{"numero_id": "bm-bmtnaau-1927-04-01", "volume": "bmtnaau_1927-04_01", "ocr_sha256": "7780b7c8090172b0945ce5c6c60f612f79ffe920a121d806417522b2fa76ac4a", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1927/04_01/bmtnaau_1927-04_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1927/04_01/bmtnaau_1927-04_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01", "articles": [{"article_id": "bm-bmtnaau-1927-04-01-c002", "article_bluemountain": "bmtnaau_1927-04_01#c002", "volume": "bmtnaau_1927-04_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=bmtnaau192704-01.2.2", "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=bmtnaau192704-01.1.1", "debut_caractere": 404, "fin_caractere_exclue": 1225, "texte": "THE WHOLE IS GREATER THAN ITS\nPART: Eleonora Duse and the Commedia\ndell'Arte : by Gordon Craig.\nA TRANSLATION OF AN ITALIAN\nBALLET, 44 Shakespeare, or a Midsummer\nNight's Dream, first performed in Genova 1855»\nSOME SCENIC DIRECTIONS, with Two\nDiagrams, by a Seventeenth Century Italian\nArchitect and Scenographer.\nADVERTISING AT THE HEART'S\nEXPENSE: or ; Romantic Lovers, Lord\nBerners and Mr. Richard CapelL\nA DESIGN FOR A THEATRE for 44 The\nIdeal City Giorgio Vasari ii Giovane, 1598.\nTHE CENSOR AND POOR lAGO, with\na note or two on Messrs Comstock and Ber-\nnard Shaw, who both loved the Censor.\nA WARNING TO ARTISTS, contributed\nfrom practical experience, by 44 Diddled\nARTICLES AND REVIEWS on The Chi-\nnese Theatre, the 44 Movieson Actresses,\nand Theatre Architecture, on Pioneers and many\nother entertaining subjects."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c003", "article_bluemountain": "bmtnaau_1927-04_01#c003", "volume": "bmtnaau_1927-04_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=bmtnaau192704-01.2.3", "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=bmtnaau192704-01.1.2", "debut_caractere": 519, "fin_caractere_exclue": 1370, "texte": "LITERARY CONTENTS.\nTHEATRE BOOKS. 1902-1927 J. S Page 47\nTHE WHOLE IS GREATER THAN ITS PART . . Gordon Craig . . 49\nAN ITALIAN BALLET. SHAKESPEARE, or A Mid-\nsummer Night's Dream From the Italian of Giovanni Casati . 54\nSOME SCENIC DIRECT lONS ...... Giulio Troili da Spinlamberto, known as\nParadosso . . . . ,59\nADVERTISING AT THE HEART'S EXPENSE . . John Brownsmith 64\nA SIXTEENTH CENTURY DESIGN FOR A THEATRE; J. S 66\nTHE CENSOR AND POOR lAGO X. Y. Z. . . . ! . .67\nPICTURE BOOKS . . Felix Urban .... 69\nFIVE BOOKS . ' . . Yoo-No-Hoo 71\n\" ONLY\" A Note . . c. G. Smith 73\nA WARNING TO ARTISTS « Diddled \" 74\nON ACTORS ......... Edmund de Goncourt . . . .75\nSTENDHAL IN MILANO, with a Note by . . . C. G. E. ..... 76\nLITERARY AMERICA\nNOTES ON OLD FLORENTINE THEATRES . . J. S. . . , . ! .86\nBOOK AND MAGAZINE REVIEWS. SHORT EXTRACTS. EDITORIAL NOTES."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c004", "article_bluemountain": "bmtnaau_1927-04_01#c004", "volume": "bmtnaau_1927-04_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=bmtnaau192704-01.2.4", "titre_corps": "ILLUSTRATIONS", "titre_sommaire": "ILLUSTRATIONS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.2", "debut_caractere": 1372, "fin_caractere_exclue": 1886, "texte": "ILLUSTRATIONS.\nTHE OLD QUEEN'S THEATRE, LONDON . . . From a Photo . . Plate 6, Face 47\nA DESIGN FOR A STAGE SCENE , . . Gordon Craig . w 7, n 58\nA DESIGN FOR A THEATRE . Giorgio Vasari il Giovane n 8, n 66\nMLLE GEORGES AS MEROPE ...... . . n 9, precede 67\nTHE ROYAL COBOURG THEATRE, LONDON . \" ]O, Face 74\nA PLAN OF FIRENZE, 1783. , . . • • Francesco Magnelli &\nCosimo Zocchi 11 11, n 86\nPALAZZO VOLKOFF, VENEZIA 49\nTWO SCENIC DIAGRAMS . . . . . . Paradossi 60, 62\nHead and Tail Pieces from old and modern Designs."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c005", "article_bluemountain": "bmtnaau_1927-04_01#c005", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[46]", "page_fin": "[46]", "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=bmtnaau192704-01.2.5", "titre_corps": "THE OLD QUEEN'S THEATRE, LONG ACRE, LONDON", "titre_sommaire": "THE OLD QUEEN'S THEATRE, LONG ACRE, LONDON", "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": "[46]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 90, "texte": "THE OLD QUEEN'S THEATRE, LONG ACRE, LONDON.\n(For further description see Editorial Notes)."