteen remaining masques, which became\nmore and .more spectacular.\nJones once wrote some verses ; we still!\nhave them, and they are not good. Jonson's;\ninterest in scenes and machines, it has been;\nseen, was limited to details he vas afraid!\nmight not be in correct accordance with clas-\nsical authorities if he'put in no word. Masque\nowed much of its glory to these men. Yet„\nhad only each of them known a little more\nof the whole art of the masque, had only\nthey been able to see it with both eyes—-\nliterary and architectural — instead of just\none ! Then there would have been less di-\nsagreement, more achievement. Had only\n(but the milk is spilled and there's no use\ncrying) nature been a little kinder to art, so\nthat no year-and-a-month had intervened be-\ntween the two, so that Ben and Inigo had\nbeen born of the same star, of the same\nmother; one man!\n[\"HE best account of the relations of Jonson and Jones '\n1isto be found in P. Reyher, Masques\n1909, pp. 192-200. Gifford, in speaking of Jones in his.\neditions of Jonson's Works, is prejudiced in favor of the =\npoet. The stage directions in the masques are interesting,\nand Jonson's Conversations with Drummond, Bodley Head:\nQuartos V, 1923) pp. 14, 19, 20, 27, 28. E. K.Cham,\nbers, 7 he Elizabethan Stage, 1923, speaks of Jones 1 :\n178-180 and gives information about the masques up to-\n1616, 3: 375-391. L. B. Campbell, Scenes and Ma-\nchines on the English Stage during the Renaissance, 1923, ,\ntreats Jones' work pp. 161-194. His best Life is by P*\nCunningham, 1848. Inigo Jones' Masque Designs (Malone -\nSociety Publications XII) 1924, lists the extant sketches,,\nand reproduces several, principally from the collection of\nthe Duke of Devonshire."}, {"page_pdf": 21, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.21", "texte": "ARTHUR SYMONS.\n(0\nI have but few recollections of Arthur Symons\nbut they are good ones. I must have met\nhim in all ten times, may be twelve. At his\nflat toward St. John's Wood; at the Imperial\nTheatre for five minutes behind the scenes; in\na house at Hampstead ; at his little cottage in\nWittersham; at a Farm in Tenterden: but\nhe was not one of the friends I saw often.\nI think I have never seen him except his\nwife Rhoda Symons was with him, nor her\nexcept when he was there too. They seemed\nto me to be a perfectly united couple. She\nis now a very skilful and striking actress.\nThe first time I saw him was, I believe,\none day in 1900 when I lunched at his house.\nI recall a fine pair of eyes and rather too-high\npitched voice. His voice somehow gave me\na feeling that he was to be looked after,\ntaken care of; one felt burly beside him: but\nhis eyes and brow and what he said balanced\nall that.\nThey were a strangely kind pair; with\nthem 1 did never feel I was being inspected\nand sized down: they gave me a certain con-\nfidence in myself in which, for some odd kink\nin nature, I have always been deficient.\nArthur Symons was, with Max Beerbohm,\none of the very earliest English men of intellect\nto discover that I could produce certain opera\nballets rather prettily, and said so in the pe-\nriodicals and books for which he wrote. At\nthe time no one was more surprised than I\nand no one more delighted.\nThere was Nevinson too and Yeats; but\nto every dozen who took literature and pain-\nting seriously there would be but one who\nthought the stage as worthy of any of their\nconsideration.\nPraise from the old professional gang of\ncritics is good fun but perhaps does some\nsort of harm if one is not developed: ...but\nfrom men of brains and taste and entire inde-\npendence it assuredly does good. It did me\ngood: I breathed more easily. I walked Lon-\ndon with more assurance. I delighted more in\nmy work. I always loved to be at my work,\nbut, after Symons and Beerbohm had said it\nwould do for a start, I was ready to work\ntwice as long.\nMany other men have, I believe, a proper\ndisdain for what may be said about their work.\nPerhaps they know it is good. I was never\nable to do more than hope it would be bet-\nter ; and it is only when someone of brains\nsays it is good that I too say for a moment\nthat I know that.\nPeople often have thought this was a pose.\nIt isn't; it has all along been far too painful\nfor that. I think 1 was born with a distrust\nand a lack of confidence in myself: and I\nthink the conditions of London life developed\nthis mightily.\nToday I hear that since Ibsen I have been\nthe greatest influence in the Theatre of Europe:\nthat I am, in short, someone. I have no such\ndelusion. I could have been a useful asset\nto our English Theatre because everything\nconspired to that end:... every thing except\nthe bad fairy, whoever she may be, who was\nforgotten at the christening.\nShe is a curious beast, this bad fairy....\nshe too often is allowed to prevent England\nfrom possessing a thousand useful things.\nBut to me she did a great service. Her\nwell laid plans to do me an ill turn sa-\nved me from having to be that most wretched\nof all beings, a theatrical manager in a dreary\natmosphere saddled with a theatre and sur-\nrounded by those unhappy people of \" the\nprofession\nHer incantations were that frogs and snails\nand fogs and the rest should assail me; and\nlo, as I stood expecting the end of the world,\nSymons and Beerbohm and five or six more\nworked a better magic, and I was given the\nkey to enter other lands where fogs and\nwitches and curses and malice evidently are\nnot allowed power or even pretensions.\nWhile speaking of criticism I must not\nforget the sharp corrective things which now\nand then appeared, and were by no means\nmalicious or unjust, but are distinctly sharp.\nThere was one 1 received from a paper\nnow dead, called \" The Londoner \". At the\ntime I did not like it, but it made me pause.\nI can imagine it was just what I needed, and\nre-reading it now I see that it had a certain\nauthority in its tone. Who wrote it I have\nnever learned. I did not enquire, but I would\nnot mind knowing now. I wonder if that\nunknown writer thinks I have done as he urged\n\n(i) Arthur Symons, by J. Earle Webly. A. M. Philpot. Ltd.\n10/6 net.\n\" Dramatis Personae \" ly Arthur Symons. Faber &\nGwyer. 8/6."}, {"page_pdf": 22, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.22", "texte": "me to do....and whether he has any more\nadvice to give to a Student of his that is equally\nuseful, for I'd like to hear it.\nBut to return to Symons,\nMr. T. Earle Webly's critical study brings\nme to one of the facets of Arthur Symons's art,\nto the prose writer who is at the same time\na critic of things dramatic. This side of Sy-\nmons is the only one I feel in the least com-\npetent to touch on. For Symons the poet,\nlyric and dramatic, 1 know nothing of.\nTo at all know the lyric poet I should\nhave to have read more of his verse; and\nSymons the dramatist is only to be met fairly\nin the theatre, and I have seen none of Arthur\nSymons's plays performed.\nBut 1 have seen Irving and seen that \" blithe\nand aged tripping of the feet to some not quite\nhuman measure \" as he went up and dowm\nthe stage as \" Mephistopheles \", as he kept\ngoing to and fro. And no one recalls him\nwith such precision as does Symons in these\nfew words. No one recalls Bernhardt better,\nnor Guilbert; no poet has spoken with such\ndiscernment of certain performers I love.\nAnd with what care he preserves. He\ndoes not go to a playhouse to note defects;\nthese pain him: he has but little of the mood\nwhich laughs at defects. He comes to note\nremarkable moments, and to protect these by\nconstructing round them lasting shrines. See\nArthur Symons at a play and you are certain\nthat something, as the hours pass, is going to\nlive for ever.\nMr. Welby lays stress (perhaps a trifle\ntoo much stress) on Symon's desire to assert\nthe equality of all the arts, and considers that\nmost of us are stupid and snobbish towards\ncertain arts.\nI take it he alludes to the dramatic art,\nperhaps even to that part of it which I so often\ntouch on, the Art of the Theatre.\nHe asks us \"why we should be patronising\"\ntowards it merely because this art lives \" only\nfor the moment \", and he hints that Symons\ninsists on a reply to this.\nSymons is far too great an artist not to\nknow that the time is not yet ripe for a reply\nthat is satisfactory.\nThat a play last but a moment is nothing.\n\" A sonnet is a moment's monument \" wrote\nRosetti; yes, but a monument fixed, durable\nfor very many centuries.... whether a good or\na bad monument, assuredly fixed.\n\" The Theatre is the only art \" wrote\nDr. Lothar Schreyer of Weimar, \" in which\nthe element of chance is regarded as a vir-\ntue And Schreyer is a man of the Theatre.\nOur attention need not be distracted by\nthe fact that it lasts only a moment from this\ngraver fact that it makes a virtue of chance.\nChance and art are sworn enemies.\n\" An instant in the gesture of a dancer \"\nwrites Mr Welby is lovely: yes, even in twenty\nof her gestures; but you cannot compare them\nwith the gesturesin the marbles in some Greek\nTemple : you may compare them with the\ngestures made by a perfect little lamb or\nrabbit as they frolic: or with the movement\nin waves, or in trees in the wind. Compared\nwith the rabbits or the lambs they are very often\nfar more lovely; compared with those of the\nwaves and trees in the wind they become\ndwarfed: they lose subtlety, strength, charm\nand gaiety. Here they are worsted.\nBut I do not think that Symons, in asser-\nting his belief in the performer of our day,\ndoes more than reassert his determination to\nprotect this that he loves so well, and to\nconstruct for it one of his lasting little shrines.\nIt is an affectionate and noble passion with\nhim; another man will, from love of great\nmen dead, preserve their graves—the poet\nSymons will.\nIt is extraordinary what an Irving, a Duse,\nor a Duncan gives us....and beyond that\nsurely no one can go.\nWhat is it? We try to explain to others\nwhen Irving is no more with us what it was\nthat was so extraordinary: we even try to\nshow them, to make them re-see and re-hear\nthe wonderful things which happened. But it\nalways ends in failure, for the being, the live\nbeing, is not there to exert his magnetism.\nIt is mind in play with magnetism. The\nman comes on to the stage and we are all\nrivetted to attention. Then he does something\nwhich is just what Symons the essayist, or\nHeine or Byron might do with their minds\nthrough the pen. They will write twenty lines,\nthirty, forty, and then suddenly they start an\nidea or six ideas: off they go ....like fine\nfireworks (for presumably even fireworks are\nin a way works of art?...) ....striking here\nand there.\n— Often playful, often deadly.\nWe who read are in something very like\nthe mood we attained to in a theatre when"}, {"page_pdf": 23, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.23", "texte": "Isadora Duncan was dancing or Eleonora\nDiise acting.\nCan we explain it in either case ? Do we\nstop to? rather do we enjoy and reason later\nif we can. I have never known anyone who\ncould explain what was the art of the performer.\nBut with the art of Byron, Heine or Symons\nwe can reason; there are those who can tell\nus what is the art of writing. Even the magic\npart of it they can unravel.\nNot so with acting or with dancing.\nAnd, learning the craft of writing, even if\nwe cannot come to write like Byron, we may\nanyhow come to write well. Some even like\nFlaubert, others like Stendhal, or like Pater\nor Defoe.\nNot I — not you may be — but a third\nassuredly can and does.\nFor the art of writing, and writing, are as\ndistinct from one another as are the Art of the\nTheatre and theatricals.\nImprovvisation (given a certain knowledge\nof the tricks) can amaze the world....charms\nus all is admirable. Art is quite another\nthing.\nI improvise.... here I go gallopping on,\nnot in any charming or admirable way but\non in my own particular way : whereas Mr.\nWelby writes.\nHe is the artist, I am only the improvi-\nsatore. Had my calling been that of a writer\nI would have written like Mr. Welby and\nthen achieved to Mr. Symons, and lastly, after\nan awful climb, have tried to get near where\nmy favourite English writer sits rather alone,\nbut with the Alps at his feet and looking as\nthough he rather enjoyed the view.\nThe artist-philosopher has compensations\nso immense that we need not pity him for\nan imagined loneliness.\nThe art of writing at its height is the thing\nmy author practises. Others write and impro-\nvise in the air, swooping here on wings or\nflames, often very lovely, very enchanting, but\nnot writing in the strict sense of the word.\nAnd if its not to be strict, this discipline\nover the arts, goodbye to all the arts sooner\nor later, and we need not delude ourselves\nthat the hour will delay one second; for time\nabides strictly by discipline, and perhaps the\nhour of the death of the arts is much nearer\nthan we may suppose.\nMr. Symons has put off the hour for us\nin as much as he has written prose as it\nseems to me it should be written ; and it\nis not without significance that \" he has vir-\ntually ignored the 18th century \".\nI adore that century ....and it is my privi-\nlege as one who improvises to be immune\nfrom its evil effects.\nI do not fear that period, its artificiality or\nits art , because I belong to a race which\nhas for ever pretended. Our race and our\ntheatre are young, and will in the future\nperhaps come to their senses. They were young\nand have refused to grow up. That's the\nTheatre's saving grace and its defect.\nEven our sense of appreciation is but young\nindeed ; see how inadequately how flashily I\n# A* « y \" — J\nwrite or this fine artist — of Symons — but\none of us some day will I hope make good\nby producing his plays with some style.\nBy the Producer of ft Acts and Galatea London igoi.\n\nENTHUSIASM IN THREE\nTHEATRES.\nJ. B.\nIN the Norwich Elizabethan Theatre directed by Mr. Nu-\ngent Monck the audience expresses its attention by agreeing\nto keep still, and not applauding during a scene.\nIn the Moscow Art Theatre applause was never heard\nuntil an end of an act.\nHow was it expressed then? by the silence.\nThe performers were made quite as keen by this si-\nlence as our Actors say they are by sundry gasps and\nemotional rounds of applause —, they kept bursting out\n— bursting in —at the Beggars Opera. On the other\nhand I saw, and heard, a mixed Russian audience with\nmany students in it, Boo a great performer. It was Rus-\nsian approval; and to cap this they throw their head-gear\non the stage, the idea being to throw it back again.\nAnd now for Venezia.\nAt the four Ospedaletti the finest singing in Italy\nwas to be heard. Visitors were forbidden to applaud —\nbut they managed to get round the rules — for at the\napex of a perfect rendering by some singer the audience\naudibly drew in their breath through their pursed lips.\nThe place must have sounded as though a gentle\nwateifall was in \"action.\nWhether the merchants of London could manage it\njust as neatly as the merchants of Venezia did remains to\nbe heard."}, {"page_pdf": 24, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.24", "texte": "OPERA REGISTER.\nFROM 1712 TO 1734.\nBY (FRANCIS COLMAN) THE\nFATHER OF GEORGE COLMAN,\n(THE ELDER) BRITISH CONSOL\nATLEGHORN.\n\nTHE Register seems not to have been published, and\nhas lain undisturbed in the British Museum for nearly\ntwo centuries.\nThe compiler of it was passionately fond of Opera.\nThe strange thing is that while Francis Colman died in\n1733 the Register goes on to 1734•\nWe published the first part in July 1926} and give\nthe remainder here. Editor.\nII.\nTHE Opera Theatre was not open'd this\nSeason untill ye 9th January 1713/14 they\nbegan with ye Pastorall Opera Dorinda. The\nSingers were\nSigra Caterina Gallerati newly come from\nItaly.\nSigra Barbier.\nSigr Valentino.\nSigra Margarita del Epine\nat Common prices.\nYe 16th Satt. Dorinda again\n23 Satt. Do\n27 Wensday. a New Opera called\nCresus sett on ye Stage by\nN. Haym. ye airs being collected\nfrom severall Operas from abroad,\nin this Opera all in Italian.\nMrs Robinson made her first appearance\non ye stage.\nThe rest of ye Singers ye same as above,\nprice this night lL a Guin pitt & Boxes. &\nwas full.\n29th. Friday. Cresus again, at common\nprices.\nFebry. 3d Wensday. Cresus again D°\n9th Shrove Tuesday. Cresus\nagain\n13 Satt. Cresus,\n16 Do\n23 Tuesday Do\n27 Satt. Do\nThe Queen being lately return'd to S.\nJames's from Windsor & recover'd from her\nlate dangerous jllnesse, had a withdrawing\nRoom on Tuesday, & her Majesty play'd at\nBasset, for wch reason ye Opera dayes are\nnow alter'd to . Thursday there being no\nOpera Wensday nor Fridays in Lent.\nMarch 4- Thursday, a new Italian opera by\nsupscription for six times at ye\nusuall rate of 10 Guin for 3 Tic-\nkets. ye opera was called\nArminio.\nThe same Singers as in Cresus.\n6th Satturday Arminio. ye 2nd night\n11 Thursday Arminio. ye 3d night\n13 Satt. Do 4th\n18 Thursday Do 5th\n20 Satt Do 6th\n& last of ye subscript.\nHoly Week no Opera.\n31st March. Wensday Easter Week.\nCresus.\nApril 3. Satt. Ernelinda. reviv'd. Mrs Robinson\nperform'd ye part of Ernelinda. ye same voices\nas in Arminio—added ye Sigra Mannina.\nApril ye 10th Satt. Arminio for ye Benefit\nof Mrs Robinson, ye Pit &\nBoxes put togeather at */%\nGuin & was. as full as pos-\nsible COU 'd be.\n17th Satt. Ernelinda. Benefit of\nSigra Caterina Gallerati.\n24th Ernelinda. Benefit Signr Va-\nlentini.\nMay 1 Satt. Arminius. Benefit Sigra\nMargarita.\n8 Satt. Cresus. at Common\nprices.\n12 Wensday. Ernelinda Benefit\nBoxkeepers.\n22 Satt after Whits: Cresus.\n29 Satt Arminius.\nJune 5 Satt. -Ernelinda. declar'd to\nbe ye last.\n23 Wensday. Ernelinda. at ye\nrequest of ye Dutchesse of\nShrewsberry lately arrived\nfrom Ireland.\nYe last this season.\nQueen Anne died Aug1 1st 1714 abt 7\nof ye Clock Sunday Morning after a Short\nApoplectick sicknesse.\nKing George was Proclaimed ye same\nday about 4 Clock in ye afternoon.\nKing George & ye Prince Landed at\nGreenwich on Satturday evening ye 18th\nSept. Made his Publick Entry from thence\nthro London to St. James's On Monday ye\n20th, Sept being attended by ye Lord Mayor\n& Aldermen on Horseback, & by upwards"}, {"page_pdf": 25, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.25", "texte": "of Two Hundred Coaches 6c Six; of Nobi-\nlity 6c Gentlemen\nit was a very fine day.\nOn Tuesday ye day after ye Kings En-\ntry, they open'd ye Playhouse again in Drury\nLane 6c Mr Wilks spoke a Prologue in\nPraise of King George,'wch is printed by\nJ. Tonson.\nOn Wensday ye 13th October ye Prin-\ncesse of Wales being safe arrived with ye\ntwo little Princesses her daughters ye Eldest\n5,ye youngest 3 yrs old, came thro ye Citty\naccompanyed by ye Prince to St James's,\nwhere they came accompanyed by severall\nNoblemen 6c Ladies in Coaches by abt 4\nClock in ye afternoon, this was a very fine\nday.\nOn Wensday Oct. ye 20th 1714 King\nGeorge was Crowned in Westminster Abby,\nwith all ye usuall ceremonies, 6c with Great\njoy. this day was as fine a day as could pos-\nsibly be for ye time of year, ye weather was\nmild 6c warm, little wind 6c ye Sun Shined\nfrom rising to Setting, with little or next to\nno intermission, ye night proved also bright\nStar light till past 12 of ye Clock, what is\nremarkable is, ye day before this was a very\nrainy day 6c so was ye Night, 6c ye wea-\nther seem'd to be set in for rain, when about\nsix in ye Morning it clear'd up 6c ye 20th\nOct. proved as fine a day as could possibly\nbe. Ye day following ye rainy weather re-\nturn'd again 6c was a very rainy day, 6c some\nothers after, so I say it is remarkable, y* ye\n20th should prove so fine a day, when so\nmany bad ones before 6c came after it.\nOctober 1714.\nThe Opera Theatre In ye Haymarket\nopen'd sooner this season than usual, 6c be-\ngan with ye Subscription opera of last year,\n'called, Arminius. Satturday October ye 23th\nthe parts were performed by Filippo Balatry\n6c Mrs Barbiers part, wch was perform'd by\n-Sigra Stradiotti. The Prince 6c Princesse of\nWales were at ye Opera this Night, ye Pitt\n-6c Boxes were open at ifs Guinea a Ticket,\nye House was very full.\nMrs Robinson perform'd her part\n26th Oct. 1714. Arminius again at Common\nPrices.\nno Opera untill ye\n16 Nov. Tuesday. Ernelinda. ye parts much\nalter'd viz.\nRicimero by Sigra Diana Vico.\nErnelinda by Sigra Pilotta, return'd\nagain to England.\nRodoaldo by Sigr Filippo Ballatri. a\nbad singer.\nEdwigge by Sigra Magta del Epine.\nVitige by Sigra Caterina Gallerati.\nEdelberto by Sigra Stradiotti. a very\nbad Singer.\nprice: 72 Guin. Pitt 6c Boxes open\n20th Nov. ye same agn at Common Prices,\nye Prince 6c Princesse of Wales pre-\nsent. ye House not near full, ye New\nSingers above mention'd meet with little\napplause as yet Mrs Robinson not sin-\nging ; was by many much regretted.\n1714.\nDec. 4th Satt. Ernelinda. at common pri-\nces. Mrs Santlow danced.\n11 th Sat. Arminius, in wch Mrs Ro-\nbinson perform'd ye part of\nIsmena wth Dancing by Mrs\nSantlow. ye Prince 6c Princesse\npresent, ye House extraordinary\nfull.