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c006", "article_bluemountain": "bmtnaau_1927-04_01#c006", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "47", "page_fin": "48", "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=bmtnaau192704-01.2.6", "titre_corps": "THEATRE BOOKS 1902-1927", "titre_sommaire": "THEATRE BOOKS 1902-1927", "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": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.5", "debut_caractere": 30, "fin_caractere_exclue": 1232, "texte": "THEATRE BOOKS\n1902-1927\n\nCOMPARED with the output of Books on the Theatre of twenty-\nfive years ago the output today must be about eight or ten\ntimes as great. We would even say it is more. We recall\nthe year 1902. We remember the kind of reply sent by London\npublishers to authors who submitted books on the Theatre. \"My\ndear Sir \" the publisher would write : \" books on the Theatre are a\ndrug in the market.\nSo it is an encouraging sign to note how many are the volumes\npouring out of the English presses today.\nAnd not only are they many. They are good.\nWe think there never was a period in the history of the English\nStage when so many valuable books appeared.\nThe public mind has been awakened to the fact that there are\nmany things worth while about the stage.\nOnce upon a time, twenty-five years ago for example, this pub-\nlic believed that the only books dealing with the theatre which could\nbe of any interest were volumes of reminiscences by popular actors\n3r actresses.\nThose who have helped to dispel this illusion in the public mind\nlave helped to do a very good thing. And the London publishers\nlave been foremost in helping.\nBesides English books, better French, Italian and German books"}, {"page_pdf": 6, "page_imprimee": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 744, "texte": "have appeared, and we must certainly not forget to add much better\nAmerican books.\nWhat we still need, however, is many more technical works. Not\nbooklets for amateurs alone, but serious works on the Architecture of\ntheatres, on Acting, on Scene-making, on Lighting devices and how\nto use them, on Making-up, and on cutting, sewing and generally pre-\nparing Costumes.\nThese headings by no means exhaust the list: there are at least\ntwenty more, and on each subject we need a careful useful work written.\nAfter that the energy given to book-making can cease and be\nturned into other channels, for by that time we shall have enough books\nto help us in our efforts to write, act and produce plavs and operas\nJL J £ i J\nand even comic opera.\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c008", "article_bluemountain": "bmtnaau_1927-04_01#c008", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "49", "page_fin": "53", "image_debut": 7, "image_fin": 11, "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=bmtnaau192704-01.2.7", "titre_corps": "THE WHOLE IS GREATER THAN ITS PART", "titre_sommaire": "THE WHOLE IS GREATER THAN ITS PART", "signature_source": "GORDON CRAIG", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 51, "texte": "THE WHOLE IS GREATER THAN ITS PART\nBY GORDON CRAIG."}, {"page_pdf": 7, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.7", "debut_caractere": 155, "fin_caractere_exclue": 2709, "texte": "THAT slogan \" The play's the thing\nhas been so misused these last ten\nor so years that we are all growing tired\nof hearing it. The play is, of course,\nthe thing —the whole heart of the playhouse.\nIt did not need a row of frightened\nplaywriters to make the truth clearer to\nus by repeating it over and over like a\nlitany as though in doubt of it themselves.\nIn saying \" the play's the thing \" we\nmean that no one person—no one limb\nof it—is more than an item of the whole.\nNo playwright, no play-writer, no actor,\nno producer, no one person is or can be\nthe thing itself.\nIn admitting this we accept the strange\nand rather unpopular notion of the bles-\nsedness of the impersonal.\nIt, the play, is more than he or she\nthe makers of it.— Good. Yet it is the\nplaywriters in our land who have been\nclaiming recently that it is they who are\nabove all others in the theatre world.\nMr. St. John Ervine is their elected\nspokesman!\nLet it be clearly stated once more\nthat no one is \" above \" or \" beneath\nany other,—that all are a family. The\nhead of that family is the man who is\nalways at home. He rules by reason of\nthat fact.\nSometimes the head of the family is\nthe writer of the play : Moliere, for\nexample : sometimes not : for example,\nG. B. Shaw. Moliere lived the life of\nthe Theatre morning, noon and night.\nShaw pops in and pops out.