\n18th Satt. Ernelinda. ye Prince 6c\nPrincesse went to ye Play this\nnight, ye Opera had but a thin\nHouse wth Dancing.\n30 Thursday. Rinaldo revived. Pitt\n6c Boxes open at 8.\nRinaldo perform'd by Sigra Diana\nVico.\nAlmirena, by Mrs. Robinson.\nGodfredo by Sigra Galarati.\nArmida by Sigra Pilotti.\nno Dancing.\nJany 4th Tuesday Rinaldo. again at Com-\nmon prices.\n8th Satt. Do\n15th Satt. Do. ye King, Prince 6c\nPrincesse present, 6c a full\nHouse.\n22 Do\n27 Do Thursday.\n29 Do Satt. a very thin house this\nnight.\nFebry 5 Do\n12 Do\n19 Do\n26 Satt. Lucio Vero. a New Ita-\nlian Opera, by subscription Ye\nMusick managed by Nic°\nHaym."}, {"page_pdf": 26, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.26", "texte": "Mrs. Anastatia Robinson. Si-\ngra Pilotti. Sigra Galerati.\nSigra Diana Vico. Sigr An-\ngelo Zanoni, non castrato.\nMarch 5th Lucio Vero again.\n12th Do\n|9 Do.\nThis Subscription was but for 4 times.\n1715.\nMarch 26th Arminius Mrs Robinson, Sigra\nDiana Vico sung.\nApril 2 Lucio Vero for ye Benefit of\nSigra Pilotta.\n9 Ernelinda for ye Ben4 of Mrs.\nRobinson, she perform'd ye part\nof Ernelinda. Ye House & very\nstage full ye King, Prince &c\npresent.\n23 th Lucio Vero for ye Ben1 of Si-\ngra Galerati.\n30 Do for ye Ben4 of Si-\ngnra Diana Vico.\nMay 7th Hydaspes. Pit & Boxes togea-\nther at 4/2 Guin.\n11th Do Wensday il Signor Cav. Ni-\ncolino Grimaldi, being again\n14 Do Satt. come to England, perform'd ye\n21 Do part of Hydaspes. ye House\nextraordinary full.\n25 Wensday Amadis of Gaul, a\nnew Opera by Subscription with\nDancing.\nNic° Grimaldi\nMrs. Robinson\nPilotti\nSigra Diana Vico.\nSatt: King George's Birth day. ye\n28th. No Opera.\nOne of ye Singers being in-\ndisposed this Opera was not\nperform'd again untill the 11 th.\nJune 11 th Satt Amadis of Gaul ye 2d time\nby Subscription\n15 Wensday Do 3d time\nby Subscription\n10 days very hot, no Opera.\n25 Satt. Rinaldo for ye Benefit of\nSigr Nic° Grimaldi\n28 Tuesday Amadis 4th time\nby Subscription\nJuly 7 Satt. Do 5th time\nDo\n9 Do Do 6th time\n& last by Subscrn.\n23 Do Hydaspes K. George\nat it ye last Opera for this\nSeason — ye Rebellion in\nEngl. & Scotland ye occa-\nsion.\nOctober ye 31th 1715.\nNo Opera performed since ye 23th July,\nye Rebellion of ye Tories & Papists being\nye cause—ye King & Court not liking to go\ninto such Crowds these troublesome times,\nbut it is hoped in a short time the Rebells\nwill be Confounded.\nI shall keep no further acc* of Operas in\nyt Exactness as before perhaps a remark on\na New Opera now & then as ye humour\ntakes.\nVanity of Vanity all is Vanity.\n1715 1716\nThe Rebellion in England being quelled\nby Taking ye Lords & others Prisoners\nat Preston & that in Scotland much kept\nunder.\nFebry 1st 1715/16 began to open ye\nTheatre ye King pres1 with\nye opera of Lucius Verus.\n—by Nic° Grimaldi.\nFebry 11th Lucius Verus again.— Nic0\nGrimaldi ye only good singer.\nFebry ye 16th Amadis. in this Opera Mrs\nRobinson did sing also.\n21th Amadis again.\nMarch 3 Amadis for ye Benefit of Mrs,\nRobinson.\n6 Amadis again.\n10 Pyrrhus & Demetrius, reviv'd\nwth alterations: tho none in\nNic° Grimaldi's pt. Songs.\nSignr Ant. Bernacchi first\ntime.\n13 Do again Sigra D. Vico.\n17 Do Sigra Elena Cro-\nce Viviani singers.\n24 Do Mrs Robinson.\nApril 18 Cleartes. a new Opera by Sub-\nscription.\n21 Do\n25 Do\nDo\nMay 2 Pyrrhus & Demetrius (Nic°\nGrimaldi's Beneft.\n5 Cleartes by subscr."}, {"page_pdf": 27, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.27", "texte": "A PERFORMANCE WITH MUSIC\nin some unknown Theatre in Italy.\nFrom a Painting by G. P. Pannini (1694-1765).\nPlate 3.\n\nTHE MASK\n1927"}, {"page_pdf": 29, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.29", "texte": "9 Hydaspes. Sigra Pillotti's\nBenefit.\n12 Cleartes by Subsid.\n15 Pyrrhus & Demetrius with\nsome New scenes by Sigr\nR CIghci\n26 Do Sigra Diana Vico's\nBenefit.\nMay (sic) 2 Do Bernacchi's Benefit.\n13 Cleartes. Sigra Elena Croi-\nce's Benefit.\n20 Amadis. for ye Beneft of ye\nInstrumentall-musick.\n30 Cleartes.\nJuly 11 Amadis.\nIn ye Summer 1720.\nSigra Durastanti first appeard at ye\nTheatre in Haymarket, she sings very well,\nin ye Winter Sa & Signor Senesino, a fa-\nmous Eunuch came, his singing likewise much\nadmired, he supplyed Sigr Nicolino's ab-\nsense & is in person & action very like him.\n1721.\nAstartus. Opera ye first he sung in, in\nEngland.\n1721 Arsaces Opera, ye second, Sigr\nFrancesco Bernardi called Senesino.\nthese two Operas took much: very fine\nAnno 1722 Decr\nSigra Francesca Cuzzoni first sung at\nye Theatre above sd towards ye end\nof this year in the Opera called Ot-\ntone—& was extreemly admired\n& often performed\nSigra Durastanti sung also in ye\nSigr Senesino [ said Opera &\nMrs Ana Robinson } pleased much\nJanry 172 V3\nFarnace, Opera ye Same singers\nCoriolano. Opera Do pleased much\nL' Erminia Opera Boschereccia\nFlavio Opera Singers as above\nEnded in June 1723\na Motto proper for A Square. Holborn.\nRus in Urbe.\nDecr 1723.\nThe same singers begin with an Opera\nil Vespasiano. opera did not please\nJanry 172 V4\nGiulio Cesare in Egitto. Opera\nAquilio. Opera ye last this season, in\nthis Signora Durastanti took her leave\nof ye Audience designing to return to\nItaly & sing here no more\nshe sung very finely.\nin Nov. 1724 begins\nTamerlano. Opera New\nSigra Cuzzoni & Sigr Senosino still\nremain here & are much esteemed\nArtaxerxes a New Opera\nJulius Cesare in Egypt revived Opera\n1725\nRodelinda by Sigr Hendel\nDario in ye Haymarket\nElpidia, in May 1725, a short Opera,\nthis pleased—&continued to be often\nperform'd to ye 19th June which was\nthe last for ye season\nNov. 30. 1725\nThe sd Op era House was open'd &\nbegins with Elpidia—with ye Addition\nof severall Airs.\nThe musick composed by nes*n<?\nSigner Lionardo Vicini Sigra Cuzzoni\n° ; are still here\nDec. 4 Elpidia again ye 7th Do ye\n11 th Do ye 14th Do\n18 Rodelinda Do ye 21th Do\n28th Do\nJan. 1 Rodelinda. Do ye 4th ye 8th\n& ye 11 th\n15 Eliza a new Opera Do ye\n18th 22th & 25th\ngiven out\nbut not performed till the 8th\nFeb. 5 Ottone revived Do ye 8th &\nso on untill\nMar. 12th Scipio ; a new Opera Do ye\n15th to Apl. 30\nMay 5th Alessandro. a New Opera,\nye 7th ye 10th ye 12 the\nnew Songs (0 Signora Fau-\nstina's first Opera, the 14 May\n17th, 19th, 2 !th, 24th, 26th\n& 31th\nJune 4th the same again & ye 7th ye\nlast for ye Season, Senesino\nwent abroad\n1726/7\nSenesino being return'd to England—\nFaustina & Cuzzoni, here\nJanry 7th Satt. Lucius Verus by Attilio\n\n(1) Evidently an abbreviation for Songstress, Editor."}, {"page_pdf": 30, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.30", "texte": "Ariosti—words & Musick new\nOpera begins—\n10 Do 14 Do — 17 Do —\n21 Do 24 Do 28 Do\nJanry 31th Tuesday Admetus a new\nHendel Opera—\nMar. 18th perform'd 13 times more wth\nthis day—\n21 Do 25 Do — Satt day\n— Settimana Santa\nApr. 4 Easter Tuesday, Admetus\nagain, & was declared for\nSatturday, but Sigra Fau-\nstina being taken very ill —\nno Opera was perform'd —\nduring all this time the House\nfilled every night fuller than\never was known at any Opera\nfor so long together — 16\ntimes\nCuzzoni ill—I more being\nwell\nMay 6 Astijanax a new Opera, 9th\n13th & 15th. Whit eve none\n— Buononcini composed it\n23 Astyanax ye 27 & 30 Do\nJune ye 3d & 6th\nFinis for this season\nThe Opera began soon this season 1727\neven in September ye Middle\nthe New King & Queen often at them—\nthe same singers as ye last viz. Faustina\nCuzzoni\nSigr Senesino—Eunuch\nye rest as before —\nSigr Attilio composed all Operas wch\ndid not take\nSigr Hendel next composed an Opera\nCalled K. Richard ye 1st &\nperform'd six times to 28 Novr\n& severall times after, untill\nDeer 1727\n29 The Opera Alessandro, re-\nvived\nJanry 2 1728 ye Same again, ye 6th\nDo Do Do &c\nIn Feb:y Siroes, a new Opera, ye Mu-\nsick by Mr Hendel—\nye same singers—\nafter this season was over The\nThree famous singers before\nmention'd return'd to Italy in\nye sumer where they remain'd,\nthere being no Opera in En-\ngland the Winter 1728 &\nSpring 1729.\nIn November 1729 Opera's began again\nwith an entire new company of singers—La\nSigra Strada del Po was ye Cheife & best\nthe rest little esteem'd\nan Eunuch called Bernacchi.\n1730—Bernacchi eone\n1730\nNov. 3 Tuesday Opera's began wth\np» • •\nbcipio\nSenesino being return'd char-\nm'd much: the rest as last\nyear—Scipio 4 times to Sat-\nurday ye 14 Nov: the King,\nQueen &c there each night.\nDeer 1730\nThe Opera Parthenope—revived\nVenceslaus New Opera—did not take\n1° February\nOrmisda, revived severall times\nMarch 1 731\nPorus K. of the Indies—New by Mr.\nHendel : it took much\nson confusa Pastorella &c\nRinaldo—revived, with some alterations\nRedelinda, revived & took much\nthe last performance was on Safc-\nturday ye 29th May 1731 (very\nHot weather).\nNovr 1731\nOperas begin with Porus K. of ye Indies\nother's are revived—Senerino here\nIn Janry Ezio—a New Opera, Clothes &\nall ye Scenes New—but did not\ndraw much Company\nIn Febry Sosarmes — a New Opera — took\nmuch by Hendell — & was for\nmany Nights much crowded to\nsome peoples admiration—\n1732.\nMarch 25 Coriolanus. revived Coriolanus.\nApril 18th Flavio Re di Longotardi—revi-\nved fro 1723.\nnot perform'd often\nMay 29 Hester Oratorio or sacred Drama,\nenglish all ye Opera singers in a\nsort Gallery no acting was per-\nformed six times & very full.\nMay ye 23 Lucius Papirius a New Opera\nHandell it did not take"}, {"page_pdf": 31, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.31", "texte": "THE TEATRO IN MACERATA 1665-1765.\n\nSOUTH of Ancona in the Marche lies the city of Macerata. And on January 27th in the year 1665 the first theatre\nto be built there, since that of the ancient Romans, was opened with \"La Dori \" dramma per musica. This was also\nthe first opera to be given in Macerata, written by Cesti (1620-1669) one of the composers who did much for the progress of\nthe teatro drammatico, says Bertini.\nMarcantonio Cesti was a churchman from Arezzo : became a pupil of Carissimi, then Maestro di cappella at Florence\n(1646) ; member of the papal choir (1660) ; and yet spite of this wrote for the Theatre and \" contribul molto ai progressi del\nteatro drammatico\nHow can that be? asks Level Head, \"when he wasn't a dramatist and only wrote music\". Cannot someone settle\nwith Level Head and let us get on with our work ?\nCesti's \" II Porno d'Oro \" was produced in 1668 at the Court theatre, Vienna, whither he had gone at the end of his\nlife to serve as vice capellmeister. Getting there he found an ally in Burnaccini the younger, who built the theatre and\ndesigned the decors for this opera \" 11 Porno d'Oro\nThe design of the proscenium and scene given here, for the earlier piece in Macerata, is an interesting one, because,\nwhile a writer of the time asserts that the designs are not exact, we see that an attempt has been made by the designer\nnot to exaggerate the proportions of the proscenium by dwarfing the figures. The attempt is generally in the other di-\nrection, and no one excels in this so much as Piranesi; but his excuse is that he had before him the example of Roma, and\nshe the habit of dwarfing human beings.\nThe name of the designer of this engraving seems so far to have escaped everybody.\nIn 1765 the theatre was demolished and in 1767 the Teatro Lauro Rossi was built under the direction of Cosimo Mo-\nrelli from designs by Francesco Bibiena who had died in 1739. ALLEN CARRIC.\n\nTHE MASK\n1927\n\nPlate 4."}, {"page_pdf": 33, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.33", "texte": "K. Geo. gone to Hanover\nTune. Acis & Galletea—a Serenata by\nMr Handell\nto ye 17th Satr Acis & Galletea again—-all\nye Singers\nJune 24th: an Pastorall Entertainmt by Si-\ngr Bononcini's Benefit\nSigr Senesino & others sung,\nthe Queen 3 Princesses & Pr.\nWales pres\\\nBegins Sat 4 Novr 1732 Opera at ye Hay-\nmarket\nCato — a New Opera, ye Mu-\nsick by\nSigr Senesino\nSigra Strada\nSigra Celeste Grismonda,\nnew from Italy a full House\nye King—Queen &c there\nNov. 7 Cato again, .King & Queen\nthere—\nSatt. 11 Cato, again — a thin House —\nnone of ye Roy all family there,\nbeing gone to Richmond.\n14 Do—a thin House\nSatt: 18 Do \"\n21 No Opera Sigra Grismonda\nhad a Cold\n23 Alexander reviv'd—The King\n&c all at ye Opera a full House\n28 Do a thin House\nDeer 2 Do Satturday May 15th 1726 N:\nfirst perform'd,\n5 Acis & Gallatea—Serenata re-\nvived. Handell.\n19 Alexander again\nSattr 30 Alexander\nJanry 13 Ptolomey revived\n1732-3\nJanry 27 Orlando Furioso a New Opera 5\nby Handel\nThe Cloathes & Scenes all\nNew—\nFebr 3 Do extraordinary fine & magni-\nficent—perform'd several! times\nuntil Satturday\nMarch 3d Floridante an Old Opera revived\nby Do: to Tuesday March ye\n13th\nSatt day 17 Deborah an Oratorio by Ditto\n1733 the Operas ended in June\nHaymarket. Handells House\nSigra Margarita Durastanti returned\nto England\nOct. 30: Tuesday K. G. Birthday.\nSemeramis. a new Opera\nNov. 3d Do\n6 Do\n10 Do\n13 Otho revived\nArbaces a new Opera did not\ntake at all\nJanry pmo Ariadne in Crete (1) a new\nOpera & very good & perform'd\nvery often — Sigr Carestino\nsung surprisingly well: a new\nEunuch—many times perform'd\n1734\nApril 18 Pastor Fido—by Handell—\nOpera Lincolns Inn Fields. Senesino's\nHouse\na New Opera open'd in January 173 3/4\nAriadne in Naxus, Sigr Senesino\nSigra Cuzzoni re-\nturn'd fro Italy\nSigra Celeste\nSigra Bertolli\nSigr Montagna Base\n& Sigra Sagatti\n\n(1) Francis Colman—was he dead—or living? The\nConcise Dictionary of National Biography (Oxford Press)\ngives us George Colman elder and younger but no Francis\n—all it says of the father is that he died 1733—and that\nhe was British Envoy in Florence.\nIf he died in 1733 how did he write these last lines\nof this \" Opera register \" ?\nThis is, one supposes, the Ariadne in Crete that\nColman is said to have written. Editor."}, {"page_pdf": 34, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.34", "texte": "IBSEN'S \"PRETENDERS\"\nAT THE ROYAL THEATRE\nCOPENHAGEN\nAN INTERVIEW WITH MR. GORDON CRAIG\nON THE RECENT FESTIVAL PERFORMANCE.\n\nTHE Royal Theatre of Copenhagen has\nlong held a distinguished position in the\nannals of the Europ ean Theatre. It ranks\nhigh among the great historic playhouses, and\npossesses the distinction of being actually\nthree Theatres in one, since Drama, Opera\nand Ballet reign there together without quar-\nrelling. The portraits in its foyer testify to\na long succession of brilliant and serious per-\nsonalities who have worked in and for it;\nand it was in honour of two eminent mem-\nbers of one of the old Theatre families that\nthe recent festival performance of Ibsen's\n\" Pretenders \" was given on November\n14th 1926 <«>.\nThis performance, in celebration of the\ntwenty-fifth stage anniversary of those two Da-\nnish actors, Adam and Johannes Poulsen and\ncarried out with the collaboration of Mr. Gor-\ndon Craig, was a notable event in the European\nTheatre; interesting not only in itself, but as\nevidence of the spirit of the new movement\nwhich is manifesting itself in ever fresh quar-\nters ; continually reasserting its vitality through\nan increasing number of adherents and over\nan always wider field.\nKnowing that Mr. Craig had been drawn\nto Copenhagen by the invitation of Adam and\nJohannes Poulsen, and remembering that\nMr. Johannes Poulsen had about a year ago\nexpressed in the Daily Telegraph his admira-\ntion of Mr. Craig's work with understanding,\n1 sought an opportunity to ask Mr. Craig\nsomething about these brothers Poulsen, and\nthe Royal Theatre, and to discover to what\nextent the New Movement has affected the\nCopenhag en Theatre as a whole.\nI knew, even before Mr. Craig himself\nreferred to it, that the chief reason which\nhad drawn him to Copenhagen had been the\ndirect and manly attitude of these Poulsen bro-\nthers towards him.\nThe sons of the tragic actor, Emil Poulsen,\nand nephews of Olaf Poulsen, the comic actor,\nthey enjoy a natural prestige in the Danish\nTheatre. Mr. Adam Poulsen was for a time\nthe director of the large theatre in Helsingfors,\nFinland, while Mr. johannes Poulsen holds\nthe position of chief actor in the Royal Thea-\ntre of Copenhagen ; and it was primarily on\nhis initiative that the invitation to Mr. Craig\nwas extended, just as it had been through\nhis enthusiasm that the spirit of the New Move-\nment has for some time now begun to move\nin the Royal Theatre.\nFor, when I asked Mr. Craig to what\nextent the New Movement has affected the\nCopenhagen Theatre, he replied \" Far more\nthan 1 should have thought was possible con-\nsidering that it is a State Theatre \"; and he\nwent on to explain that Johannes and Adam\nPoulsen had both been students of his wri-\ntings since 1901, and \" of all my 1901 to\n1908 drawings \". That they have studied\nin a good spirit, to learn and advance, is\nevidenced by Johannes Poulsen's own words\nrelative to Mr. Craig's recent visit: —\" Gor-\ndon Craig has taught me so much by saying,\nand drawing attention to, many things which\nwere really as clear as daylight.... when\nonce they had been said. Constantly I asked\nmyself: ' Why haven't you found that out\nyourself ? You know that it is right '. \"\nHaving understood that the Copenhagen\nRoyal Playhouse is what may be called a\n\" traditional \" theatre, an old-fashioned one,\n....that is, up-to-date in machines but tradi-\ntional in expression, I asked Mr. Craig whe-\nther Mr. Poulsen, imbued with the new ideas,\nthe fresh vitality in the theatre life of recent\nyears, wishes actually to alter that. \"Is he\naiming to do this systematically ? \" I asked,\n\" or will your visit have been only one event,\nand the old traditions and methods then be\nresumed ?\n\" No \" answered Mr. Craig, \" It is, as\nyou say, Mr. Poulsen who is aiming at this\nchange and advance. Fifteen to twenty years\nago it would have been impossible to have\nmade the commonsense changes which 1 was\nthen, 1 believe, one of the first to advocate\nas well as practise: now all these changes\nhave been adopted. Many of my suggestions\nhave been in nightly use in this traditional\nstronghold for some years \".\nThe machines, which we of the New\n\n(i) This is the second time it has been produced, the\nfirst production being in 3871. January nth, with Emil Poul-\nsen (father of Adam and Johannes), as Bishop Nikolas. It is a\nremarkable fact that the Royal Theatre was this year pre-\npared to revise the entire production and present the play\nwithout being tied to its older method of presentation."}, {"page_pdf": 35, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.35", "texte": "Movement are apt to laugh at, are really\nvery good and often very helpful: sometimes\nthey are, it is true, a great nuisance; but on\nthe whole they surprise me by the excellent\nway in which they support the ideas of the\nartist; so that this can only mean that the\nmechanic or technician has all this time been\ntrying to be the real friend of the artist.\nNow and again he has gone a little too far\nand run on too quickly, by himself, and so he\nhas assembled too many wheels, cogs, ropes,\nbuttons, etc. ; but that was because the ar-\ntist and the technician were not able to meet\ntogether sufficiently often and confer about it\nall. But considering all things, and allowing for\nthe fact that he has had to go op alone, he\nhas really done well for the artists \".\n44 This, of course \", he continued, 44 refers\nonly to what is mechanical and scenic; and\nin Copenhagen it is on a big scale : a scale,\nif not bigger than at Paris and Milano,\nalmost as big \".\n1 asked Mr. Craig whether, in this re-\ncent production, he was able to use any of\nthose discoveries of late years to which he\nhas alluded in various of his writings.... al-\nthough without ever giving any clue to what\nthey were, apparently rendered careful by\nformer piratical experiences; or whether he\nwas still unable to adopt any of these until\nhe has his own theatre, and had now used\nonly fresh expressions and developments of\nhis earlier methods.\n44 Oh no **, he replied, 44 1 have only\nused improvisations on my first expressions of\n1900-1906 and those earlier days. It is too\nearly yet to show the other things. 44 I sup-\npose **, he added in reply to a question as\nto whether there had been any relation be-\ntween this production and his 191 1 44 Ham-\nlet \" in Moscow, and whether his famous\nScreens were in use, 44 it would be impos-\nsible for a spectator who had seen, obser-\nvingly, former productions, not to notice some\nrelationship of work of one period with the\nwork of another period \".\nTHE SCENE.\nAS for that trifle, the sceneries, he said\nthere was only one scene varied about\ntwelve times ; a scene \" made for the ac-\ntors \" ; and he added with pleasure that the\nactors in Copenhagen had passed that ver-\ndiet on this scene. It is what the great Sal-\nvini, speaking as an actor and for the actors,\nhad said on first seeing the designs in Flo-\nrence, .... \" It releases them\nTHE POULSEN BROTHERS.\nAND now, Mr. Craig \", I asked, 44 about\nthese actors and the stage management,\nand something about Mr. Johannes Poulsen in-\ndividually. Is he, besides being the leading\nactor of the Theatre, also director and ma-\nnager, with complete control and authority ? \".\nNo replied Mr. Craig, 44 neither di-\nrector nor manager; but he has a peculiar\npower because he is, as you know, the son\nof the tragic actor Emit Poulsen, and nephew\nof Olaf Poulsen the comic actor, both of\nwhom were greatly respected; moreover he\nis himself a man of many parts, extremely\ngifted—always active—the darling of the pub-\nlic, and reminding me of all I have read of\nDavid Garrick. He is probably the most\nversatile performer in Europe. He can play\nyou Shy lock, dance in a Ballet, sing in an\nOperetta and act in a Farce \".\n44 And what of Mr. Adam Poulsen? \"\n44 A serious excellent actor, devoted to\nthe well-being of the stage, who will leave\nthe stage richer than he found it. I have\nstill more to say of Adam Poulsen some day\nEFFECTUAL COLLABORATION.\nJOHANNES Poulsen wished to put the whole\ntheatre and troupe at my disposition, and\nwas always saying, 4 It is work we\nwant, it is your work \\ In fact they all, and\nespecially Johannes, would ask me not to do\ntoo little but too much. But for all that I\nwas only assisting in their production, ....not\nactually myself producing the piece \".\n-r 44 But was it possible \", I asked, 44 for\nyou to 4 assist * another ? Is it not inevitable\nthat the whole thing becomes so inspired,\ndominated and moulded by you as to be\nactually your production and not simply ' as-\nsisted in ' by you ?\n44 No ; what I say became possible: but\nit was only possible \", said Mr. Craig, 44 be-\ncause Mr. Poulsen and I did try very much\nto collaborate. That means that while each\nkeeps his own view he never ceases to look\nat what his colleague is up to, and quickly"}, {"page_pdf": 36, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.36", "texte": "fits into that. It's like a dance—-and Johannes\ncan dance. He has what we call the swing \".\n\"THE PRETENDERS\".\nI then asked Mr, Craig what he thought of\nthe play. <! The Pretenders \", which had\nbeen chosen for production; recalling at the\nsame time that one of his first productions\nwas \" The Vikings \", and one of his last\nwas also an Ibsen play,... \" Rosmersholm \"\nfor Madame Duse.\n\" The Pretenders' \", said he, \" is a won-\nderful play. It deals with a not very exci-\nting subject; no hair-raising moments make\nit especially \" theatrical \" in the old sense\nof the word; and yet it is a play that it was\na delight to work on, although so terribly\ndifficult to make anything out of. I believe,\nwhen Reinhardt produced it in Berlin, it was\ntaken off after a short time, and I can find\nno mention of it in any of the books about\nthe work he and his assistants have done \".\nDISCIPLINE AND GOOD WILL.\nAS evidence of the intensity with which\nthe work went on, and the speed of the\nDanes when they get to work, Mr. Craig\ntold me that, when he arrived in Copenhagen\nin the beginning of October, no preliminary\nWork had even commenced: ....\"Nothing was\ndone or even prepared He found, how-\never, \" a finely disciplined troupe,—very able\npeople and this enabled much to be ac-\ncomplished in a brief space. Good will and\ncourtesy were in the ascendant.\nTHE COMPANY.\nAND in recalling some of the details of\nthe work he spoke again and again\nwith warmth of Adam and Johannes Poulsen,\nand of the friendliness which had been the\ndetermining factor in his visit to Copenhagen ;\nand of the company of actors : \" They have\na certain grace.... less than mild and more like\nyouth : . ..an indescribable sweetness and\ncourtliness not very often found in a Thea-\ntre : something you can neither buy nor\nacquire quickly; it has to be there and it\nhas to grow \". \" Don't you remember \", he\nadded, \" the grace, the gentle outlook of\nHans Christian Andersen, the Dane whose\nbooks we have all read? Well, that grace is\nin the Theatre Royal; ....and it is outside it\ntoo. It is in their streets, their shops; they\ngather in their houses and dine with that\ngrace, and rise to make affectionate little\nspeeches on occasion with all the ease of\nthe great diplomats of [the political world;\nand all they seem to wish to say is \"I\nremember once upon a time \" ....and what\nthey remember is something dear to them.\nTHE THEATRE IN DENMARK.\n\" /AN the whole \" Mr. Craig continued, the\nV_y Danish people is very enthusiastic about\nthe Theatre ; it plays a very important part\nin their lives. The public and the newspapers\nare always talking of the Theatre.\nThey very often like to say that they\nknow how to manage this huge theatre better\nthan the Directors do. The only comment\nto this is that theoretically they may be right\n—but let anybody try!\n\" What public opinion is apt to forget \"\nhe went on, \" is that the difficulties never\nalter, even when you have changed the ma-\nnagement. There are no directors in the\nworld that have not these same difficulties,\nand these difficulties yet remain to be solved.\nWhat 1 have written in the last twenty years\nstill seems to me to remain rather apt and\nso far as I can see still cries out to be put\nin to practice. Sufficient effort has not been\nmade in any pari of the world to be rid of\nthe root evils. The moment an effort is\nmade to do something to effect a change,\nfear and compromise set in. To get the stage\nforward there must be far less compromise.\nRespect traditions which have value but do\nnot hug dead traditions \".\nThere is little question that, in the theatre\nworld, this reappearance of Mr. Craig in active\ntheatre work, and especially in so unexpected\na quarter as Copenhagen, has given pleasure\nto those managers and producers v/ho feared\nthat he was buried among his books in Italy;\nperhaps a few were on the alert, apprehensive\nas to what he was going to spring on them.\nA NEW WORD.\nIasked Mr. Craig if he did not think so\ntoo, but he negatived the idea. \"Be-\nlieve me he said, \" this is not the case."}, {"page_pdf": 37, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.37", "texte": "A DESIGN FOR A STAGE SCENE.\nBy Gordon Craig.\nPlate 5.\n\nTHE MASK\n1927"}, {"page_pdf": 39, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.39", "texte": "Relieve me, that most managers are so scep-\ntical, are so tired, that they do not care what\nanybody says, does or thinks so long as the\nhouses are full. The life of the Theatre\nrenders them sceptical. We oj the New\nMovement \" he added with great seriousness,\n\" have still to change the very life of the\nTheatre. We have changed the art a good\ndeal—we will now change the life \". Adding,\nas his last word : \" The world of the Theatre\nis sick; and so only that, ....the changing\nof the life ... .can brace it up.\nCOPENHAGEN'S APPRECIATION.\nTHAT Copenhagen appreciated what Mr.\nCraig brought there was evidenced by the\ncrowds which have been thronging to every\nperformance. On the first night the house\nwas packed at double prices ; the box-office\nopened at 10-30 in the morning, every seat\nbeing sold by I o'clock : and the management\nhas had the satisfaction, not only of having\noffered the city so noble a production, but\nalso of seeing, as the weeks pass, a conspi-\ncuous financial success.\nMoreover, in addition to the enthusiastic\nreception of the production, there are not\nlacking abundant evidences of, the enthusiasm\nand sincerity with which Mr. Craig's feelings\nof friendship towards his collaborators are re-\nciprocated on all sides in Copenhagen.\nMrs Nina Bang, the Minister of Public\nInstruction, speaking previous to the first night\nin the Danish Parliament, referred admiringly\nto 88 a prominent English guest, who unweari-\ningly and without any compensation lends very\nvaluable assistance towards the production of\n8 The Pretenders ' in the finest artistic form \".\nAdam Poulsen, in reply to a question asked\nin an evening paper (October 28th), how it\nwas possible to instruct Danish actors, to in-\nfluence their acting, without knowing one\nword of Danish ? wrote:\n88 Mr. Craig is not an Anglo-Saxon, not\nGerman, not Slav, not Roman, not Scandi-\nnavian. He is a sum of all these—a sum of\nall humanity.... Schooled and purified in life,\nintuitive and genial in regard to all problems\nof the world of illusion, he governs the Art\nof the Stage in a sublime, and at present,\nunique, way, ....there is none to compare\nwith him And he concluded his enthu-\nsiastic and affectionate tribute to Mr. Craig's\nposition in the Theatre, and to his gifts and\npersonality as an artist, with the words:\n\" He does this work in every respect unsel-\nfishly ; and his grand gift is received by the\nartists of the Royal Theatre with real inte-\nrest and joy\nI wish 1 could print Johannes Poulsen's\nspeech at the banquet which followed the\nperformance and hope to do so in the April\nnumber.\n\" What was it about? \" I asked Mr.\nCraig. Well, I don't like to say \" he ans-\nwered. \" Ask Poulsen \".... And so I will,\nand then I will tell the readers of \" The\nTk/I 1 99\nMask .\n\nConrad Tower.\n\nA PERFORMANCE WITH MUSIC.\nA. C.\nTHE Painting by G. P. Pannini, shown in Plate 3\nwas painted about 1729, and is in the Louvre. There\nit is called \" Conceit a Rome de Gabriello Panini\nIf in Rome it can represent only the Teatro Aliberti,\nthe Teatro Tor di Nona, Teatro Capranica, the Teatro\nBarberini or the Teatro Argentina.\nI am inclined to suppose it either Teatro Aliberti or\nthe Tor di Nona.\nIt is also said to represent a \" Concert at Rome 1729\non the occasion of the Birth of a son to Louis XV\nBut how if it should prove to be a Neapolitan Theatre ?\nIt is the kind of thing one is tempted to ask M. Wiener\nof Bruxelles to solve for us once and for all.\n\nTHOSE W-HO HUG THEIR WEALTH.\nRICH BUT TIMID PATRONS OF THE ARTS ARE LIKE OPHELIA —-\nTHEY THINK WE MEAN COUNTRY MATTERS,...\n(vide 1 Hamlet \\ Act j, Scene 2, Lines 108-112)."}, {"page_pdf": 40, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.40", "texte": "BLUSHING IN THE\nLIME LIGHT\nBY HENRY PHIPS.\n0)\nYOU and I have seen hundreds of actors\nand actresses taking their call.\nIt is not so easy a matter as one would\nsuppose, after doing a good piece of work,\nto stand in the centre of the stage amidst\nthunders of applause while the curtain goes\nup and down and up again—and again. But\nthe great actor—if such an adjective is still\nin use—knows well how to take a call.\nIrving could take a call or half a dozen\ncalls. He rejected none of the enthusiasm,\nneither did he bathe in it: he stood his\nground quietly.\nBernhardt was effusive—overcome— ; en-\ntered first from one side, then from the other,\nthen from the centre : stood and swayed and\nput out her arms on ea'ch side of her. She\ndid bathe in it all—seemed to be dipping\nand splashing it over her head.\nI forget what Duse did ; even when acting\nshe was so unlike other actresses, that I for\none was seldom able to say after a perfor-\nmance \"she did so—or so\".\nEllen Terry seemed happy and seemed\nto be thanking us.\nAnd there have been some actors who\nseemed to be saying. \"Oh no---not for me\n—this ovation is not deserved \". They were\nthe \" little me\" actors ; it is the very littlest\nattitude the circumstance demands. For to\nbe in the limelight and play the modest fool\nis a blunder.\nIt is growing fashionable, this passion for\npretending to be nobody in the limelight.\nNot only are actors being praised today\nfor standing in a corner with their backs to us\nrather than in the centre, but other publi-\ncists off stage are even being laughed at\nfor it.\nMr. Bernard Shaw is putting on the pose.\nIt would be as right as rain if Mr. Shaw\nwere out of the limelight; but he has be-\ncome a very public figure,... even a Nobel\nprizeman.... and seems not to know how to\ntake the calls. When we see remarkable men\nat their work, and our admiration for the result\nis genuine, we must perforce leave them with-\nout applause, tip-toeing out of their studies;\n—they are workers—and private men.\nBut when it comes to the public appea-\nrances something is due to the silly public\nof which I form one. My cheers and ap-\nplause are worth a kindly word. Mr. G. B.\nShaw's recent phrase \" There are no great\nmen nowadays \" seems to me to be a vain\nphrase meaning nothing. If I feel I am not\na great man I need not tell the Public ;\nit knows it: still, if I must assert that I am\nnot a great man then of course I must; but\nto assert that he who is listening to me is\nnot one, nor his friend either, is merely at-\ntempting to take cover under numbers : \"We\nthree \"....\nI take Mr. Baldwin (t) to be a great man ;\n.... he don't look it but he performs like one:\nso that to say there are no great men is rude\nto him and makes me no greater. I should say\nSignor Mussolini is a great man: and so rae-\nthinks is Mr. Edison, and certain orators, pain-\nters and musicians have the touch of greatness.\nGoodness, richness, cunning, wit, cele-\nbrity, power, physique, wealth, are no gua-\nrantees for greatness. A man is great or\nsmall in the way in which these things, of\nwhich he may possess but a pinch, pass through\nhim and affect him.\nWhen money gets hold of a man, un-\nless he puts it to valuable uses, he acts like\na small man: there are many millionaires\nwho are very small. Their wealth acts on\nthem like strong drink;—they stagger. Cele-\nbrity is dangerous too: and Iam told that\neven too much talent is not easy to carry.\nAs for Goodness—what greatness is needed\nif you are not to reek of your goodness; yet\nfolk believe one can not have too much of\nthe genuine stuff.\nI do not suppose Jeanne d'Arc was a\npiece of perfection, but she was obviously a\ngreat woman for she carried her burden well....\nand it was a heavier load than her highness\nshould have been subjected to.\nShe was not vain ; she did not cry out\n\" Look what I've done for France and see\n\n(i) Mr' Fred Terry recently penned a .short article for a\nLondon Daily in which he protested that there was 44 Too\nmuch limelight for actors There was a time when Mr\nTerry objected that there was not enough limelight for him.\n(i) 44 Mr, Baldwin is very fond of telling his friends how\n\" he met in a train a man who was at Harrow with him : 44 I\n44 seem to know your face,\" said the other man. tl I am\n44 Stanley Baldwin, \" said the Premier. 44 Oh of course I\n44 remember now, \" was the reply, 14 By the way, what are\n44 you doing now ? \""}, {"page_pdf": 41, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.41", "texte": "how France treats me—deserting me—sel-\nling me—\".\nWe are not all as brave as that. She\nanyhow took her call with spirit—and in the\nlimelight showed up like a star.\nIt is difficult. The shouts and the warmth\nof the reception offered to a popular public\nman are for the moment so overwhelming to\nthe mind, that the only thing he can do is to\nsuffer the ordeal, shut off his mind, deaden\nhis senses, and stand his ground as did Irving.\nIrving had an advantage over Shaw, for\nexample. He received an ovation three hun-\ndred nights out of the year. The first ova-\ntion he suffered was a round of cat-calls : a\nyear or two later, following on, it developed\ninto solid hissing ; — that was in Dublin. For\nthree or four nights they hissed him and booed\nhim the whole time he was on the stage.\nA round of applause a few years later\nmust have seemed tolerable to him. He\nmay have remarked the close resemblance\nbetween love and hate when expressed by\na noise. He smiled faintly, but apparently\nwithout feeling, when he took his call. Some-\ntimes he would dispense with even the smile.\nBut he never forgot he was in the limelight—\nand that he was the Public's \" loving faithful\nservant\nWhen you can no longer look like a\nloving servant (let alone feel like one) how\n■can anyone recognize that you are a great man.\n\nON THE MEMOIRS\nOF ACTRESSES.\n\nTHEY seldom write these Memoirs them-\nselves.\nCould they ? Would the memoirs then be;\nworth something — and permanent and good1\nto turn to for many a year ? or would the great,\nactress, who can get over the footlights, fail'\nutterly to get herself on to the written page ?\nSuch memoirs would be honest anyhow; .....\nbare ; and the whole praise and blame would\ngo to the author. Whatever the final verdict,,\nno one could then say the thing was dishonest.\nAnd the honesty would at least live on, even\nif the lack of art — the art of the writer —-\ndor ever proclaimed the result a failure.\nSo I for one am decidedly in favour of\nthe actress who takes her courage and honesty\nfirmly in hand and writes her book alone;\nwrites it so as at least to make it clear she\ndidn't wish later on to put any blame for its\nindiscretions on the shoulders of someone else.\nThis she does over and over again nowadays.\nMrs. Charke (an almost unknown actress)\nwrote her book alone. She was the daugh-\nter of Mr. Colley Cibber and a woman of\nno common order.... but her book is strangely\npoor — and she so rich in personality. It had\nbeen better she had not wr itten her \" Life \".\nThe Memoirs of Clairon came out followed\nby those of her rival Dumesnil. Are these\nauthentic ? .... they are full of bitterness and\npompousness — two stupid affectations 1\nam sure the ladies seldom aired in their\nlives. They must have been two most de-\nlightful persons and were, we are assured,\nreally great actresses. But their Memoirs\nbetray them.\nDid they write them alone ? were they\naided?... and who gained by the folly?\nMadame Bernhardt's Memoirs, if com-\npressed into a small book of 100 pages,\nruthlessly cut by a friend, would have been\nremarkable. As it is they are a little foolish\nand often curiously cattish.\nNow Sarah Bernhardt was the last person\nIn the world who could be called cattish ;\nat times she, like any other, may have scratch-\ned and been as petty as the smallest; —\nbut she was a sweet being or a fine fury or\na great performer ; she was not an anonymous\npost-card sender, .... yet, by George, she ap-\npears like it in her Memoirs.\nDuse's Memoirs have yet to appear, or else\na \" Life \" written by someone with ability.\nA hastily made up volume which already ap-\npeared (I) — not badly done, and containing\nsome charming passages, and the whole evident-\nly well meant, — proves that it's a dishonest\npractice anyhow, this concocting of Memoirs.\nBut who can one blame most ? Duse or her\ncasual historian ? The pair of them seem to\nme to be rendered quite ridiculous (2).\nWhat will C.elia's or Delia's Memoirs be\nlike, one wonders.\nWe see her at her task. She takes some\neighteen bundles of letters and tells her dis-\n\n(1) Reviewed in *' The Mask\" for April 1925.\n(2) Since this was written several more books on the Life\n*of Duse have appeared, and 44 The Mask \" will treat of these\nin an early number. Editor."}, {"page_pdf": 42, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.42", "texte": "Cipitej aft enthusiast who has travelled three\nthousand miles perhaps to help her — for\nmemoirs are done up to get money — \" Here\nare these eighteen bundles of letters. These\nrrom my great friends.... from Bernhardt, from\nfully, from Rodin, from Sarasate, from Irvine#,\nfrom Coquelin and from Salvini. See what\nyou can make of them and quote them\nI have underlined them in red\nWhat a gory correspoixdeuQe k\nlined. .ooks so\nThis would be, will af'w®-''\nway to go about the work /s be, the fatal\nThinking to. avpid F\nher dear friend; to ,aroe by leaving it to\nbe so thproijghfv .eii us her tale, she will\ntrayed by- E given away, so utterly be-\nprotesls er friend, that even when she\nfe* .ater that she wrote for money\nyjr pU(; }ier friend on to write and write\nfor her — and that she herself is not to\nbe held responsible, it is, alas, she and not\nher friend who will be damned.\nTo write the Life of Sheridan, that im-\nmense and baffling personality, neither John\nWatkins L. L. D. nor Thomas Moore was\nsufficiently well equipt — and Moore had\nsome genius for biography.\nTo write such a man's life ! even doubt\nwhether such a master as Lytton Strachey\nwould be enough. Queen Victoria lends\nherself better to portraiture, she sits so still.\nSheridan, who is all contradiction, all electri-\ncity, who will not sit still, baffles everyone.\nThese reflections come to me when think-\ning what is the best method for an emotional\nactress — and most actresses are of Sheri-\ndan's family —to use when attempting to\nwrite those most difficult things to write\n44 Memoirs\nAt the very best, unless gifted in a great\ndegree with a knowledge of to write,\nshe will do only harm to herself. It will be\nas though a great poet should assay to per-\nform the chief part in one of his own plays.\nFeeling he is the thing itself, he would be\nunconscious that he is who he is,... he would\nbelieve he is the being his words blazed into\nlife — and all the time he will be but a\npathetic parody of a man strutting, mouthing,\nfidgetting, doing all he would be the first to\nlaugh at could he but see himself looking\nlike a poor fool — the farce of a man.\nNo, the best method of all is to write\nno 44 Memoirs\n\nJ. S.\n\nDISCOVERY AFTER\nFOURTEEN YEARS.\nAMALGAMATED DELIRIUM.