\nMany a modern play-writer does that—\nbut that does not exclude him from the\nfamily. He becomes one of the sons.\nSometimes an actor lives his whole\nlife in the Theatre ; Irving for example:\nsometimes a stage manager does the Duke\nof Meiningen and Reinhardt are apt exam-\nples. Sometimes an actress—Sarah Bern-\nhardt.\nBut, whoever is the head of this fa-\nmily, unless he think for all and allow all\nto shine to the best of their ability, he\ndoes badly for the Theatre as an insti-\ntution, and the birth of the so-called\nof the Theatre is delayed.\nI use the word Art as we have come\nto use it when writing or speaking of\nMusic and Architecture and in no other\nsense. This Art of the Theatre is not\nyet born, say what we will: but that\nneed not dispirit us. We shall get to it\nin time, but only if we remember that the\nplay is the thing—it, not ourselves.\nTwo books, one on Signora Duse and\none on the Commedia dell'Arte, have\nreached me which illustrate all this.\nThey arrived on the same day, by\nthe same post, and, dealing as they do\nwith the same subject, the stage, are utterly\nat loggerheads one with the other.\nThe writers are Mr. Arthur Symons O\n\n(1) Eleonora Duse, by Arthur Symons. Elkin Matthews\nLtd. Price 12/6."}, {"page_pdf": 8, "page_imprimee": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.8", "debut_caractere": 0, "fin_caractere_exclue": 3372, "texte": "and M. Constantin Miclachevsky 19, and\neach has done his work as well as it\ncould possibly be done.\nThe first has to deal with an imoos-\n* x\nsible person, the second with a practical\ngroup of persons.\nIn calling Signora Duse an impossible\nperson I mean no more than this : that,\nnot being one who realized that a head\nof a family was necessary to every thea-\ntrical group, and cut adrift of the family,\nshe becomes impossible. Her powers were\nimmense : her vision startling and her\nthoughts noble :—but she played this old\ngame of the Theatre according to her\nown erratic rules (for what reason I cannot\nhere enquire into) and so she is to be\ncounted amongst those who delayed the\nbirth of the Art of the Theatre.\nIn calling the actors of the Commedia\ndell'Arte a practical group of persons 1\nmean more than that but 1 mean that first\nof all.\nThey had among them men and\nwomen of genius as great as that possessed\nby Signora Duse, Madame Bernhardt, Sal-\nvini and Irving, Lemaitre and Chaplin ;\nbut they had a still greater thing, and this\nwas the power to recognize that this genius\nof theirs was but an item of the whole;\nand it was this which constituted their\nstrength and which today places them\nabove all other actors of any age.\nIf Duse and Bernhardt were superb\nbouquets of flowers, these actors of the\nCommedia dell'Arte were a whole garden—\nnot revolting against the gardener; growing\non all the time, flowering each season, ever\ngrander outbursts with every blossoming,\nand the roots are still in\nAsk Mr. Symons to write of the\nCommedia dell'Arte and put Mr Micla-\nchevsky to the other task and Mr. Sy-\nmons' book would become very sober\nindeed and Mr. Miclachevsky's would\nnever be written.\nFor there is only one way to write\nabout Duse and that is to make a frantic\nattempt to catch her moods one after the\nother and allow these to rule our pens.\nif we have never spoken to her there\nis perhaps a chance that we shall write\nfairly well : if we have spoken to her the\ngame is up. We are her slaves.\nIt was part and parcel of her career\nto act as beautifully off the stage as on\nit : no actress was ever more sincere on\nand off the stage :—it was this amazing\nsincerity which convinced. Her sincerity\nshe offered at the altar of the God of\nconfusion.\nOn the stage she thought she\nMagda \" and she thought she\nCleopatra \". Off the stage she thought\nshe was some one who was happier than\nanyone else, sadder than anyone else,\nfunnier than anyone else and more sincere\ntoo. Off the stage she thought that her\ngenius for acting alone could save the\nstage : that or dying. It never occurred\nto her that discipline and taking her place\nand giving an example in how to obey\norders would have done more than all\nelse to help the stage.\nWe who write of her want to agree\nwith her. You who read may have your\ndoubts. When 1 read what others write\nof her I have all your doubts. They\nrise all the time as I read these pages by\nMr. Symons.\nHe seems to me to be attempting to\nexcite himself and to excite me about this\nperformer. What I should have preferred\nwould have been a report. Mr. Symons\nasserts in the first three lines of his book\nthat she is 44 the greatest of living actresses \"\nand this is not precise, for the actress\ndied in 1924 and the book is dated 1926.\n\n(I) La Commedia dell'Arte, by Constant Mic. Chez.\nJ. Schiffrin. Aux Editions de la Pieiade. 75 Francs."}, {"page_pdf": 9, "page_imprimee": "51", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 3416, "texte": "Besides this, nothing is said which\nconvinces us that she really was the grea-\ntest Italian actress of her time : if you and\nI happen to know this was so, all the\nluckier ; we shall be glad to hear it re-\npeated. But others will not be convinced.\nAnd it then occurs to me how excel-\nlent was the method of Mr. Austin Bre-\nreton the biographer of Henry Irving:\nhis method certainly convinced one.\nThis, as some of you know, is what\nhe did. He reprinted nearly all that had\nbeen written by the critics of the time\nof each of Irving's performances.\nYou may say it bores you to read\nwhat Mr. Clement Scott, Mr. Joseph\nKnight, Mr. William Archer and Mr.\nClarence Newton wrote about Irving's\nRichelieu, Vicar of Wakefield, Mephisto-\npheles and the rest: I can only tell you\nthis ; that after sixty or seventy pages you\nsee the Lyceum Theatre, you see the\nCritics, you see the audience, you see\nIrving, and you see the relationship of\nactor and audience and critic. This ba-\nlanced cool report awakens the imagina-\ntion.\nBut some day we shall have a book\nwhich gives us Duse's record and gives\nit correctly, and it should be very inte-\nresting.\nBut even then it will be but a dis-\njointed item of the History of the Thea-\ntre—and that is the immense pity of it.\nThe story of the Lyceum Theatre\nwill be more : but far more still is the\nstory of the Commedia dell'Arte, for it\nis the record of a theatrical age from 1 500\nto 1 800, the age of the great companies\nof actors when the play, the actors' play,\nWas the thing ; and when, however great\nthe actor might be, he took his place and\nfound at his side fellow actors of a like\nstature.\nIf you know a serious fine actor of\ntoday you will know how he longs to find\nfellows of his own stature. It is all rub-\nbish, this cry that good actors are jealous\nof other good actors ; it is only the not\nquite well-baked actors who feel like that.\nThe serious actor of today is at heart\nexactly like his ancestor of two hundred\nor three hundred years ago : he wants to\nrestore the play to its rightful place and\nobserves with not a little sorrow that it is\nnearly always the pushful play writer who\nwill get in the way. We hear about\nG. B. B. or J. M. S. today, not of\nhis play : the papers teem with his pu-\nblicity which he could quite well avoid\nif he wished to, —if he too really felt as\nall the good actors feel, that \" the play\nis the thing\nHad Signora Duse lived at the meet-\ning of the 16th and 17 th centuries she\nwould have become a member of one of\nthe great companies or families which make\nup the still greater race of theatrical peo-\nple and she would, one supposes, have\nbeen happier.\nThese companies could often boast\nthree performers of superlative merit, -\nsometimes more ; besides these three, there\nwould be six or seven first-class perfor-\nmers. Students who know The Mask\nfrom its commencement in 1908 will re-\nmember the series of articles and transla-\ntions which appeared in 1910-1911, and\nsince then, on the Commedia dell'Arte.\nPrevious to 1910 there had appeared in\nEnglish a few interesting chapters about\nthis Commedia in books, notably Vernon\nLee's chapter in 1881, John Addington\nSymonds's in 1890, Mr. Broadbent's\n\" History of Pantomime \" 1901, and pos-\nsibly best of all the section by Karl\nMantzius the Danish actor in his second\nvolume of his \" History of Theatrical Art\".\nThe Englishman, who naturally prefers\nto read books in his own language, has"}, {"page_pdf": 10, "page_imprimee": "52", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.10", "debut_caractere": 0, "fin_caractere_exclue": 3409, "texte": "not to be left uninformed in regard to\nthese wonderful teams of play-actors which\nappeared in Italy and which spread all\nover Europe, even as far north as England\nand Russia and down south west into\nPortugal.