\n\nTN i»-|2 \" The Mask •\" published an illus-\ntrated article entitled ** 1he Best Theatre\nin London \".\nThe author of the article was the well\nknown Russian writer Edward Edwardovitch.\nHe claimed that the best Theatre in London\nwas Mr. Pollock's Toy Theatre, No. 73,\nHoxton Street, Shoreditch, E. C.\nHe gave us a reproduction of an exqui-\nsite and ancient view of Mr. Pollock's house\nas seen from the outside, and several Pollock,\ndesigns at their best.\nAnother article in the same number by\nD. Nevile Lees did full justice to R. L. Ste-\nvenson's 4 discovery' of the Theatre of Skelt,.\none of Pollock's forerunners ; and, in yet ano-\nther article, Jack B. Yeats and his life-long\nlove and service in the Skeltean- Pollockian\ncause was recorded by Allen Carrie.\nA BELATED SURPRISE.\nAll, this was done fourteen years ago ; and\nnow the journals of London are accep-\nting the puff paragraphs of the Diaghileff\npress agents, telling how the said impresario\nDiaghileff, led by Mr. Sitwell, was taken to\nMr. Pollock's shop and saw—literally saw—\nthe said Theatre of which Edwardovitch\nwrote in 1912.\n44 It was \", says the press agent, 44 a surprise\nfor M. Diaghileff \".\nToy Theatres exist in every land, and in\nRussia they have many pretty toys. These\nRussian toys have always served as inspira-\ntion to the artists af the Diaghileff troupe.\nAnd now our Toy Theatres serve to\n44 inspire \" Prince Shervachidze who has\ndesigned his curtains, sceneries and dresses\nfor 44 The Triumph of Neptune \" for M. Dia-\nghileff.— So the English press agents tell us\nin the columns of the London journals.\nAnd it is all not a little depressing.—I\nmean the fact that first Edwardovitch and now\nDiaghileff (both presumably Russians) were al-\nlowed by Mr. Playfair to get ahead of him, the\nfirst by fourteen years, the second by a head.\n\n(i) Why Mr. Jack B. Yeats was not asked to do this\nwork is a blunder 1 find unforgiveable."}, {"page_pdf": 43, "page_imprimee": "31", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.43", "texte": "For really these toy playthings belong to\nithe little Lyric up Hammersmith way.—To\n* enlarge them to the size of Mr. Play fair's\n■ stage, would have been to make of them a\n? natty little show ; but to swell them up to\n: the proportions of the Lyceum stage makes\nens almost sympathise with Mr. St. John Er-\nvine in his Sunday morning reflection, as he\nr gazes in his glass while shaving, that \" Ener-\n■ getic men without taste are the gravest dan-\nger to any community\nIn lending their services the Sitwells and\nLord Berners will of course have saved the\nsituation ; but then they could long ago have\ngone to Mr. Pollock or \" The Mask \" and\nrendered the same service to Mr. PI ay fair\nor any Englishman with a fancy for toying.\nIt would then have been an all-British Show\n—Penny plain and twopence coloured.\nSomehow or other I like Russians very\ndittle nowadays.\nRUSSIANS: — YESTERDAY & TODAY.\nBEFORE they cut their Tzar to pieces and\nbegan troubling us all in every part of\n'Europe and Asia I found many an artist who\nwon my admiration : but it seems that you\ncannot be a Russian subject today and not\nserve the Soviets. Either as a spy or as a\npropagandist or as a plenipotentiary or as an\nambassador (and all four jobs seem to be rol-\nled into one nowadays), be you an artist or\nan impresario, a novelist or a clerk in a\nFrench or London firm, you've got to serve\nthe Soviet. Which I consider very right and\nproper. Wherever we are, if we are Italians,\nwe have to serve the Dace if we be En-\nglish, old John Bull. Right as rain, this.\nThat's why I don't like to see any Rus-\nsians whatever in England.\nEdward Edwardovitch may not really be\na Russian;—M. Diaghileff too: both may\nbe Czeco-Slovaks or Mussulmen, ....Heaven\nknows . I've lunched dozens of times with\nEdwardovitch, and I know also that I never\ndid once ask him pat \" are you an Irishman\nor what are you? \" I let it slide. He looked\nlike a Middlesex man if you know what I\nmean,—a good old London town man.\nThat M. Diaghileff would ever condes-\ncend to be aware of the existence of the\nSoviet is very doubtful;—for is he not the very\naristocrat of impresarios ? — Can you beat it ?\nAs an impresario no one is a greater\nartist :; and a kindly being is M. Diaghileff,\nthat is certain.\nSo my theory falls to the ground—for no\none so kindly or such an artist in \" shows \"\ncould possibly serve anyone but a Prince.\nFor all this there lingers a far off faint\nsound of theatrical thunder. in mine ears—\nsomething ominous—horrid.\nIt warns me somehow or other,—1 cannot\nescape the almost imperceptible rumble I\nhear afar off. It does not seem to say\n\" Take care, this man is a dangerous politi-\ncal agent \" for I know that were impossible :\nit says \" he is a friendly agent \". That's worse.\nHe brings to England the very goods\nthat England already possesses: he comes to\nour shores bringing his Ballets and our ideas;\nhis Ballerinas and his Ballerinos. They settle\nin our land : they show us that we do not\nknow how to dance or produce Ballets, nor how\nto be showmen. The whole troupe is loveable\nand charming—and laughs at us, I suppose.\nYes, I have heard M. Diaghileff laugh-\ning at us. He does it charmingly and we\nhardly deserve such an honour. So we all\ngather round him and assist. We take him\nto Pollock's shop and there he registers ' sur-\nprise ' for us : we are entranced by that;—\nhe twiddles his little finger and round /we go.\nDelirium—Amalgamated—actually English\n—Delirium.\nMeantime, what about an English Bal-\nlet ? what about it ?\nA SUGGESTION.\nBUT there again, what about English Jour-\nnalism — what of English Theatre — En-\nglish prose — English verse — English men ?\nI heard an outrageous suggestion made\nlast week, by a true Englishman, and he\nsaid he'd wipe three quarters of Fleet Street\nout of existence, three fourths of the theatres,\nthe verse-writers, prose-writers and the rest\n— and when asked why, he said that by\ndoing so he would only be exterminating the\ndamn foreigner who is being allowed to spoil\neverything in London — and that means\nEngland.\nOne has to repeat these things when one\nhears them — they sound so awfully near the\nmark — But are they ?\n\nJ. B."}, {"page_pdf": 44, "page_imprimee": "32", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.44", "texte": "THEATRE TALKS\nAND A LITTLE BACK CHAT\nBY MR. GORDON CRAIG.\n\nE. G. C.\nD ear Semar:\nA series of interesting \" Theatre Talks \"\nis appearing in the \" Glasgow News by\nsome writer unknown, for he does not sign his\narticles.\nThe fifteenth Talk Was about me. It ap-\npeared in the number dated July last,\nand this talk back at the Writer Was printed\nin the A ugust 20th issue.\nI think y°u maycare ques-\ntions which the \" Glasgow News put to\nme, and my answers,for The Mask \" so\nhere they are : —\n\nFROM THE \" GLASGOW NEWS\nIN the fifteenth of this series of talks I de~\n1 voted the subject to a consideration—mostly\nby queries, it must be confessed—of Mr Gor-\ndon Craig, whom Bernard Shaw, the saoe\noi the day, has described as \"the most fa-\nmous theatre man in Europe Mr, Craig, from\nhis exile in Italy, has replied to some of these\nquestions, and I give his letter in full this\nweek, the only alteration made being the in-\ntroduction of headings for your easier rea-\nding and the column's better appearance. He\nwrites:\nGENGVA, 7th August, 1926.\nSIR,—I see that a series of 44 Theatre Talks \"is ap-\npearing regularly in your pages, and that one of these\n44 Theatre Talks \" was about me.\nIt appeared in your issue of July 16th, and I pro-\npose, with your permission, to talk back at the writer,\nand th's is all the more easy since he talks so well, and\nit is not to quarrel with him that I open my mouth.\nHe says that he feels sure that a number of people\nmust find me difficult to understand ; and ihat he is among\nthe number. If he did not admit this, I should be in-\nclined to think that he understood me very well.\nHe asks six questions :—\n1. Where am I bound for?\n2. What do I want?\n3. Will I define the road which the theatre must take\nto rehabilitate itself?\n4. Will I retrace my steps to act as a guide to others ?\n5. Will I not come down to earth ?\n6. Will I not cease being an angel ?\nLet me take these questions and reply to them in\nprecisely the reverse order.\nI am not an angel and I rather dread the voices of\nangels because they are so stern. Do you remember this\npassage of William Blake's :—\n14 The angel that presided o'er my birth\nSaid, 4 Little creature, formed of joy and mirth.\nGo, love without the help of anything on earth ' \" ?\n\nTHE CAT UP THE TREE\nOn. can go along and do nothing possibly without\nthe help of anything—but to go along and love and\nachieve things and not hate is something of an achieve-\nment : and it is rather too much for an angel to ask of\nan infant in this odd world.\nBlake- at 49 adds these words —\nGrown old in love from seven to seven times seven.\nI oft have wished for hell for ease from heaven\nPerhaps you will say, Sir, that I should not call on\none so vague as Blake is to help explain anything, but\nsurely Blake cannot now be difficult to understand for a\nstatue is being put up to him this year, and he dead this\nninety-nine year.\nNo, we artists are never angels. We are much more like\nordinary cats. If we are not on earth, we are not in\nheaven, we are simply up in a tree, and some instinct,\nand really I do not know what it is, some instinct tells\nus to reject al! the 44 pussy, pussy \" to come down.\n\" Will I not come down to earth ? \" asks your good\ncritic, and he by no means waiting with a lasso at the\nbottom of the tree, I am sure. But he asks like all the\nothers, will I not come down.\nAnd that leads me to the third question. I am to\ncome down so as to retrace my steps for the guidance of\nothers. Logically thinking, that would land us all back\nagain in the tree. But I think I know what your critic\nmeans. He means will I give a lead to these who\nwould follow me, and instead of going on further, come\nback a bit and show them step by step the way I\nhave come.\n\no DISCIPLINE IN THE THEATRE o\nFor in another question he says clearly 44 to define\nihe road which the theatre must take to rehabilitate itself\nThat is the fourth question. My own experience is that\nthe road we must take is an excessively hard one, but I\ndo not mind adding that it is perhaps only a hard one at\npresent. I whom you consider something of a pioneer, I\nand the other pioneers are agreed that the road is exces-\nsively hard for anyone to start out on it merely for the\nlove of the theatre, so that should I take the first step to\nretrace the road, you would not find it possible to fol-\nlow me, unless I could make it rather more comfortable\nfor you than it is at present. I should define the road as\nbeing a mass of boulders all the way when it was not a\nquagmire, and to go on foot without the help of any-\nthing on earth is not what I should wish for you. If\nI had half-a-dozen motor cars, a small army of engineers\nand their assistants, I should even then hesitate before\nasking you to come with us. The theatre to rehabilitate\nitself must be disciplined as it has never yet been discipli-\nned. But the experience of thirty years has rendered\nme sufficiently aware of what you may ask a man\nto do and what you may not. What you may not\ndo is to pile a mountain on his shoulders and tell\nhim to stand up straight. You cannot tie him up from\nhead to foot, and then say 44 Move on, there ! ,f You\ncannot gag him and say. 44 Sir, you are perfectly free to\nexpress an opinion In short, for the theatre to rehabi-\nlitate itself the men, while they must be disciplined, must\nbe free, and must be supported at least to the same\nextent that you support an expedition that you send out.\nI suppose, though 1 am sure I cannot say for certain, buf"}, {"page_pdf": 45, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.45", "texte": "I suppose there are not very many men in the theatre\nwho would be prepared to put themselves under discipline\n. . . . they would be far more content to have the sup-\nport, the good salaries, the jolly Club, and do without\nthe discipline, and leave the theatre to rehabilitate itself as\nbest it may, which brings us to the next question—\" What\ndo I want I\n\nMR COOK'S METHOD\nAnd I assure you that what I want is to find such\nmen who will follow me when I am sufficiently well sup-\nported so that I can retrace the steps for your guidance.\nWhat I do not want is to come to such men with\nempty hands.\nPeople are apt to mistake men who are patient.\nIf for 20 years a man asks for support in order that\nhe may retrace an old path that he has discovered with\na handful of companions, and if he does not get it, and\nsmiles on and is patient, people are apt to misunderstand.\nIf, like Mr Cook, he gives them a kick, it is extraordinary\nhow quickly they comprehend. Now, though I have a\ncertain admiration for Mr Cook, I have not got it in\nmyself to use his methods. The simple sentiment that is\nin Mr Cook seems to me to be this:— He hates to see\nfellows without the means to move forward, and this is\nwhat I hate .... But then I hate equally well asking\npolitely for the means more than eight times, and so\nperhaps I appear to have a kind of divine patience, which,\nbelieve me, is not as divine as it may appear.\n\nARTISTS IN\nGORDON CRAIG.\nAgain liken me rather to the cat which sits on the\nbranch at night and waits for the mouse—nothing divine\nabout that—and to sum up—you see that is what I\nwant.,., the mouse!\nThe final question is, \" Where am I bound for?\"\nBelieve me, I do not irtend to budge, but when I have\nthe mouse in my mouth I will bring him to you, as that\nfabulous cat did to his master in the old fable. It was\nno mouse, as you well remember, that the Cat in Boots\nbrought to his master. It was a conglomeration of giant\nwho had been the curse of the nation for a very long\ntime. So if there is one among you who can tell me\nhow I can transform the theatrical Giant into something\nmy own size, I'll pounce.\nPerhaps this is being a little too jocular about a grave\nsubject, but what would you ? the long nights seated upon\nthe bough, with the wind blowing and the owls squeak-\ning in the thicket, are not conducive to taking one's off\nhours too seriously.\nIf one did, one would be discovering that there are no\ngreat men in the world, or that Germany is better to its\nartists than is England. Faithfully,\n\nShortage of space prevents a full consideration of\nMr Craig's letter, but it will be noticed that before he\ncan attack his problem he requires, first, financial back-\ning, and, secondly, the actors who will submit to his dis-\ncipline. Until he has these it is probably superfluous to\nexpect him to reply to the point which puzzles most—is\nhis vision of the marionette theatre one of the ultimate\ndesire, or does he consider it as only a stage in the edu-\ncation of the actor?\n\nAN ADDITION AL WORD.\nE. G. C.\nSO ends \"Theatre Talk\" No. 15 in the \" Glasgow\nNews \". Mr. Craig adds the following Note in reply\nto the last query :\n\" Nor you nor I will live to see whether \" the\nActor and the Uhermarionette\" is destined to affect\nthe actor at all. (0 It seems only to have offended the En-\nglish actor, though foreign actors, strange to say, can read\nit, and without getting huffy.\nI would propose that all the adverse critics of my\nsuggestion should read two books on the Theatre of\nJapan :\n1. KABUKI, the Popular Stage of Japan, by Zoe\nKincaid (Macmillan) 1925.\n2. MASTERPIECES OF CHIKAMATSU, the\nJapanese Shakespeare, by Asataro Miyamori (Kegan Paul,\nTrench) 1920.\nHaving read the former my antagonists will be bowled\nover ; on reading the latter they will come and beg my\npardon. Or tfiey are dishonest men one and all, ie, they\nhave no sense of humour left.\nFor in the first book it shows.... or ... not.... but 1\nwrote about this book in the last volume of\n\"The Mask\", page 105. If my critics will read chapter\nXVI, Page 144 to 152, they will understand that my\n\" vision \" as my good friend in the \" Glasgow News \"\ncalls it, is not quite as vague and impractical as it may\nseem, for the marionnette not only ruled the stsge in Japan\nfor a hundred years but gave the actors a rebirth to\ntheir craft.\nIn the second book, if my critics will read its Intro-\nduction, they will find that had it not been for the\nmarionnette stage of Japan, the Japanese Shakespeare Chi-\nkamatsu would not have written his hundred and four\nmasterpieces.\nAre we to run the risk of never having the hundred\nand four masterpieces of the English Chikamatsu just be-\ncause some actors are lazy ? Are we to weaken the Li-\nterature of the world when it could grow mightier ? Are\nwe going to reject a humble servant like the marionnette,\nwho lives without pride or egoism, lives silently and dies\nwhen you will—that is to say, when his work is done,\nsteps back willingly till next he is wanted.\n(i) It appeared first in \" The Mask\" 1908; was reprin-\nted in \"On the Art of the Theatre \" (Heinemann) in 191!,\nand is in the latest edition of 1925 issued by the same pub-\nlishers."}, {"page_pdf": 46, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.46", "texte": "FROM \"BRANT'S SHIP OF FOOLS\". 1347.\n\nBOOK REVIEWS.\n\nA CHAPTER IN THE EARLY\nLIFE OF SHAKESPEARE by Ar-\nthur Gray M. A. : Cambridge Univer-\nsity Press. 7/6 net.\nABOUT SHAKESPEARE AND\nHIS PLAYS by G. F.' Bradby.\nOxford University Press. 2J6 net.\nI like the notion well. And the notion\nis that Shakespeare was very rarely\nat Stratford — did not live there twenty-\none years as supposed, and that all\nthis concentration of the glad senti-\nmental eye on Stratford might with\nadvantage calm down a little. The\nnotion is that, since he never once\nreferred to Stratford in his plays and\ndoes refer to many another place, it\nis as likely as not that signs of him\nmay be found more easily in the pretty\ntowns of Polesvvorth, Wincote, Barston\nand Daventry than in the town where\nall the fuss goes on and where the late\nMarie Corelli had a charming house.\nDr Gray's suggestion is full of relief\n— even if he be not easy to read.\n44 Of Stratford, where Shakespeare\nis supposed to have passed the first\ntwenty-five years, or so, of his life\nsomething is unavoidable to say \".\nI'm quite of your opinion, Doctor, only\nyour sentence puzzled me and I was\nfain to read it three times over.\nFour times I went at the next, which\nruns thus: 44 the fruit that he had\nnoted in spring blossoming and watched\nin dreaming summer he gathered for\nuse on the mellowing of occasion\nBlossoming spring, dreaming summer,\nmellowing occasion — what three lovely\nseasons. I have read the passage twice\nmore — that make six —.\nThe author refers to Shakespeare as\n44 the greatest Englishman \". I should\nhave thought Cromwell greater — or\nHenry V or Henry VIII.\n44 The greatest poet \" would have\ndone for Shakespeare, I think ; a very\nmodest man at heart, who can doubt,\nwith no notions of ever competing for\nnotoriety as a great man with the\nNobel Prizemen of our days. Organi-\nzation and propaganda in those back-\nward days were not troubled about\nas they are today. Shakespeare gave\naway his genius to Burbage and his\nPlayhouse : today a highly reprehensible\nthing to do. Today we are told to\nsecure a percentage on eveiy line —\nto get the Cinema rights fixed up; 44 ye\nlyfe so shorte ye crafte so longe to\nlearne \" ; — pin that up over ye man-\ntleshelf designed by William Morris ;\nsyndicate every bit of nonsense you\nturn out even if it's \" Come away come\naway death \" ; there's pots of money\nin a thing like that; that's what our\nmodern practical man would have taught\nhis Shakespeare, could he have caught\nhim : — 44 William, you're to be one\nof us you know — you're to have a\nslap at the Philistine too — yes — you\nshall win through yet — you and Gran-\nville Barker are made to win through\n— you too like Barker don't you,\nwhat ? — you don't... well, you will,\nand he'll soon learn you how to rake\nin the dollars \".\nREADING Mr. Bradby's little book\nof 92 pages written so clearly that\nyou read it without effort, without\nexcitement or pause, you become cu-\nriously convinced of the actual existence\nof Shakespeare....\nHe shows you the poet and the man\nof the world, and very little of the man\nof the Theatre. This is as possible\nwith Shakespeare as it would be im-\npossible with Moliere had\nhis own playhouse — so sensible: and\nas a theatre-man stood and\nstill stands his ground. Moli£re was\nso much more fortunate in his choice\nof a city. So much cleverer too in\nhis decision to be the director as well\nas the poet-dramatist of his troupe. It\nwas an essential which Shakespeare was\ncheated of. You may say as Burbage\ndoubtless did say, that Shakespeare was\nnot practical enough to be a director.\nMo!i£re was net practical in that sense\neither. Both being essentially men of\nthe world, it stands to reason that both\nwere well fitted to be directors of\nNational Theatres. became\none and Shakespeare did not: — and\nso in 1611 he retires, having had enouglk\nof playing a second fiddie to duffers*.\nAnd he remained curiously untheatre-like.\nto the end. How often Burbage had:\nto go round to his lodgings and remon*\nstrate with him we shall never know..\nTo Burbage Shakespeare was far too.\nmuch of the Poet. would be:\nable to tell you why and able to sym-\npathize with both of them. He wou\nI think, have sided with Burbage, but\nhe would have walked for hours with\nShakespeare telling him how to become\ndirector, to succeed properly.\nStill, the conditions of the English\nstage seem to have prevented that; —\nthe fixed position of Burbage as di-\nrector seems to have settled the matter.\nAnd, added to that, Shakespeare valued\nhis dreams. 44 Why 44 grunt and sweat\"\nunder this dog's life down at the new\nTheatre ? — I' ve written their plays\nand patched up the stuff sent in by that\nold wiseacre Bacon and the worse stuff\nbought up by Burbage from God knows\nwho, and altogether they can reckon\non sixteen presentable plays mostly\nfuftny \".\n44 I could do it because Burbage:\nwas ihere to listen to and argue with\nthe duffers — and now I've grown so\ndeft doing things that way — taking\nsomething and making something roorg\nof it, that if I were now to become\nentirely original — and I'd have to be if\nI became director-playwiight — I should\nbe lost. Best have one foot on land and\none on sea and be constant to neither\n— at least best for me and everyone\ni *•\nelse .\nSo when in 1600 Burbage started\na new Theatre Shakespeare was in the\nbusiness, a share-holder and the writer\nof the plays. — But that was all. As\nanyone of thirty-six years of age knows,\nwho is working in a theatre, and has\nthe brains, genius, wit and devil of a\nman like Shakespeare or Moli&re, who\nacts and can create scenes such as they\ncreated, to be forced to spoil the whole\nthing because some Burbage or some\nLa Grange is possibly right, is all\nwrong.\nGreat men of course do not exist,\nnever have existed — that is clear,\nespecially to great men — but there1\nare grades. I may be an\ngood carpenter — a second Chippendak\n— but because 1 can fit eight hundr4\nseats into the space into which you caii\nonly squeeze six hundred, it does ncj\nfollow that I, being so deuced practic$\nwith wood, am entitled to become\ndirector of the English Drama.\nBurbage felt he was fitted to that\ntask, and who would quarrel with a\nBritish carpenter. Not Shakespeare"}, {"page_pdf": 47, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.47", "texte": "But as he wouldn't quarrel with him\nhe put on airs. Alas, to the great\nloss of the British stage. He became\nsnore and more impossible to Burbage.\nHe wrote as he jolly well wanted to,\ninstead of paying attention to chairs,\ndoors, exits, and the other harmless\nnecessary cats of the menagerie.\nHe agrees with Burbage to stay out\nif the playhouse : he didn't even trouble\nto say \" but I shall write just as I\nfancy Poor Burbage, he's in for\nit now.\n\" Julius Caesar \" arrives at the Globe,\na beautiful poem in one scene. Bur-\nbage probably chopped it all up and,\nafter days and nights of agony, made\na serviceable chair out of it* Shakes-\npeare, probably, never saw a single per-\nformance. He was now at work on\nanother poem to be called by Burbage\nHamlet He sends over \" Twelfth\nNight by a messenger to \" Mr. Rich.\nBurbage, The Globe \" Am I to\nwait for an answer, Sir ? \" asks the\nmessenger. \" No \" says Shakespeare,\n\" just ask for a receipt \", and he turns\nto \" Hamlet \" again — that profound\npoem ; then to \" Lear \" and to \" Mac-\nbeth \" and others. He has forgotten\nthe damned theatre.\nBut what an awful pity. He keeps\n•his up until 1611, and then off. to\nWarwickshire — never again to write\nplays or see a playhouse — in fact in\n1612 public performances of plays are\nforbidden at Stratford by a resolution\npassed by the town council —- and I\nbelieve Shakespeare had a hand in\nthat. To escape Burbage and fall into\nthe hands of some local amateurs —\nheaven forbid.\nThese things that I have said are\nas likely as not to have been as 1 say,\nand Mr. Brad by's book caused me to\nsee how likely they were.\nOnly on one point do I differ from\nMr. Bradby ; — I allude to the reason\nunderlying Shakespeare's bequest to his\nwife Anne of \" his second best bed \".\nMr. Bradby discovers in this act\nsome unkindness; it cannot possibly\nbe regarded as a mark of warm affec-\nction \". No, that is true : or rather\nwould be true if Shakespeare had\nan eccentric Londoner of 1926.\nBut he was such an ordinary man of the\nworld, this poet. He had such an\nordinary reason for leaving his wife\nthe bad bed. It was because she liked\nit. For years she had slept well in it\n— he had some six or seven beds in\nthe house — he had what he consi-\ndered the best bed, and what he con-\nsidered the second best she had taken\na fancy to. There are several reasons\nto account for Mrs. Shakespeare's fancy.\nThe first is that the bed was her size\n— the second she found it more com-\nfortable — the third is she liked the\npattern carved on the end of it — the\nfourth is it filtrd her room — the fifth\nis she could sell the best bed and get\na new table and six chairs and Shake-\nspeare hoped she would do that —\nthe sixth is that people didn't collect\nthe beds of famous men in those days\n— and the seventh is she wanted Will\nto have the very best: and the last is\nthat it wasn't really the best at all.\nGoodnight to them.\n\nTHE SCIENCE OF PL AY WRIT-\nING by M. L. Malevinsky. Bren-\ntano. New York. $5.00.\nA handsome volume—a heavy one\nand well printed, — explaining\nexactly what a play is, if you leave\nMoli&e's plays out of the question.\nAnd as his plays are seldom seen\nor read it#is as well to leave them\nwhere they are, and, by speaking of less\nperfect things, of modern plays, to en-\nlighten—slowly enlighten—a few, so\nthat they in time come to blaze like\nany halfpenny dip. Whoever is eager to\ndish up a play should get this book,\nfor it is the very Mrs. Beaton of the\nDrama.\nTake care; — follow the author's di-\nrections exactly—do not allow your-\nself any liberties ; and you may easily\nconstruct a play which will attract\nthat huge public which loves its cross-\nword puzzles .... and who today does\nnot adore these ?\nThe ingredients are nine, says our\nauthor.\nWhat these nine are you must find\nout by getting the book—remembering\nthat even after you have Robin Hood's\nbow in your hands, something of the\nart still lies in being able to draw it.\n\nTHE ROMANCE OF THE AME-\nRICAN THEATRE by Mary G>\nroline Crawford. Little Brown & Co.\nBoston. 1925. $4 net.\nABOUT a dozen years ago, when\nthe first edition of Miss Craw-\nford's work appeared, there existed no\ncomplete History of the American\nTheatre. Then Mr. Arthur Hornblow\ncame along and in 1919 produced his\ntwo well known volumes. Mr. Horn-\nblow is indebted to Miss Crawford,\nand this lady in her new edition of\nher old book gives herself the plea-\nsure of thanking Mr, Hornblow for\nhis work.\nHers is a charming volume; admi-\nrably put together and well illustrated;\nfull of the facts we want to know ;\nwell stated. These facts she even\nmakes p]easant reading.... an almost\nimpossible task.\nShe is properly all American, and\nhails as American things which have\nnot been created by America. She\nis forced, it seems, sometimes, to say\ntoo little about some of the things which\nreally are quite American.\nMiss Crawford claims that America\nis now the heir of everything;—her\nlast words are : \"so the American\nTheatre presents today, as never be-\nfore, an open door of opportunity to\nmembers of every race, every craft,\nevery creed and every calling to de-\npict and advance every cause \" ; which\nis bully for Miss Crawford, but is,\nI will not say unfortunately or fortuna-\ntely, but, by the nature of causes, creeds,\ncallings and races, not exactly the case.\nBut for those to whom romance is\nanything, this charming book is just the\nvery book if it's Theatre you want to\nbe romantic about. I do, so it's for me.\n\nANTOINE AND THE THEA-\nTRE LIBRE by Samuel Montefiore\nWaxman. Cambridge ; Harvard Uni-\nversity Press. Price 3 $.\nANTOINE is the great man in the\nFrench Theatre of today, and\nAntoine is writing articles for the\nnewspapers.\nThe Com£die Frangaise is still in\nthe same position where Louis the ar-\nchitect placed it in the year 1790, but*\nuntil Antoine is in the Comedie Fran-\ngaise as its Director, the theatre wiU\nremain empty. For his own sake, I\nwould not wish him there: for the\ntheatre's sake I am sure that I want\nhim to be there ; but for the sake of\nFrance, how can he not be there!\nThat is what I want to know.\nSuppose he were to produce Mo!i&re\nin a different way from that we are used\nto — could it fail to be interesting ?\nWould it wreck ? What would\nit do.... I mean, what harm ? Was\never so much fear as has been shown\nin this century in Paris and in London\nbefore the man of ability. The mo-\nment a man of ability is proposed\nfor a certain position, everyone's face\nregisters terror.\nYou, dear reader, may possibly have\nnoticed it yourself. I never failed to\nbe struck on arriving at Paris with this\ncurious fixed expression of terror on\nthe inhabitants of the gay city, and\nuntil now I never could quite discover\nwhy is was they looked so terrified ;"}, {"page_pdf": 48, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.48", "texte": "but now I do know; and if ever any\nman took off his hat in grave and sig-\nnificant salutation to another, it is I\nat this moment who take off my hat\nto M. Andr£ Antoine.\nWhat is there to be said about this\nbook which Mr. Waxman has sent out\nfor the world to read ? In passing, one\nmay say that one hopes the world will\nread it. But it should not be necessary\nfor the whole world to read it so that\nFrance and Paris may benefit. Antoine,\nwho it would seem was born in 1858,\nshould be now 68 years of age. That\nis to say he should be now in his prime ;\nfor according to calculations of London\nand Paris a man is in his prime when\nhe is clcse upon seventy. Then he\nmay open his mouth to speak, for\ntiny know that by this time he is\npretty w ll tired of uttering a word,\nand that is the very man to be put\nin power at the Com6die Frangaise\nand reign silently at its head. He will\nsee the place and the people tumbling\nover each other, and smile on and say\nnothing. At least that is what everyone\nhopes, but I think, in M. Antoine's\ncase, we can disillusion them.\nI was present at a rehearsal for a\nnew play which he was directing and\nthat only a few years ago. Yes, I\nthink I can safely say the people will\nbs disillusioned. I never saw a man\nof sixty so terribly active, so fearfully\nalive ; not that he lost his temper at\nall, but he did not bring it with him\ninto the theatre. After one is sixty,\none is supposed to totter round a little,\nbut Antoine seemed to jump from the\nstage into the stalls, and from the stalls\non to the stage. I never saw such a\nman. I hid as well as I could so that\nhe should not see me, but he grew so\nexcited, and through this excitement\nseemed so to mould the actors 44 into\nsomething rich and strange \" that before\nlong 1 got up and crept out of the\ntheatre feeling that I was present at\nsome sort of private rite which was\ngoing on and which it was none of my\nbusiness to witness.\nI do not quite get that Antoine in\nthis book, but there are six or seven\nAntoines, and I get most of them here.\nHe is a dreamer; he is a practical\nman; he is a passionate man; he is an\nindifferent man ; he is a director who\ndoes not wish to be a profit sharer ;\nhe is a man who dislikes being a rich\nman: he is a man ready to praise\nevery thing that has anything praise-\nworthy in it, even if it be but a speck,\nand he praises these things whole-heart-\nedly. Yet he has judgment. It is customary\nto think of him as of a man profoundly\nconvinced of the importance of realism\nand the gloomy plays of low life. And\nI should imagine that he was nothing\nof the kind. I should say that every\ngood play was welcomed by Antoine.\nHe happened to light up Ibsen's\n44 Ghosts \" and Zola's plays, and the\nplays of the other gloomy gentlemen,\nbut then he also happened to throw\nlight upon the plays of Shakespeare\nand those of Moli£re; and it must\nhave been remarked that Moliere and\nShakespeare have stood by him very\nfaithfully.\nI do not know that so much can\nbe said for the living dramatists, thou2h\nof course they know better than I.\nBut what I do know is that a number\nof his pupils, his fellow actors, fell\naway from him, and I do not know\nthat I like that. After all what was\nMr. Gamier doing, and what Mr. Co-\npeau, these two followers of Antoine....\nwhat were they doing when they went\non preparing other theatricals on their\nown, sneaking past the master, elbow-\ning in ?\nIt seems to me that as Antoine had\nshown perfectly clearly what it was he\ncould do, and what it was he\nwould do,any Frenchmen worth their\nsalt who were acting with him, or great\nbelievers in him, should have made a\nlittle more effort to stand by and show\na little more of that old spirit, which\nlet us call by the new name of the\nFascist spirit. Fascism is not easy to\ndefine, but what is perfectly easy to\nsee is that the Fascisti are men who\nwork shoulder to shoulder, with mind\nto mind, and follow a leader. I do\nnot care a rap what can be said against\nthem when that can be said for them,\nfor I suppose that is the highest thing\nmen can do — so hard it is to follow\na leader, so hard it is to remain loyal\naltogether for one thing. That other\neasy game of each man thinking he is\nprivileged to be somebody, when he is\nnobody — that is what I cannot tole-\nrate for a moment. Nature will adjust\nall these things in time and so there\nis no need to bewail the situation as\nwe find it in certain lands where the\nold spirit of all for one, one for all,\nis forgotten. It is such a simple thing\nthat brings this chaos about. It is\nnothing else but the universal conceit of\nsmall men. In the old days when a\nman heard some legend of the prowess\nof this warrior, that artist, or yonder\nchurchman, or if he read something\nthat this man had done, or had writ-\nten, or if he saw some piece of their\nwork, he would probably be moved\nvery deeply. Let us admit that such\nmen today exist and are still moved\nvery deeply. The difference of the\ntwo is this. In the old days th<**\nmen would not rest (could not rest) unless\nthey had sought out the man who had\ngiven them this particular inspiration,\nand, when they saw him, they did their\nbest to stay with him and follow him.\nThus it came about that every great\nwarrior, every great priest, and every\ngreat artist, had his followers; not merely\nenthusiastic idiots, but very useful loyal\nassistants. The instinct in them said :\n44 Let me help this man\". Joining\nhim they received their bread and butter,\nmaybe even a roof over their heads,\nand there an end. They became one\nof a clan. Soon, yet without this\nawful haste of today, they began to\nachieve just the same, perhaps even\nbetter than the man they were follow-\ning. But today what happens ? A\nyoung man having seen Antoine's per-\nformances, or after reading of the work\nof some other theairica! artist, will have\na momentary thrill, but it will be only\nmomentary. After two or three days,\nfor some reason, he will tell himself\nthat he too can do as that man has\ndone ; and, instead of learning, instead\nof becoming slowly a master and with\na master, he puts on the airs of the\nmaster, and engages a company of\nactors like the master, runs a number\nof wealthy men into the bankruptcy\ncourt, and thinks he is of service to\nhis country.\nHow many dozen such men have\nbuzzed round Andre Antoine, I cannot\nprecisely say, but I suppose there must\nhave been a round three dozen* 41 But \"\nyou say, 44 we cannot go back to the\nMiddle Ages! \" No, but we really\nmight go forward to the twentieth\ncentury. We might make the twentieth\ncentury about ten times as splendid as\nthe Middle Ages; instead of that, the\ntheatrical group at any rate are making\nit ten times stupider.\nHowever, I may be doing one French-\nman an injustice. There may be a\nbetter man than Antoine in Paris.\nIf so, I should like to hear of him:\nmeantime I am content to take my in-\nformation from those hundreds of critical\njudges who have already placed Antoine\nat the head of the French theatre.\nBut I would like to hear that all\nthe information was not mere gush,\nbut meant that he was to be\nin power.,., and kept there.\n\nMORE FABLES OF LA FON-\nTAINE hy Edward Marsh. Heine—\nmann & Co.\nmBmmmmmammmmmmmvamamamaammm' win—BMCTW «■ iMUftajiwi MI ■ unn—awri ■■nun m\\mmn\nI don't like being bored to death by\none incessant theatre book after\nanother :—my very existence as a re-"}, {"page_pdf": 49, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.49", "texte": "viewer of books on the theatre de-\npends upon the fact that I am one of\nthe few dramatic reviewers who now\nand again delight in and read books\nof verse and of prose for their own\nsake, and who concern themselves a little\nwith those by-products of the stage,\narchitecture, music and horse-racing.\nSo that not to have received from\nMessrs Heinemann and Co either a copy\nof Edward Marsh's \" Fables \" or\n\" more \" of them is to have been\nrefused a drink of clear cool water in one\nof my parched intervals between two\nbooks on the impossible modern theatre.\nBut as I read the \" New Stales-\nman \", seriously for its sense about\nbooks, and avidly for a scream over\nthe politics, I can spot the winner\nevery time. And spotting this one I\nthought that I too would like to be\nin at the death.\nI am not sure that I get my spor-\nting phrases correct every time, but the\nsuccess of the stoat has always char-\nmed me, especially when I was sure\nI had seen the rabbit escaping over a\nfive-barred gate.\nAnd so, spotting Edward Marsh as\nbeing an easy winner, I turned to the\none translation \"Statesman\" quotes in\nhis-review, and, reading it over, eight\ntimes, I flattered myself I had the best\nof even these lucky fellows in Fleet\nStreet who had been forced to gulp\ndown a dozen of Marsh's best too\nhurridly with consequent results.\nAnd I agree with the \" New States*\nman\" when, after quoting this char-\nming thing, he writes : \" A very pretty\npoem, Mr. Marsh\" purists may say*\nbut you must not call it \"La Fon-\ntaine\". Perhaps ; only one would like\nto see the English poem you could\ncall \" La Fontaine\nI really believe Mr. Marsh must\nLave written the review himself—so*\nneat it is;\nWell, even if Heinemann does send\nme a copy after this, to make up for\nhis coldness I won't review it. I'll\nmerely keep, treasure and read it.\n\n\"THE MERCHANT OF VENICE\"\n& \"AS YOU LIKE IT\";\nWilliam Shakespeare. Cambridge Universify\nPress. Edited by Sir Arthur\nQuiller-Couch and John Dover Wilson.\nPrice 6/- each.\nIdo not think there is a nicer edition\nof Shakespeare in the world than\nthis Cambridge edition, and I think\nthere is only one grander and that is\nthe old Cambridge edition. The \" Mer-\nchant of Venice\" is quite the most\nreadable play Shakespeare ever wrote*\nso this volume is the very thing for an\narmchair, because, you can hold it in\nyour hands as you loll near the fire,\nand you can listen-in to Shakespeare\nwithout anything in the ears to tickle them.\nFor 6/- net you can get the best\nplay and the best lyrics in the English\nlanguage. Of course you know a great\ndeal more than Shakespeare ever knew\nbecause this is the 20th century, and\nhe lived in the 16th; but now and\nagain he lights upon a happy thought....\nhe makes discoveries. You arrive at\nyour wisdom through enquiry or you\nget it through the newspapers; but now\nand again you may want to find out\nthings that your people cannot tell you,\nand that your newspaper never dreams\nof speaking about. For instance, you\nmay like to know how Fancy is born ...\nyou have fancies but how is Fancy born,?\nWell, Shakespeare tells you. And the\nextraordinary thing is he is correct, pre-\ncise, practical, if we can say such a\nword in connection with Fancy. If\nyou wish to discover what the newspa-\npers mean when they talk of America's\nbeing like Shylock in these days, here\nyou have the thing in a nut-shell—\nand very much in a nut-she!i—for the\nlittle volume is most beautifully encased\nin a nut-brown cover.\nOf course the first line of the play\nhas a touch which tells against it, for\nAntonio says :\nIn sooth /1 know not why Iam so sad !\nAnd on seeing the word *' Sooth\nany hearty lady or gentleman heaves\na sigh and does not quite feel quite\ncertain that he or she would like to go\non to the next line.\nIt wearies me—you say it wearies you.\nWell, I should have thought that so\nsimple a line as that, so modern that it\nis §&st the very thing any writer today\nwould wish he could write, would wet\nthe dullest of appetites and make it\nmagically sharp. Then he goes on:\nBut how I caught it, found it, or came\nby it,\nWhat-stuff tis made of, whereof it is born,\nI am to learn.