\nNever too often can it be repeated\nthat the Commedia dell Arte means pre-\ncisely \" Professional Comedy \". John\nAddington Symonds points out that \" the\nfull title would be Commedia dell'Arte\nall'lmproviso \" and that it is \" also called\nCommedia a soggetto, Commedia non\nscritta and Commedia improvisa\nFor this work of improvising first-class\ndramas, tragic, comic and farcical, actors\nof genius were demanded—and, as should\nbe the case in response to all sound de-\nmands, were supplied.\nIn our time (and it is as rich as any\nothers) a certain poverty or pretended\npoverty in the spirit of the theatrical pub-\nblics of Italy, France and England, has\nbred the natural response from the actors.\n\"You don't want that?—good then, mum's\nthe w0rd....\" and the actors go to sleep.\nFor what is the use in attempting to\nforce a public to accept what it hasn't\nthe spirit to ask for.\n1 have never had any doubts whatever\nthat companies of \" professional actors \"\ncould be formed all over Europe today\nwho could improvise plays in a first-class\nmanner : but something is against it. The\nwriters, (this has been long pointed out\nin The Mask) if they are not against it,\nare more in favour of supplying the text\nof the plays for the best actors—and the\nactors, if a little weary, are also unwilling\nto offend the writers :—\" it's easier as it\nis \" seems to be the notion. A poor one,\nbut after all it probably pays, and that\nis important with the life still so short and\nthe craft still so devilish long to learn....\nI mean, to learn properly.\nAnd so in these last two centuries the\nactors have slowly lost that strong family\nsense, and, instead of a group of ten\nplayers all as strong as one another, al-\nways playing together, and all obedient to\nthe capo comico or head, we have new\ncompanies being formed once a month,\nand in each one star actor or actress in\ntheir midst, these drifting first to one thea-\ntre, then another ; breaking up, being lost.\nAll is shapeless and unclear to the\npublic.\nTen actors united always, all up to\nthe mark—one for all, all for one, ....\nthat s what the Public wants and the Stage\nneeds. But we don't get that: —we get\n' all for self, none for all '.\nNot that the profession is not still a\nfamily in its way : but it has lost its old\nhook °f the rules by which every family\nhas to abide if it will live.\nAdmitting that Eleonora Duse was\nequal in skill to one of the old family\ngroup of ten, where were the other nine ?\nThe nine were there ; no one noted\nthem ; that is all. They were more or\nless expensive rubbish.\nCould Eleonora Duse improvise?\ncould she perform without any written\nday ? She didn't, but probably she could\nlave done so, if only in that she was an\nItalian 0).\nBut let us not delude ourselves that\nthe mere fact of being in a group and\nabiding by nine out of the twelve rules\nof the family is enough, or the company\nof the Moscow Art Theatre, which is a\ngroup and abides by the nine rules, would\ndo as I say : and there are a few other\ncompanies who are always united, and\nthese too could do this. They don't, for\nthey shirk the last three rules—and if\n\n(I) As a matter of fact the knack of improvisation\nis universal : Englishmen have it as well as Italians."}, {"page_pdf": 11, "page_imprimee": "53", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 1906, "texte": "they prefer to be interpreters that is their\naffair.\nBut this book by M. Constantin Mi-\nclachevsky shows us once again that what\nthe actors of today prefer to do is the\nlesser thing, in fact is the least an actor\ncan do. For his book retells the won-\nders of the old school—a school never to\ngrow old yet often so dubbed by the\nyounger stage men and women of the\nday who have no intention of making the\nsupreme effort.\nI shall return to this book another\ntime : it is not one to be reviewed in a\nhurry. .But this I can state without he-\nsitation ; that it is better illustrated than\nany book of its kind except perhaps that\nof Luigi Rasi fb—and only perhaps: for\nthis work contains that astonishing series\nof drawings from the Bibiioteca Corsini in\nRoma, which we in Western Europe have\nnot been able to see till now, unless we\nby chance have visited the Library : it\ncontains a number of the plates from that\nrare book on the dance by G. Lambranzi :\nsome original drawings by Tiepolo from\nthe Collection V. Rosenthal and Richard\nOwen: some twenty other unpublished\ndesigns : and, to cap everything bless me\nif we are given an Index.