\nOf course we do not use the word\n\" learn \" in that way, so there again\nwe are let down by that old 16th\ncentury. But surely are we not rich\nenough to do a little for that poor cen-\ntury ! When a thing has lived so long\nand remained in as fresh a condition as\nit is, would it cost us too much to\nmake a little effort to put up with the\nword \"sooth\" and the word \"learn \" ?.\nAnyhow it is not devastating to\ncome across it in a book. Suppose you\nhad it through the ear-phones I\n\nView of the Théâtre Historique built 1847\nby Architects de Dreux and Sechan for\nAlexandre Dumas.\n\nOLD DUMAS.\n\nA NEW EDITION of Dumas s\nworks in forty-eight volomes. J. M.\nDent & Sons. Price 4/6 a volume.\nAN amalgamated Sage has recently\nasserted his grave doubts as to\nwhether there exists in Great Britain a\npublic willing to pay for the forty-eight\nvolumes of Dumas which the house of\nDent and Sons is bringing out at four\nand sixpence per volume.\nI doubt his doubts.\nWhen I was young an edition of\nDumas appeared costing, if I remember\nright, more than that per volume. I\nhad very little money indeed at that\ntime, but I bought all of them, f\nwore out half the volumes in ten years ;\nI lost about six volumes by lending to\nfriends who then told me tlxat they too\nhad worn them out.\nit's true that booksellers were very\nencouraging in those days. I knew a\ncertain Mr. Henry Glaisher and his\nsister,... both charming people and both\nborn tempters; they had a shop in the\nStrand, a little shop, near the present\nSavoy Hotel, which was not then built.\nDaily I would visit the Glaishers. In no\ntime I was owing them money... all\nDumas's fault... ; but the bookseller,\nbesides being like the serpent, was a true\nChristian and kindly allowed me time\nto pay.\nHe was paid,... but I can never\nrepay him for having displayed the Du-\nmas as he did. That was genius in him.\nDumas can't do everything; Dent can't\ndo everything — booksellers must do\nsomething. The wise ones have small\nshops and do the selling business in a\nvery friendly way. We like that. We\ndon't want to feel we are going to church\nor to a reception at some aristocratic"}, {"page_pdf": 50, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.50", "texte": "hou$6 when we go to browse and hunt\nfor Dumas or Stendhal or Lord George\nSanger. We want to have some nook\nto get into — some corner, and there\nto rummage and find our Dumas.\nBut what is Dumas to modern rea-\nders ? 44 The Chevalier d%Harmenlal \"\nand Olympe de Cleves ? Have they\never read these ? Monte Crista and\nthe Three Musketeers they have heard\nall about; everyone feels he has read\nthem, even those who never read them.\nThe fact is that people who are\n44 unable to read Dumas\" never began\nto read him ; — that was their trouble.\nThey were semi-subtle brains and had\nheard that Dumas was jolly —- and\nfelt that he would not match with their\ngloves.\nNow there is no book more subtle\nor more elusive than a book by old\nAlexandre. He is the psychologist.\nNever is he twice alike and yet we\nare always so sure we can explain him,\n—• so direct he seems.\nIf he is ever dull it is not because\nhe is drab. He is dull ...and how\nseldom... because he had been asked\nfor copy and could not say no; he\ntherefore sometimes turns into a little\ndull baby and prattles rather monoto-\nnously — that is all.\nMoney he adored ; it stimulated and\nexhilerated him : after a taste of it he\nwould scribble away and give us good,\nbad and indifferent in equal portions.\nHe is a man that no one should lecture,\nfor he gave us all he possessed,... and\nyou can't do more. I know nothing\nof his that he witheld — and, if one\nthinks of him as the dear old man, its\nonly because he gave us his gray hair too.\nWhat an awful fault — to have\nsuch generosity; and how it stains\nevery page of his endless works.\nTo question whether the largest En-\nglish public can bring themselves to read\nthese forty-eight volumes of sound and\nbrilliant common sense is to question\nthe very sanity of Great Britain.\n\n\"ADOLPHE \" by Benjamin Con-\nslant. Messrs. Stanley Paul & Com-\npany. Price 2[6.\nTHIS is a charming story and it is\nmost admirably printed in large\ntype by Messrs. Stanley Paul & Com-\npany, and is doubtless the best of Ben-\njamin Constant. There is an interes-\nting introduction by Mr. J. Lewis\nMay who is also the translator, and\nin this introduction he tells us that\nConstant came to England where 44 he\nimbibed that love of moderation and\nconstitutional government which was\ndestined never to forsake him which,\nfor moderate institutions, seems an excel-\nlent basis provided they are modera-\ntely well aware that there are others\n— other constitutions—and these neces-\nsary to us—and that necessity knows\nno lav/. But what does it matter to\nus that Constant imbibed these things ?\nwhat matters is whether he has written\nhis story well or ill. He has written\nit very well. It is a short story and\nyet has all the good things of a long\none. You live a long time in reading\nit; but you can read it in an hour and\na half. It was written when he was\nin Weimar, soon after 1795. It is in\nthe best romantic manner and is a\nlittle work of art.\n\nTHE AMERICAN BALLET by\nTed Shawn. Henry Holt & Co.\nNew York. Price $ 7.50.\nMR. Shawn has divided his book\ninto chapters on The spiritual\nBasis ; The Sources of thematic Ma-\nterial ; the classic European Ballet tra-\ndition, how it helps and how it hin-\nders ; Social dancing ; American Music\nand cpmposor ; Dancing and nudity ;\nDancing for men ; Dancing In church ;\nDancing and the Theatre; and The\nDream.\nThere is a Preface by Mr. Have-\nlock Ellis, who writes : 44 The path\n44 of the genuine artist in danc ng to-\n44 day 's rather like the path to mar-\n44 tyrdom. The world is prepared to\n\" appreciate the dancer, but the world\n44 has not yet prepared a stage, and\n44 still less a temple, to receive the\n44 dancer**; which seems to us, after\n44 twenty years thinking about it, to be\n44 overstating our needs. 44 There is **\nMr. Ellis goes on, 44 the concert hall\n44 ready for the musician, and there is\n44 the opera house where the ancient\n44 formal Ital'an ballet is permitted to\n44 figure as a mere interlude, but other-\n44 wise the dancer must fight w th all\n44 sorts of vested and iradtional inte-\n44 rests, and in the end submit to an\n44 often heart-rend'ng compromise, in\n44 which the artist's conception is lost.\n44 It is inevitable; it must happen in\n44 the new birth of any art. But the\n44 t me is coming for the next step **.\nThere are a good many photogra-\nphic illustrations, but all seem to re-\npresent Mr. Shawn, M'ss St. Denis and\nthe r troupe ; we look in vain for one\nwhich shows us that greatest figure of\nthe American dance, ....indeed, of the\nnew spirit in the dance in a far wi-\nder sense; there is, in fact, no picture\nat all of Isadora Duncan, which seems\na strange omission. *\nMr. Shawn, it is true, does not\nignore Miss Duncan. He refers to\nher not infrequently ; but bracketted\nwith, and secondary to, Miss Ruth\nSr. Denis. 44 Just as the first great\nwaves foretell the flood to come, so\ncame the first pioneers, Ruth St. De-\nnis and Isadora Duncan \" : This\nrenaissance of the dance which is now\ntaking place, and which we all reeog-\nn ze, owes its beginning to the pio-\nneering of two great American dan-\ncers, Ruth St. Denis and Isadora Dun-\ncan \" : ....and so on, and so on.\nNow in a book which is so sa-\nliently a piece of propaganda for the\nShawn-St. Denis ideas and practice it\nis natural that Mr. Shawn should wish\nto give prominence to his own com-\npanion. But then he should surely\nhave called this nice looking volume\n44 The St. Denis-Shawn Ballet \" and\nnot 44 The American Ballet\" ; for, in\na work bearing such a title, we na-\nturally expect a large part to be given\nto the work of the greatest of them\nall, and, as has been insisted on by\n44 The Mask \" since 1908, there are\nnot two greatest but only one.\nNo history of the American dance,,\nor of the dance at all in its noblest\nsense as manifested in the last thirty\nyears, can be worth serious considera-\ntion, which does not do just'ce, and\npay adequate tribute, to the greatest\nexponent and the most inspired mo-\ndern protagonist of the Dance,\nIt is doubtless the democratic spirit\nwhich would always raise on stools\nall the surrcund ng figures lest a cen-\ntral figure should overtop them ; but,\npersonally, we dislike that artific'al pro-\ncess of levelling up even in ordinary\nand civic affa rs, and infin tely more\nso in Art.\nThe truth that M'ss Duncan is her-\nself dees not render Miss St. Denis\nand Mr. Shawn any less than they\nare: and a due sense of proportion,\nan understanding of that primal inspi-\nration to whose power the requick-\nened life of the Dance is due, would\nhave lent not only a grace, but also\na defin'te value, to Mr. Shawn's book.\nIM I Ulllll Hi 'I BM—MBaWKMPMWllB IW1IBHWWW\n\nTHESE PLAYERS. A Diary of\nthe 44 Old Vic \" by Doris Westwood.\nHeath Cranton Ltd. Price 116.\nTHIS Diary, issued as a book at the\npr ce of 7/6 net and preceded\nby a 44 Foreword\" by Miss Lilian\nBaylis, makes the 44 Old Vic\" ap-\npear even less serious and significant\nthan before.\nMiss Westwcod occupied for two\nyears the position of alternate promp-\nter and walker-on at the 44 Old Vic \" ,"}, {"page_pdf": 51, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.51", "texte": "she 44 came to us \" writes Miss Bay-\nlis, 44 as a student in the Shakespeare\nCompany primarily as a writer who\nwanted to gain an insight into stage\nlife\". Her eagerness, and admiration\nand affection for her companions, are\nendearing qualities ; but when a thea-\ntre has made so much parade about\n'is doings, and claimed and received\nso much financial support, a good deal\nmore is expected of it than is conveyed\nin Miss Westwood's artless pages.\nThat habit of Miss Baylis's, too,\nof always holding out her hand, of\nalways echoing a certa'n scriptural\nfigure ....(was it not the horse leech's\ndaughter ?...) who perpetually cried\n44 Give, give \", becomes distasteful at\nlast, especially from one who has recei-\nved public charity on so lavish a\nscale.\nEven in a Preface of one page and\na half she cannot refrain from harping\non the same eleemosynary note. She\nadmits that they have all profited large-\nly ;—44 Gone is the disused public\n4 4 house in Oakley Street, wh'ch then\n44 served mainly as a wardrobe; the\n44 tiny saloon in the theatre, which\n44 was the emergency rehearsal room\n44 when the stage was inaccessible ; the\n44 diminutive dressing rooms shared by\n44 those playing important parts, and\n44 the large room, which, during the\n44 season of which the author writes,\n44 had been reclaimed from Lorley\n44 College, and with a partition, ser-\n44 ved as dressing-rooms for the boys\n4 4 and girls who walked on and played\n44 small parts. In their stead are a\n44 wardrobe room and workshop which\n44 any theatre might envy, a large room\n44 at the top of the building, in which\n44 the exact size of the stage is mea-\n44 sured out, and the position of the\n44 apron, curtains, etc., clearly indica-\n44 ted, and dressing rooms in plenty,\n44 complete with hot and cold water,\n44 and even a bath-rocm !' 44 Truly \",\nadds Miss Baylis 44 we have much\nfor which to be thankful I\nBut that does not prevent her from\nimmediately afterwards resuming the\nold tone.\n44 It \" (this little book,) 44 will also\n44 show how hard a repertory actor's\n44 life is, with its ceaseless study and\n44 active work, for the necessity for\n44 more rehearsal of these mighty plays\n44 is constantly emphasised. Unfortu-\n45 nately until the Vic has a second\n44 theatre and public at Sadler's Wells\n44 nothing can be done to lessen this\n44 strain which is a serious one\".\nPoor poor repertory actors of the\nOld Vic, with their hot and cold\nwater, and $1! those other conveniences\nwhich the lavish gifts of many thousands\ncan supply ; .... how hard to expect\n44 ceaseless study \" and 44 active work \"\nfrom them until an additional £ 40,000\nis found to add to the £ 14,200 al-\nready granted by the Carnegie Trust\nfor the purchase of the old Sadler's\nWells Theatre for Miss Baylis's own\nsatisfaction and the relief of these pi-\nteous wights of hers.\nIf the Old Vic and its respected\nDirectress knew a little of the condi-\ntions under which serious and momen-\ntous work is often carried on year after\nyear, without profit, without gifts or\nendowments, yet also without perpetual\nwhining, they would perhaps recognize\nthe virtue of silencing this continual\nappeal to charity ; and do something\nto justify the large sums already, hea-\nven knows why, bestowed upon this\nlittle enterprise of theirs, before beg-\nging for more money to alleviate the\nlot of what is considered to be a very\nmediocre group of players, and to\nenable them to present more and more\nimmortal plays in an inferior way.\n\nSTORIES AND DRAMAS: Hi-\ntherto Unpublished, by Leon Tolstoy>\n/. M. Dent & Sons. Price 7/6 net.\nTHESE stories and plays were first\npublished in 1926 in Paris, in\nthe Russian language, having been\ncarefully selected and edited by three\nRussian scholars, of whom one was a\nclose personal friend of Tolstoy and\nhis family. To this friend, at that\ntime head of a publishing house in\nMoscow, the manuscripts were entrus-\nted for publication, after Tolstoy's\ndeath, by his daughter and literary\nexecutor, Alexandra ; but, the publish-\ning house in Moscow having been\nsuppressed by the Soviet authorities,\nthe former director and his co-editors\nfinally issued the book in Paris, and\nthe stories and plays contained in it\nare now translated into English for the\nfirst time.\nThe contents are representative of a\nlong period, since the first story was\nwritten in 1851 and the last but four\nyears before; Tolstoy's death, and, as\nMr. Polner, one of the editors, writes\nin a Preface to the Russian edition,\n44 Thus the thirteen productions, as\n44 they pass before us, afford us thir-\n44 teen expressions of the changes in\n44 Tolstoy's spiritual life—from his rest-\n44 less, and richly talented, and many-\n44 coloured period of youth to his\n44 dry, and didactic, and apostolic old\n«« ••\nage .\nThe lively extemporary play, 44 The\nNihilist \" was written in the autumn\nof 1863, the year after ToUtoy's mar-\nriage, for some private theatricals for a\nparty of young people staying at Kras-\nnaya Polyana; <4 The Contaminated\nFamily a comedy in five acts, is a\npropaganda play which Tolstoy had\ngreatly but vainly desired to get pro-\nduced at the Imperial Theatre ; 44 Va-\nrenka \" is a charming tale about some\nlittle children being taken to the thea-\ntre, written in Moscow in 1857 ;\nwhile 44 Dramatic Scenes about the\n44 Pan (0 who became a Beggar \"\ndates from the end of 1886, and 44 Pe-\nter the Publican \" from June 1894.\n\nSIDE-WALK STUDIES by Austin\nDobson. Oxfoxd University Press.\nTHIS pretty little volume is num-\nber 257 in 44 The World's Clas-\nsics \" series issued by the Oxford Uni-\nversity Press. The collection of pa-\npers was first published by Messrs\nChatto & Windus in 1902, issued by\nthe Oxford University Press in 1923,\nand included in the present series\nin 1924.\nJn the 275 little pages we find\nessays, written in that graceful way\nwhich was Austin Dobson's own, 6n\nsuch subjects as Mrs. Woffington, St\nJames's Park, The Covent-Garden\nJournel, Chinese Shadows, 44 Dear\nMrs, Delany \", and other topics of the\nperiod, and there is an Index which\nshows at a glance that there are re-\nferences to be found relative to such\nsubjects as Astley's Amphitheatre,\nGay's ' Beggar's Opera', Bensley, the\nactor, Chetwood, the Prompter, Colley\nCibber, the Cock-Pit in St. James's\nPark, Johnson at Co vent Garden Thea-\ntre, Drury Lane Theatre, the Italian\nFantoccini, M. Seraphin and his Chi-\nnese shadows, and many more of\ninterest to those who care for the\nstage.\nOne serious fault about the Oxford\nUniversity Press is that it seems to have\na dread of telling us all the price of\nits books.\nIf I like one of a series and there\nbe 256 like volumes in the series 1\nmay want to buy ten or twelve. I may\ntonight wish to draw a cheque and\norder from my bookseller. I don't\nwant to run up a bill with him :—I\nwant to pay down at once. I there-\nfore want the Oxford University Press\nto state clearly and without any unne-\ncessary indifference or eccessive modesty\nthe prices of all these books.\n(i) A Polish lord."}, {"page_pdf": 52, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.52", "texte": "THE LIFE OF BENVENUTO\nCELLINI, Translated by Anne Mac-\ndonnell. Introduction by Henry Wil-\nson. J. M. Dent & Sons. 7/6 net.\nTHE TRAVELS OF MARCO\nPOLO with an introduction by John\nMasejield. J. M. Dent & Sons ;\n7/6 net.\nTHESE two admirable reprints of\ntwo notable books will form a\nvaluable addition to every library.\nUniform in edition, they are both well\nillustrated, and contain an immense\namount of enjoyment for a very mo-\nderate price.\nMarco Polo's great travel book,\ntreating of his marvellous adventures in\nthe Orient of the thirteenth century,\nremains even today the chief authority\nfor parts of Central Asia and China ;\nit is full of rich and brilliant colour,\nof strange and curious facts and de-\ntails, with vivid descriptions of oriental\ncustoms and courts, and especially of\nthe long sojourn with the great Khan\nKublai (Coleiidge's \" Kubla Khan \")\nwho received the Venetian travellers\n\" honourably and graciously nta-\nking much especially of Marco *' who\nwas then a young gallant\".\nThere have been many editions of\nthis famous work in different langua-\nges ; but the present one, with Mr.\nMasefield's keen and informative In-\ntroduction and Itinerary of Polo's jour-\nneyings, the Index and many Notes\nand illustrations, fthe convenient form\nand low price, should render it espe-\ncially popular.\nUniform with this volume, the new\nedition of the life of Benvenuto Cel-\nlini, one of the great autobiographies of\nthe world, with its crowded record of\nadventures, intrigues, crimes, scandals, is\nas welcome as ever. Far more exci-\nting than most novels, it is well to\nread it after you have been to Italy ;\nand to read it again after you have\nlived there some years.\n\nTHE DECAMERON from the Ita-\nlian of Boccaccio.\nTHE GRASSHOPPER and other\nStories; A. Chekhov. The Interna-\ntional Library. Stanley Paul & Co.\n2/6 a volume.\nTHE SHOOTING PARTY by\nA. Chekhov. Stanley Paul & Co.\n7/6.\nMESSRS STANLEY PAUL conti-\nnue their useful work of is-\nsuing small and inexpensive editions\nof important European works. Some\nof their Dumas publications have al-\nready been praised in these pages, and\nwe now welcome a volume of Chek-\nhov's stories, newly translated by Mr.\nA. E. Chamot, who also contributes\nan introduction dealing with Chek-\nhov's life and work. \"It is diffi-\ncult says Mr. Chamot, \"to make\na selection of Chekhov's stories, which\nin general are so equal in merit, and\nthose we offer the reader have been\nchosen among his best and most cha-\nracteristic works, to show him in va-\nrious moods, both gay and sad \".\n\" The last three stories have not\nbeen translated before, and they are\ngiven as specimens of his early style,\nwhich was chiefly of a light and hu-\nmorous nature—very different from his\nlater works in which, like a skilful\ndoctor, he probes human nature to the\nvery depths of the soul \".\nThe other new volume of the\nedition is an expurgated Decameron.\nAnd even shorn of much, how enter-\ntaining are these Tales. It is useless to\nask \" why expurgate ? \" for Dr. Bowd-\nler must never be proved to have li-\nved in vain.\nBut one wishes that the Family\nBowdler were extinct. One realizes\nthey are not on reading that thrilling\nstory \" The Shooting Party \", which\nis cut, or seems to be cut, by the\ntranslator, or even by the author him-\nself, for, good as it is, it hesitates.\n1 here are Russian writers, Pushkin,\nfor example, who never seem to hesi-\ntate, and they do well. But not many\nwriters can write such a clever story\nas this one, nor lend it those deeper\nvalues which, for lack of a shorter\nword, one can but call beautiful.\n\nA SHORT ITALIAN DICTIO-\nNARY (New and Enlarged Edition)\nby Alfred Hoare. Vol. 2. English-\nItalian. Cambridge University Press.\nPrice 10/6 net.\nMR. Hoare has conferred a real\nboon on Italian-English students\nby the compilation of his up-to-date\nDictionaries,\nSome months ago we received the\nlarge handsome one-volume, \" Italian-\nDictionary \" which comprises both an\nItalian-English and English-Italian sec-\ntion.\nThe first, \" Italian-Englishsec-\ntion of this has already appeared in\na cheap and handy edition; and now\nthe English-Italian section reaches us,\nin a new and enlarged edition, well\nprinted, in a format light and pleasant\nto handle, and at a very modest price.\nThe work is compact, comprehen-\nsive and scholarly, and contains an\nabundance of idiomatic phrases.\n\nWILLIAM BLAKE by Oslerl Bur-\ndett. English Men of Letters Series.\nMacmillan. Price 5/-net.\nTHOSE who know the larger Lives\nof Blake will perhaps find little\nthat is new to them in this one; but\nit will be welcomed by many who are\nnot familiar with more detailed Bio-\ngraphies of this great artist; and in\nany case, can we any of us read too\noften the life of this man.\n\nDIE THE A TERDEKORA TION\nDES BAROCK—Paul Zucker. Ru-\ndolf Kaemm ere r Verlag. Berlin, 1925.\nPrice Marks 45.\nIHrW—l ■- ■IIMIMM ■ Hill II—I I ■■III ■■ I llllll 11 MM III II I I g\n1 Begin to think that it was very\neasy to be an actor in the Greek\ntheatre, although I once held quUe the\nopposite view and held that to perform\na Greek play as it should be played\nwas most difficult. Why I now think\nit must have been easy is because\nthere was only one performance given,\nand no one had time to be critical,\nbecause they were not going to see\nit again, and the spectator had to exert\nhimself to get the whole worth of\nit then and there or lose it altogether.\nAnd I feel somehow that Mr. Paul\nZucker, the author of this book, should\nhave been a Greek actor, because he\nmakes a great effect with his first per-\nformance ; so much so that on looking\ncarefully through his book I found\nall the plums at once. It was only\nat the second and third glance that\nthe faults began to pop out, and here\nare some of them :\nHe places Girolamo Fontana far\ntoo early in his book ; for, while the\npicture he shows us is a design of\n1690, he places it between one of\n1652 and others of 1474, whereas\nit should have come after both. Ni-\ncolo Michetti whose date is 1729, is\nplaced before designs of 1674.\nHe gives 8 designs by Filippo Ju-\nvarra and says these were designs for\na theatre at Torino, and dates them\n1750. Now they were for a theatre\nin Rome and their dates are 1710\nto 1712.\nHe gives us two designs by Bartolo-\nmeo Poli and dates these about 1 740 ;\nbut Bartolomeo died in 1737, and\nthis I feel Mr. Zucker might have\ndiscovered.\nWriting of the different opera hou-\nses of Venice, he says that the S- Mose\nwas founded in 1641, whereas the\ntheatre he means is the San Moise\nfounded in 1638-9.\nAgain he says the S. Lucca, (mea-\nning the San Luca), was founded in"}, {"page_pdf": 53, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.53", "texte": "1661, whereas it was founded in\n1629, according to Galvani. It was\nthen burnt in 1652 and rebuilt in 1661.\nDr. Zucker tells us that the Tea-\ntro S. Angelo was founded in 1657\nwhereas Galvani says that it was\nbuilt in 1676..,. he tells us that the San\nGiovanni Ghrisostemo was founded in\n1699 whereas we have a record of\nperformances taking place in 1678, 79,\nand 80, afterwards year by year, and\nit was founded in 1677. He also\nspells it with a C instead a G. San\nSamuele he puts down as being founded\nin 1710 whereas according to Luigi\nTorrelii it was erected in 1655 by\nthe noble family of Grimani. He\nsays that Carlo Fontana built the Tea-\ntro Tordinone in 1675 but Fontana\nbuilt the Tor di Nona in 1660.\nFurther on in the work Dr. Paul\nZucker gives a brief account of the\nfamily Bibiena. He sketches out for\nus a small genealogical tree, showing\nnine of the family suspended thereon,\nbut, brief though he be, he manages to\nget in six mistakes. G. M. Bibiena\nwas born 1625 not 1619, Alessan-\ndro died in 1760 not 1769. Giu-\nseppe died in 1757 not 1756. Gio-\nvanni Cailo was born in 1700 (the\nauthor omits the date) and had a\ncousin Giovanna Maria (1759-1769)\nwho is omitted from the tree for some\nunknown reason, and Carlo did not\ndie in 1778 but in 1780.\nHe makes the natural mistake that\nmost people make in referring to a\npainting in the National Gallery which\nis supposed to represent the interior of\nthe theatre Farnese in Parma and\nwhich is attributed to Ferdinando Bi-\nbiena 0). Both of these statements are\nincorrect. But after all he does give\nus a number of excellent plates show-\ning what it was they did in the\nlate seventeenth and early eighteenth\ncenturies, and few of these designs are\nas a rule reproduced in the books\npublished out of Italy,\nSo it is mainly for the sake of the\ndesigns—there are fifty-five of them —\nthat you will get the book, the text\nnot being too reliable.\n\nTHE DRAMATIC INDEX FOR\n1925. F. W. Faxon Co. Boston. U. S.\nNANCY by Andre Hallays. H. Lau-\nrens. Price Frs. / 0.00.\nTHE first of these books was sent\nme for review and reached me\ntoday, and I bought the second this\nafternoon.\n(1) Reproduced in \" The Mask*'\nOctober 1926,\nI test a book of reference as you do.\nI look up what has interested me and\nsee what the author has to say about it.\nIf 'tis only a list (as is this Index) I\nlook up a dozen titles of books or ar-\nticles which seem to me important and\nif I do not find any entry I put the\nbook down as decidedly lacking in\ncommonsense.\nIn the Dramatic Index for 1925 I\nfound the following omissions in half\nan hour:\n1. The Drama. A Periodical pub-\nlished by the Drama League of England.\n2. Books and Theatres by Gordon\nCraig published by J. M. Dent & Sons.\n3-10. Ten important articles which\nappeared in \" The Mask \" during\n1925.\n1 therefore concluded that the Dra-\nmatic Index for 1925 was not a little\nincomplete.\nThe collaborators are three men and\nthirteen ladies. It must of course be\nthe men's fault that such important\nomissions occurred. How important,\nlet us specify.\nThere is an entry \" Da vies (Douras),\n(Doris) (Marion) actress 1900.—Im-\npressions of. por. Adela R. St. Johns.\nPhotoplay M. 27: Ja. 25. 59, 194\".\nThere is no entry under the name\nCraig (Edward Gordon)\": neither is\nhis article in \" The Graphic\" Sept,\n1 Ithe 1925 on \" A Reasonable Ham-\nlet at last ie, in modern dress, lis-\nted, though six cr seven other arti-\ncles on this theme are entered. The\nimportant article by W. G. Keith on\n\" John Webb and the Court Theatre\nof Charles II \" which appeared in the\nFebruary number of the \" Archi-\ntectural Review \" London, is not listed.\nIn the book by M. Hallays on\n\" Nancy \" I looked immediately for\ninformation about the Theatre and\nfound half a line and no mention of\nthe important fact that it was decora-\nted by Carlo Bibiena in 1735, under\nStanislaus King of Poland, Duke of\nLorraine and Bar, and, what is per-\nhaps more important, that the same\nTheatre was built circa 1705 by Fran-\ncesco Bibiena, a great uncle of Carlo.\nAltogether two disappointing books,\n\nROME PAST AND PRESENT\nText by William Gaunt. The Studio.\nLondon. ,\nVENICE PAST AND PRESENT\nText by Selwyn Brinton, M. A.\nThe Studio, London.\nMR. Geoffrey Holme continues to\nissue special numbers of The Stu-\ndio which grow better and better, richer\nand richer, and ever more desirable.\nIn the u Rome Past and Present \"\nthe 144 large plates, eight of which\nare in colour, allow us Londoners to\nglance over a city we should other-\nwise perhaps never see.\nIf Roma is like that, then Roma is\nsomething indeed. If it was like that,\n(for we get drawings and prints of the\nRoma of centuries ago), then indeed it\nwas something mere.\nThe plate (No. 3) which we reproduce\nby courtesy of Mr. Holme and the\nPublishers of The Studio, shows us\nthe inside of the largest Roman (?)\nTheatre of the 18th century. And\nwe find it exceptionally interesting;\nnot only because our study is the\nTheatre, but because there are very\nfew such records existing. How many\nrecords exist of St. Peter's, outside\nand inside; of the Vatican, of the\nfifty famous palaces of Roma, of the\nbridges! Everyone paints or records a\nfamous Bridge, Church or Villa; very\nfew have recorded a Theatre: hardly\nanyone the interior of a Theatre\npacked from floor to ceiling and with\nt audience witnessing some opera\nor play as Pannini has here done in\n1729. Callot gave us another in 1616 :\na third, in 1667, was left behind by Ges-\nsels. And so it is : accident yields us a\nhandful of vivid records of theatres,\nand now and again it is an artist who\ndoes a task which was left as a rule\nto scribes or the worst engraver in the\nshop.\nFor it must be admitted that the\ntask of painting or etching rows and\nrows of people all dressed more or less\nalike is but work for a nobody. How\nimpossible to make such a packed\nhouse of people look at all like it\nlooked. Pannini does it better than\nanyone else, and there is not a square\ninch in his painting that is not deli-\nciously done and a delight in itself.\nAnd who can tell us the name of\nthis Theatre ? It may be the Capra-\nnica, the Aliberti or the Theatre of the\nQueen of Poland. I am inclined to\nbelieve that it is the Aliberti, though\ntowards 1770 if not earlier it posses-\nsed six tiers ; but the sixth may have\nbeen added after this design was made\nin 1729, as was done at the Teatro\nAgcstino in Genova.\nThe volume on Venice is as\nrich in illustrations as is the one on\nRoma, though we do not find in it\nany such fine representations of thai\nTheatre life in which it was so rich.\nBut then, as M. Monnier wrote, the\nwhole city is like a set stage, perva-\nded by the life of the theatre, ani\nof such scenes we find a liberal num-\nber in this fascinating volume."}, {"page_pdf": 54, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.54", "texte": "THE RECRUITING OFFICER. A\nComedy by George Farquhar. Designs\nby Vera Willoughhy. Peter Davies\nLtd. Price £,. 4.4,0, (Ten copies\nat £ 12.12.0 and thirty at £> 6.6,0\nare also issued).\nA perfectly splendid book in every\nway.\nIf I were certain that we were li-\nving in the epoch of Bernard Shaw,\nand I am almost certain we are not,\nI should hesitate as a popular reviewer\nof books to speak with any respect\nat all of this the work of a disrepu-\ntable Restoration hack, to wit—George\nFarquhar.\nBut though it's years since I first read\nthis rolicking comedy of his I cannot\nrecall having at any time since I read it\nfelt any particular animosity against this\nGeorge—or, for that matter, ' gainst any\nGeorge; for what's not in a name?...\nand in the name George is all that\nmakes for good.\nGeorge R. Sims, George Augustus\nSala, George Bernard Shaw, Georgie\nPorgie, G. R. S., G. B. S., G. A. S.;\nLord George Gordon, George jean Na-\nthan, Lord George Sanger, Sir George\nFalstaff, ....for dont't tell me he hadn't\na brother-r-an iron-fisted reformer who\nall for John's sake, amen, went about\nbreaking whisky bottles; yes, most\nJohns have brothers and these are\nGeorges.\nAnd how the poets pick the names\nthey need and how they use them.\nOh George, tell them to stop,\nThat was the cry of Mar-l-ali.\nAnd again:\n\" Georgie Porgie pudding and pie\nKiss'd the girls and made 'em cry— \"\nAnd once more:\n\" When good King George Arthur\nruled this land\nHe was a goodly king\nHe stole three pecks of Barley meal\nTo make a bag pudding.\nWhat is not in a name.... ? Con-\nceive these impossibilities:—\nGeorge Gabriel D'Annunzio.\nGeorge Irving.\nGeorge Brinsley Sheridan.\nGeorge Garrick ? ....yes, there ac-\ntually was a George Garrick, ibut it\ndon't seem credible.\nI am not for abolishing the name\nbecause it's just the very thing for a\nWashington or a Stephenson or a\nShaw, and fits Farquhar like a glove.\nYet it's not a first-class name—\nnothing can make it so. Now Richard\nis; Charles, John. William is,— and\nHenry is, and so is Philip; and Paul,\nand Daniel. But Frank, James, Robert,\nPeter, Walter, Thomas, Joseph, An-\ndrew, Ralph all rank with Hugh and\nare second-class names; while Percy,\nReginald, Frederick, Augustus, Leo-\nnard, Anthony, Samuel, Sidney, Geof-\nfrey, Lewis are distinctly third-class\nnames. And when their owners are\ndressed in the coats and hats of these\ndays and seen in London they are\nsomehow difficult to believe in.\nBut let us speak of George no\nmore and turn to Farquhar.\nFarquhar, if unfortunate in his life\nis lucky in his friends. Sir Edmund\nGosse has written him up—has writ-\nten Drury Lane down (the theatre\nwhich allowed the dramatist to die),\nand a lady has titivated him out in\ncolours, this lady being Miss V6ra\nWilloughby.\nBut who is Vera Willoughby-—what\nis she ? I know who she would be were\nthis the 18th century : ~ she'd be Mrs.\nGeorge Farquhar, ...for never has anyone\nunderstood the poor man a3 V6ra does.\nShe would have cut out \" the young\nlady from Yorkshire \", taken George in\nhand and made him outshine Congreve\nand Wycherly; prevented him from\ngoing to Dublin to act, boomed him\nin the salons of Mayfair and Belgra-\nvia, forbidden him the luxury of the\nback garret in St. Martin's Lane;\nforbidden him to die at twenty-nine ;\nmade him live, and introduced him to\nSheridan. She would have done all\nthis for she is the bride-elect of George\nFarquhar ; but then we would never\nhave had her charming drawings had\nshe lived in the 18th century ; those\nchildren of her mind, drawings to be\nfor ever associated with Farquhar and\nVera.\nThere again I am cornered by a\nname. The name Willoughby never\nwas and never can be a name to\nconjure with. I can't bring myself to\nsay it twice. I know many a nice\nbeing called W-ll-ghby and all who\nbear the name are kind : so be kind,\nMiss Vera and change it quickly and\ndo up your house just in the delicious\nway in which you've done these draw-\nings ; — smother your boudoir, your\nhall and your nursery with these love-\nly delicate colours put on as no one\nelse can do it—(and as everyone else\nwill now be trying to do it) ; and\nwhatever else you may want to do, do\nit — for you are del ghtful;—do all but\none thing—don't work for the stage.\nFor you have a talent —and you\nhave most else ; and they will ail be\nwanting you to design scenes and cos-\ntumes for five-pence-three-farthings a me-\ntre as they want eveiyone of talent to\ndo, and then drop them after a sea-\nson or so.\nRemember what happened to your\nunpractical Farquhar.\nSo stick to the illustrating of books,\nto working on paper, and you will\nnever regret it. Do the other thing,\nand you will.\nWith Mr. George Farauhar's leave\nI remain,\nMadam,\nyours admiringly\nAlexander Rich.\nP. S. Note: There are only 550\nnumbered copies and 400 or more\nwill be gone by this time,— so hurry\nup and order one, for all of the\ntwelve large colour prints are well\nworth a guinea apiece, the play is a\ntreat, and the binding is perfection.\nITTIW IWWWBMBWWBWI III I 11 IMWIIIWWWHI » 1WT.1W tWWII HTM\n\nMONTEVERDI HIS LIFE AND\nWORK, by Henry Brunieres. /. M.\nDent & Sons. Price 10/- net.\nTHIS is that other Verdi—Monte-\nverdi ; and I stress the fact only\nbecause I learn daily more and mose\nthat one should leave nothing suppo-\nsed when explaining how a spade is\nnot a bicycle but a thing for digging\nwith.\nThe book appeared some years ago\nin French and now Marie D. Muckie\nhas translated it beautifully into En-\nglish.\nThere are seventy-five lines of music\nillustrating here and there the interesting\ntext. It is altogether a readable work,...\nand mind you have a piano handy.\nMonteverdi died long ago ; it was on\nNovember 29th 1643 that he died;\nhe was born still longer ago—in 1567\nupon May 15th. So that the English\nHistorians of the Opera who can read\nno French will welcome this timely\naccount of part of his life and labours.\nLike Mozart he was made to work\nhard ; when his own special tyrant,\nthe Duke of Mantova, wanted an\nopera, he ordered Monteverdi to go\nahead and deliver one, not later than,\nlet us say, December 3rd. When by\nNovember 3rd Monteverdi had mana-\nged to get three-quarters of said opus\nready, Duke Gonzaga changed his\nmind and, in a thoroughly ladylike\nway, asked for a Ballet instead. This\nnotion of changing his mind was a\nstanding joke with the Duke. Mon-\nteverdi should never have bothered\nabout the Duke, for he had a com-\nfortable church in Venice for which\nto write his dramatic soul to tatters,\nso what he could desire more passes\nordinary comprehension."}, {"page_pdf": 55, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.55", "texte": "Monteverdi again, like Mozart, like\nBenvenuto Cellin and like Leonardo\nand some fifty or sixty more cuckoldry\nartists, as often as not had to be writing\nto his comfortable Patron asking for\nhis pay. It's a low down sort of snob-\nbery of course to be always worrying\nover the non-arri/ai of a gentleman's\npromise—but there it is. These artists\nhave always done it. They forget to\nmistrust these rascally ; Patrons at the\nbeginning of the job, and pout and\njibber when at the end the Patron\nbegins to mistrust them. Fools all of\nthem; and the Patrons not exactly\nposh.\n\nDRAMA, by Ashley Dalies. Williams\n& Norgate Ltd. Price 1/- net\ncloth.\nE. G. C.\nTHAT celebrated little series, the\n44 Home University Library has\nissued yet another volume which closes\nwith the question of Drama where the\nothers have just touched on it.\nMr. Ashley Dukes being a Drama-\ntist, and what is more, a student of\nthe modern European Theatre, is not\nquite so insular as the job requires.\nFor Drama, the airy home of the\nDramatist, is an undefined spot in\nspace entirely surrounded by preju-\ndice.... and Mr. Dukes is unpreju-\ndiced.\nIn his first line he not only refers\nto 44 the gentle reader \" but also to\n44 the gentle playgoer M ;—sweetness of\ndisposition can go no further. 44 Gentle\nplaygoer \" seems to me to be a vile\nphrase. 44 Tame cat 44 door mat\nthese leap to my mind as describing\nthe conglomerate stuff which goes to\nthe London Theatre these days.\nThen Mr. Dukes begins to hum\nand then to coo. He says \" In the first\nplace it (the book) is a book of the\ntheatre **. The likes of this author is\nnot to be found in all England. In\nthe course of his 245 pages he does\nthe most outrageous things : he is po-\nsitively polite to people he should\n(by every law of the Garrick and\nAuthors' Clubs) be rude to. He is\ncharming to D'Annunzio, ...J mean he\nremembers his name, though he is some-\nwhat incorrect in stating that 44 du-\nring the greater part of the 19th cen-\ntury the Italian Theatre was barren\".\nt or Gailina, 1852-1897, was a cele-\nbrated commedeografo whose plays are\nstill performed when an actor is not\nfearful of comparison with Benini.\nThen there is the author of 44 La\nMorte Civile\" (1868), Paolo Giaco-\nmetti. And what of Giambattista Nic-\ncolini who, Tonelli tells us, 44 fu assai\nlodato per lo stile che passa ancora\nper splendido e magnifico \" ? Can as\nmuch (and \"precisely that) be ;said for\nSir A. W. Pinero's 44 stile \" ?\nThen let us not forget Giuseppe\nGiacosa. I don't, but Mr Dukes does.\nGiacosa wrote 44 Tristi amori \", 44 Come\nle foglie \" and 44 II piii forte \".\nIf we cannot stop a moment to\nconsider Silvio Pellico we surely must\ndo so before 44 Romanticism©\" and\nits author Gerolamo Rovetta, which\nplay Addison Macleod speaks of as\n44 perhaps the most thrilling prose play\nwe have seen \".\nBut if Mr. Dukes forgets these\nitems in the bill he is more than ge-\nnerous to some of the supernumeraries\n—myself for example, and is altoge-\nther alive to the strength of the Thea-\ntre—a very rare thing in a good\nDramatist.\n\nDAUMIER UND DAS THEA-\nTER, edited by Hans Rothe. Paul\nList Verlag, Leipzig. Price Marks 8.50.\nTHE Publisher Paul List is bringing\nout a series of much needed vo-\nlumes, nine in all, on the work of\nDaumier,—of Daumier's work ; there\nis some need to emphasize for too\noften an Editor imagines that it is\nhis opinion which we want, and so he\nwrites on and on telling us all he\nfeels and what orher people have told\nhim, and adding a few illustrations by\nthe master ; binds all this elegantly in\nstiff buckram with gold design, and,\nputting his nose high in the air—like\na Daumier caricature come to life—he\nwalks down St. Jame's and possibly\nround to Leicester Square.\nDr. Hans Rothe on the other hand\nhas let us off with nine and a half\npages of text and has given us sixty\nfour full page reproductions of Dau-\nmier's Theatrical lithographs, the re-\nproductions being, it seems, their ori-\nginal size.\nIt is useless to tell 999 out of every\n1000 actors 44 Your library is incomplete\nwithout this book; your daily work,\nyour very life, is dependent on this\nbook for they hear nothing; or, to\nbe tragically exact, those who most need\nit hear nothing.\nBut so it is; in these sixty-four\nplates he ridicules all that is most ri-\ndiculous in actors, and now and again\nhe lingers less ironically on some things\nthat are touching in their lives.\nAs for the way they are drawn,\nwell, often it is careless; sometimes,\noften, admirable; and twenty times\nout of sixty masterly.\nThe other volumes promised us deal\nwith Daumier and Politics, Daumier\nand War, Daumier and the Artists,\nDaumier and the Lawyers—and he is\never best in the Law Courts for there\nhe gets his theatre as well, and they\nmove Mess ; there is more black and\nwhite, and there too he finds that grey\nlight with which his pencil plays so\nmagnificently, — and it is more tragic.\nOne of the best of the theatrical\nseries shows a young lady's d£but with\nbouquets raining down on her, and at\nthe side, behind one of the wings, her\nold mother with clasped hands is ecs-\ntatically thanking God for it. The\ntext runs: 44 The Daughter makes her\nfirst appearance ; 4\" She is a success \"\ncries her mama ; 44 People are throw-\ning flowers to her —flowers ! God, I\nthank thee (In her ecstasy she\nforgets that she herself ordered the\nbouquets).\n\nTHE MUMMY, A Handbook of\nEgyptian Funerary Archaeology, by\nSir E. A. Wallis Budge Kt. M. A.\nLitt. D. D. Litt. D. Lit., F. S. A.\nCambridge University Press. 45/-net.\nTO talk with sense about a book\non this subject should be, one\nimagines, just the very thing a thea-\ntrical minded critic could do; for he\ntoo deals in signs and he likes the\nlook of them scattered all over this\nbook of five hundred pages.\nWhy say Bull when you can draw\nhim ?—why say lots of Bulls when,\nby adding three strokes after ycur\npicture, you can suggest immediately\nthat what you mean is more than one\nbull. Why try fumblingly to express an-\nger and wrath in words when in one\npicture of an ape with his back up\nand tall curling you can hit the nail\nat once ? Talking about Death is a\nsad and fruitless talk ; but an 0 covers the\nwhole question and leaves a lot over\nto spare.—Do not tell me you see\nwhat I mean ; put two 0 0 on a postcard\nand I shall understand—and the post-\nman won't— two lovely white eyes.\nBut for purposes of expression the\nShaws of this world are convinced\nthat there is nothing better than leather ;\nand they have my sympathy always\nfrom afar. To be in 1926 so near\nthe hub as all that, is to be too near\nthe hum.\nYet we theatrical people fully de-\nserve the contempt of the w7ordy ones\nfor we have recently given up the use\nof signs. So we complain. You can-\nnot grumble in signs; the inventors of\nthe sign language were unable to\nstretch their imaginations far enough\nto express a fog or the misty moun-"}, {"page_pdf": 56, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.56", "texte": "tain tops of logic. A London parti-\ncular was beyond them ; they held it\nall too highbrow of the police to allow\nthat. But the signs they did make can\nall be found in this little tribute of\nfive hundred pages to 44 The Mummy \",\nand Sir Wallis Budge has made all the\nsigns clear to the reader. After reading\na page or two anyone can write a long\nletter in Egyptian—and actors at last\nhave a dictionary which need not tax\ntheir intelligence in the very least.\nA magnificent piece of work.\n\n/ 6 TO 20. by Robin Douglas. A•\nM. Philpot Ltd. Price 7/ 6.\nAT the end of this first book of his\nMr. Douglas, after wild adven-\ntures in London, finds himself married\nat twenty-one.\nThe notion is a good one. He\nhas chosen a profession and is a member\nof the Advertising Department of a\ngroup of papers, and is ambitious to\nwin his way to the top of that pro-\nfession. So perhaps we shall lose\nanother gifted writer. But what is a\nwriter to do who can't get paid for\nwork. It does not feed him and his\nfamily if you tell him that lots of ar-\ntists, writers and musicians have had\ntwenty years of that sort of treatment,\nbecause he must know that the strain\nbreaks down too many men and he\ndoesn't want to break down at twenty-\nfive, break up his house at twenty-six,\nbreak the ten commandments which he\nknows are sound, break someone's head\nand perhaps some day break into song.\nSo may be the Advertising business\nin the very thing, I know a charming\nfellow who lives in Paris; — once\nwrote and drew and had a studio;\ngave that all up because the breaking\nin process struck him as too costly.\nNow he has an advertising business^\nHow many thousands of francs pass\nand repass through his fingers each\nquarter I never dared to ask; but I\nknow they must be many thousand\nthousands.\nHe has none of the liberty of the\nartist for the office ties him down. It\nwould break me down — but there\nyou are; that's not his brittle spot,\nand the lucky thing is to know where\nthat weak spot is. Many folk lose\nthirty-five years locating it and then\ndon't discover it.\nBut what about the strong point ? Is it\never worth sacrificing one's career for that?\nBut you have to find the strong\npoint. How much time can you spare\nto do that ?\nThese reflections Mr. Douglas's book\nawakens in me.\n\nSONNETS VERSES by Enid\nClay. The Golden Cockerel Press.\n1926. 15/- net. {Limited Edition\nod 450 copies).\nTHE poems are pretty and the en-\ngravings are stern. Mr. Gill is,\nof course, a wood-engraver and a half\n— a born craftsman : but it is the way\nthe book is printed and bound which\nfor the moment holds my attention.\nMr. Gibbs has composed the thing\nwell. The press work by A. C. Cooper\nand W. R. Mills is good.\nThe books from the Golden Cocke-\nrel Press were always interesting, but\nthose I chanced to see were not care-\nfully enough bound, nor was the set-\nting and printing quite as good as these\nof a swell de luxe book might be.\nMr. Gibbings, seeing this, took over\nthe management of the Press, and now\nevery page, margin, stitch, hinge and\ncorner shows that the eye and mind of\nMr. Gibbings is at work.\nThe Golden Cockerel Press, has a\nfuture before it, more especially if it\nwill issue just a few rough and ready\npopular booklets on its off days, its\nSaturday afternoons, the workmen being\nallowed to go along easily with the\ncraft, doing their best but not trying\nto be too perfect for words.\nBeing careless is not what I mean,\nbut going a bit more easily, carrying\nthemselves a shade less stiffly. They\ncan always do that on Sundays.\n\nTHE LITTLE ROOM by Guy\nPococfc, illustrated by Henry S. Sands.\n/. M. Dent & Sons. Price 6/- net.\nA series of pleasant short essays on\ninteresting things including such\nsubjects as Fairies and Fairy-Tales,\nBallads, The Origin of Mezzotinto, the\nMaking of Anthologies, Ghosts in Arfc>\nThe Bassoon, the Building of a Picture,\nand other kindred themes.\n\nTHE OLD BRIDGE by William\nJ. Locke. The Bodley Head. Price\n7/6 net.\nTHOSE who like Mr. Locke's kindly\nand graceful tales will welcome\nthis new story of his, for the back-\nground of much of which he has se-\nlected Florence, depicting the humours\nof its pensions and tourists as well as\ndescribing enthusiastically the beauty to\nbe found in the city itself, its streets\nand galleries, and that44 Ponte Vecchio \"\nfrom which he takes the name.\n\nEDITORIAL NOTES.\n\nMIRACLE.\n\nHOW TO BRING GRIMALDI, KEAN,\nBUCKSTONE, AND OTHERS TO LIFE.\nHAVING described all the wonders\nwhich our forefathers witnessed\nat the old Sadler's Wells Theatre,\nhaving spoken of the glories of the\nplace, of King, the original 44 Sir Peter\nTeazle of £ 10,000 cleared in a\nsingle season, of the astounding perfor-\nmances of 44 the immortal Joey Gri*\nmaldi of Edmund Kean's appearance,\nof Mrs. Fitzwilliam, of Buckstone and;\nJ. B. Booth, of T. P. Cooke and.\nSamuel Phelps, a writer in 44 Notes &\nQueries \", that ever delightful publi-\ncation, winds up an interesting article\nwith an immortal phrase: —\nu It is these glories that are, if\n11 the Duke of Devonshire's appeal\na meets with a generous response, to\n\" be now revived\nWhich, unless King, Grimaldi, Kean,\nBuckstone, Booth, Cook, and Phelps\ncan also be revived, seems to be opti-\nmistic.\nTo revive glories one must be a\nmagician. To create new glories only\nan artist is needed — but make sure\nthese glories can compare with the old\nones. So hurry up ! Look around for\ntalent, even genius. Bring it into exis-\ntence — bring it up — bring it to-\nLondon. But take care, for even then\nit might not find its way up to the\nnew Sadler's Wells which the 44 Old\nVic \" group with Miss Baylis are so >\nkeen to see filled with the poor people"}, {"page_pdf": 57, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.57", "texte": "of the district, those 44 countless thou-\nsands \" (of people) who will, they tell\nus, receive 44 knowledge and wisdom\ncombined '*, adding 44 Trams and buses\npass the doors .as though poor peo-\nple could afford either a tram or a bus in\nwhich even to pass this new 4 Old Vic '..\n\nFOOLING THE PUBLIC.\no 14T H E SILENT LIE\", o\nTHE 44 Church Times\", in its re-\nview of the New British Ency-\nclopaedia, draws attention to the fact\nthat, whereas Dr. Barnes has twenty-\none lines devoted to him, the work of\nDr. Gore is given but seven lines.\nPassing to the stage, the 44 Church\nTimes \" is 44 surprised to find that\nwhereas Miss Edith Craig, described\nas 4 British theatrical producer ' is the\nsubject of a separate article, her illus-\ntrious brother, Mr. Gordon Craig, is\nmentioned only at the end of the\narticle on his sister \".\nThe question is, who wrote the\nChurch's notes, who the Stage's?\nWe learn that Mr. St. John Ervine\nwrote the Stage notes ;—and, as Mr.\nCraig put it in a letter to the 44 Mor-\nning Post \" only a month or two ago,\n44 if Mr. St. John Ervine is a great\nman he is also a great baby \". IF ?\nAnd indeed, sensitive babies playing\nin a nursery go on very much in the\nway that grown Englishmen do in cer-\ntain sections of the Press.\n44 I won't—you shan't—if you pull\nmy dollie's leg I shall tell your muv-\n»»\nver .\nIt's pretty, — awfully pretty — but\nit is rather a waste of time, and not\na little insulting to the British Public.\nI III —' w wmmmmmmmmtmAmmmaammm ■mm\n\nMISAPPREHENSIONS.\nTWATRW » <■ i— 11—M—■HIHII urn HI IW\n44 By no means the least inspiring thing\nabout On the Art of the Theatre by\nMr. Craig is the utter lack ot cocksure-\nness The Times Literary Supplement.\nTHE 44 Clarion \" is troubled about\n44 The Mask \" and with Mr.\nCraig.—It finds 44 he is deliciously\ncocksure of himself \".\n44 The Clarion \" says it cannot make\nout what exactly are the aims and\nends of Mr. Craig, but adds : 44 you do\nnot quite agree with anything he says\nThis is, after all, symptomatic of people\nin a great hurry ;—they are prone to dis-\nagree with anyone when they cannot\npause to make out what it is they are\nsaying. And to pause for a moment\nand listen is quite out of the question.\nAnd* so the Old Vic is exalted as\nthe highest possible standard, since to\nunderstand the aims of the Old Vic\nall you have to do is to accept them\nwhile catching a bus and without un-\nderstanding a word.\n\nSOME SMUGNESS.\nSENDING us a copy of the latest\nprospectus for an 44 International\nTheatre Arts Institute \" established in\nAmerica, a friend from Germany has\nwritten on the cover 44 What do you\nthink of this Immense Enterprise ?\nEnough to discourage a century of ar-\ntists We agree.\nA 44 Description of the Courses\"\nturnc the blood cold ; it has much of\nthe pretension of such Institutes of the\nkind as were started before the war.\nAnyone who wishes to judge for\nhimself the kind of thing that it is\nproposed to teach, and to note the\nhigh fallutin tones in which the ma-\nnifesto unfolds itself, should write for\na prospectus to No. 102 Remsen\nStreet, Brooklyn, New York. U. S. A.\nSelf-conscious smugness has hardly\never been expressed better.\nIt is probably a school founded upon\na misconception of the work of some\nsix week's student under Reinhardt, or\nStanislawsky, and who was sent away\nfor not attending to his studies.\n\nHOW MUCH ENCHANTMENT\nDOES DISTANCE LEND?\nAS we had always understood that\nthe late Mr. Harry Furness was\none of the best caricaturists London\nboasted of in ! 880-1900, and stood\nas representative of the man in the\nstreet, the following quite upsets us:—\nSOME VICTORIA L MEN, By\nHarry Furness. New York : Dodd,\nMead & Company.\nA volume of laboured and wit-\nless anecdotes, adorned with third-\nrate caricatures. A stupider book it\nwould be hard to imagine\".\nThis is brief review of the book\ntaken lock, stock and barrel from 44 The\nAmerican Mercury \" and written by\nH. L. Mencken.\nThe worst of it is we daresay he's\nright. But Furness was almost always\nmerry. He and Mencken would have\ngot along famously. What would Menc-\nken have written about 44 Some Vic-\ntorian Men \" if he'd known Furness.\nPuzzle.\n\nTHE EGG OF COLUMBUS.\nOR: HOW TO ACHIEVE THE\nUNATTAINABLE WITH EASE.\nAFTER the production of 44 The\nPretenders \" at Copenhagen by\nMr. Gordon Craig and Mr. Johannes\nPoulsen, the London newspaper 04 The\nStar\" (Nov. 22nd.) expressed the\nhope that Mr, Gordon Craig might\nnow be \" lured from his continental\nfastnesses \" and the manifestation of\nsome of his more ambitious schemes\nfor theatrical decorations be seen in\nLondon,\nWe suppose that Mr. Craig might\nbe glad to produce something in London ;\nbut, as is well known, theatrical deco-\nration is but an item in his scheme,-—\nand it was not to make a few decors\nthat he visited Copenhagen. This is\nwhere ye merrie olde London Critic\nalways goes wrong.\nWe also* suppose from rumours co-\nming from authoritative sources that\nall Mr. Craig asks is a sign of sincere\nfriendship—the genuine article—from\nthose who invite his cooperation.\nAre there any British impresarios,\nmanagers, promoters or actors who ap-\npreciate what this Englishman stands for ?\n-—who realize that the foreigners whom\nthey worship, ....the Reinhardts, Diaghi-\nleffs, Copeaus and the like, are all\nmore or less pupils or disciples of\nCraig ?\nIf English Impresarios want to exploit\nCraig it should be quite easyall\nthey have to do is to employ ordinary\ntact and express some sincere appre-\nciation of what he has done, and\nCraig would be at work with them\nin less than half an hour.\nAt least, knowing Craig, so we\nsuppose.\n\nOUR 1 927 VOLUME.\nTHE new volume of THE MASK\nis actually, according to sequence,\nvolume XIII. But, since some of our\nreaders and contributors manifest some\nkind of prejudice against the number\nthirteen, we have decided to call it\n44 Volume XII \" bis \\vhi!e it is appearing,\nand only bind it up as 44 Volume XIII \"\nwhen it has reached a successful close.\nWe ask subscribers and others, there-\nfore, in ordering separate numbers,\nor stating with which number they\nwish to begin, to specify either No. 1,\nNo. 2, No. 3, No. 4 1927, or,\nJanuary, April, July or October 1927.\nAs we hope it is to be a specially\nfavourable year for the progress of\n44 The Mask \" itself and the cause\nwhich it exists to support and forward,\nwe have not wished to jeopardise the\nfulfilment of the many good wishes\nwhich have reached us by even so\nslight a matter as a number ; so here,\nbetween volumes twelve and fourteen,\nappears, January 1927, part one of\nvolume Twelve bis."}, {"page_pdf": 58, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192701-01.1.58", "texte": "LONDON REALISM.\nMR. Leon M. Lion, Bookseller, of the\nAmbassadors Theatre, W. C. 2.\nholds a varied stock of 1,000 books.\n4tIn the dramatisation of44 Riceyman\nSteps\", he becomes the 44 compleal \"\nbookseller, strutting his little hour or two\nin the atmosphere of a real bookshop ! \"\nThis, we are assured, is 44 the first time\nthat a real bookshop has been presented\nin the theatre. The usual stage book-\nshelf is like the pantomime sword, and\nthe Christmas turkey, a mere property\nof painted wood. Mr. Lion's realism\nconstitutes an interesting event in the\nhistory of bookselling and of the stage,\nand Foyles, of Charing Cross Road,\nhaving been privileged to lend the books,\nwish their 44 rival \" every success in his\nnew venture \".\nSo much for Charing Cross Road\nreclame. But as a matter of fact it's a\nmighty poor advertisement for the Bri-\ntish stage.\nTo plump a real library on the\nboards of a theatre is to shirk the whole\ndifficulty of painting realistically.\nAnd what sort of play is 44 Riceyman\nSteps \" that a real bookshop on the stage\nbecomes it ?\nPerfect as reclame, the real library\nis theatrically bosh.\n\n\"TRULY, MY SATAN, THOU ART BUT A DUNCE....\"\nW. B.\nW. B. 1784.\nAN unrecorded copy of William Blake's Songs of Innocence (1789-1794),\ncontaining the 54 plates proper to the combined edition — the property\nof Mr. Alfred G. Gray — realised £ 1,350 at Messrs. Sotheby's, London.\nLondon Daily Paper.\nIN the year 1807, living at 17 South\nMolton St. near Poverty Lane London,\non January 20th Blake, aged fifty, made\nan entry in his MS Book: \"Tuesday\nJanry 20, 1807, between ten and seven in\nthe evening Despair \".\nIn the same year in August he wrote\nthese verses:—\nI rose up at the dawn of day —\nGet thee away ! get thee away !\nPray'st thou for riches ? Away ! away !\nThis is the Throne of Mammon grey.\nSaid I, This, sure, is very odd :\nI took it to be the Throne of God.\nFor everything besides I have :\nIts only for riches that I can crave.\nI have mental joy, and mental health,\nAnd mental friends, and mental wealth\nI 've a wife I love, and that loves me ;\nI' ve all but riches bodily.\nI am in God's presence night and day,\nAnd He never turns His face away ;\nThe accuser of sins by my side doth\nstand,\nAnd he holds my money-bag in his hand\nFor my worldly things God makes\nhim pay,\nAnd he'd pay more if to him I would\npray ;\nAnd so you may do the worst you\ncan do;\nBe assur'd, Mr. Devil, I wont pray\nto you.\nThen if for riches I must not pray\nGod knows, I little of prayer need\nsay ;\nSo as a church is known by its\nsteeple,\nIf I pray it must be for other people.\nHe says, if I do not worship him for\na God,\nI shall eat coarser food, and go\nworse shod;\nSo, as I don't value such things as\nthese,\nYou must do, Mr. Devil, just as God\nplease.\nw. B.\nTHE best book of Blake's Poetical\nWorks is the Oxford Edition, Oxford\nUniversity Press ; (cloth) ; and the chea-\npest. The Notes, the Bibliographical\nintroduction and the Chronological Table\nare illuminating, and there are fifteen\nfull page designs by Blake and one por-\ntrait.\nBlake died in 1827, August 12th at\nthe age of seventy. In the same year\ndied Beethoven.\nThere's Doctor Clash\nAnd Signor Falalasole,\nO they sweep in the cash\nInto their purse hole !\nFa me la sol,\nLa me fa sol.\n\nAN ATOM OF TIME.\nAN hour has sixty minutes — each\nminute has sixty seconds ; so that\nthere are three thousand six hundred\nseconds in every hour.\nSomething can be done in an hour,\nand even in a second.\nWhat can be done in an atom of\ntime ? For it appears that there is an\natom of time. In an hour there are\ntwenty two thousand, five hundred and\nsixty atoms.\nThis we learn from that ever enter-\ntaining, surprising publication 44 Notes\nand Queries \" which is now in its se-\nventy-seventh year.\nThis way of reckoning time is me-\ndiaeval and is found in the Cambridge\nUniversity MS of the 44 Cloud of Unknow-\ning \". There we learn that a point is\nthe fourth part of an hour; a moment is\nthe tenth part of a point; an ounce is\nthe twelfth part of a moment, and an\natom is the forty-seventh part of an\nounce.\nA moment was therefore one and a\nhalf minutes, ie, ninety seconds.\nWhen we used to speak of 4 half a\nmoment \" we suppose we meant three\nquarters of a minute.\nThat was taking time practically ;\nfor in three quarters of a minute some-\nthing really can bb done thoroughly;\nwhereas in an atom of time at the most\nall one can do is to conceive an entire\npoem — if one be Dante, or Shakespeare.\n\nASLEEP OR AWAKE?\nIN the last number of 44 The Mask\",\nJ. B. enquired whether 44 any steps\nare taken by the authorities or citizens\nof the chief towns (of England) to ascer-\ntain what percentage of people are thea-\ntre-goers and lovers of art \" ; and in the\nsame number a book reviewer commented\non the report that the cities of England\nare 44 full of dull people \" ; that 44 when\nyou ask, have they sympathy and under-\nstanding for the theatre and the arts ?\nThey are fast asleep, dull — prejudiced'\nis the report\nWe have not yet data for any defi-\nnite conclusions; but we may put for-\nward a recent experience as evidence\nof the attitude of one city towards its\nenergetic and in many ways praiseworthy\ntheatre.\nWe published an article of some\nlength, in two parts, upon this Theatre\nin our July and October numbers, 1926.\nThe writer bestowed on it much praise, as\nwell as serious and constructive criticism,\nand, by these articles, helped to make its\nendeavours known to others engaged in\nlike enterprises all over the world.\nNow it might have been assumed that\nthe citizens of that city would have ta-\nken some satisfaction in the prominence\ngiven to their local enterprise: and that\nespecially would all the workers in the\ntheatre, from the Director downwards,\nhave felt not only encouraged and sti-\nmulated, but have realised afresh,... or\nperhaps for the first time.... that 44 The\nMask \" exists and works to champion\nevery bit of good work in the Theatre\nwheresoever it may be, and to make it\nknown to all the other scattered workers,\n....to establish links in one united chain\nof effort running round the world.\nYet not one person connected with\nthat theatre or from that city sent one\nword to 44 The Mask \" on the subject,\nand booksellers' reports were that not\none of the copies in their hands had been\nbought; .... which leads us unwillingly\nto assume that not one worker in that\ntheatre cared enough to secure as a little\npermanent possession and memento this\nserious study of their work written by\nthe leader of the Modern Movement in\nthe Theatre. Perhaps they all borrowed\nthe Director's copy and 44 passed it on \" ;\n....but would the wide awake and enthu-\nsiastic do that ?\nWe put the question, and leave our\nreaders to reply.\n\nAll Rights reserved. January 1927.\nDirettore responsabile Antonio Maraini.\nTipografia Firenze."}]}