\nI shall make an Index at once, for\nwithout it 1 shall be unable to see whether\nany of the great family has been ignored :\nand if one is passed over then the house\ncomes rattling down ; for this was a true\nfamily, and this family made the first and\nlast true drama and theatre in Europe ; a\ndrama for the people —for the aristocrats\nand the crowd, not for the intellectuals :\nit appealed with a directness which elec-\ntrified : it came to Hecuba at once. It\nwas brilliant without being original : it\nsurprised without going off the ordinary\nlines : it shook the audiences out of them-\nselves ; it swept through Europe; never\nmeddled in politics ; and in its prime it\ngave birth to Moliere.\nAssuredly the play was and still is\nthe thing.—When are we to have the\nPlay again ?"}, {"page_pdf": 11, "page_imprimee": "53", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.11", "debut_caractere": 3092, "fin_caractere_exclue": 3125, "texte": "(I) I Conuci Italian!. 3 Volumes."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c009", "article_bluemountain": "bmtnaau_1927-04_01#c009", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "49", "page_fin": "49", "image_debut": 7, "image_fin": 7, "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=bmtnaau192704-01.2.7.1", "titre_corps": "PALAZZO VOLKOFF. VENEZIA", "titre_sommaire": "PALAZZO VOLKOFF. VENEZIA", "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": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.7", "debut_caractere": 53, "fin_caractere_exclue": 153, "texte": "PALAZZO VOLKOFF. VENEZIA, IN WHICH ELEONORA DUSE LIVED.\nThe Palazzo Volkoff is the central Building."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c010", "article_bluemountain": "bmtnaau_1927-04_01#c010", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "53", "page_fin": "53", "image_debut": 11, "image_fin": 11, "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=bmtnaau192704-01.2.8", "titre_corps": "THE PART IS LESS THAN THE WHOLE : TWO BEERBOHM TREE STORIES", "titre_sommaire": "THE PART IS LESS THAN THE WHOLE : TWO BEERBOHM TREE STORIES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 11, "page_imprimee": "53", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.11", "debut_caractere": 1908, "fin_caractere_exclue": 3090, "texte": "THE PART IS LESS THAN THE WHOLE.\nTWO BEERBOHM TREE STORIES.\nONCE upon a time, a then budding, and now a fully-\ngrown young star actress, was engaged by Manager\nTree, who really did a great deal to advance her on her\nstage career. Soon, however, the young novice began to\ntell Tree that she and her parents (whom we all love and\nhonour) insisted on her being billed in larger type than\nshe was getting. Nay, more, the radiantly beautiful girl\nclaimed that she was to be given the 44 and M which is\nso coveted by professionals when their names are adver-\ntised. 44 I want said she, 44 to be announced thus, 4 Sir\nHerbert Tree and Miss (So and So) \" Yes, my dear\nchild retorted the Chief, 44 but why * and * ? Why not\n•but V?\".\nFrom Page 142 u Cues and Curtain Calls\" by Carados,\nAvery Cockney, not to say illiterate but certainly cle-\nver, low comedian whom Tree had thought of en-\ngaging, said to him 44 But, look 4 ere, guv'nor, yer know\n44 I shall expect you to bill the 4 and * before my naime! \"\n44 Alas !my dear friend replied Tree, 44 how can I\ndo so? You know it is 4 hard to give tie 'and where\nthe Art can never be ! \".\nFrom page 142*3 \" Cues and Curtain Calls \" by Carados."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c013", "article_bluemountain": "bmtnaau_1927-04_01#c013", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "54", "page_fin": "58", "image_debut": 12, "image_fin": 16, "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=bmtnaau192704-01.2.9", "titre_corps": "AN ITALIAN BALLET : SHAKESPEARE, OR A MIDSUMMER NIGHT'S DREAM", "titre_sommaire": "AN ITALIAN BALLET : SHAKESPEARE, OR A MIDSUMMER NIGHT'S DREAM", "signature_source": "GIOVANNI CASATI", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 12, "page_imprimee": "54", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.12", "debut_caractere": 0, "fin_caractere_exclue": 4111, "texte": "AN ITALIAN BALLET.\nSHAKESPEARE, OR A MIDSUMMER\nNIGHT ' S DREAM\nTRANSLATED FROM THE ITALIAN OF GIOVANNI CASATI.\nTHE MASK presents to its readers an old but original\nBallet in four parts, entitled :\nSHAKESPEARE\nOR: A MIDSUMMER NIGHT'S DREAM\nby Giovanni Casati, translated, presumably for the first time,\ninto the English language.\nThis Ballet, or Ballo as such things are called in Ita-\nlian, was performed in the spring of 1855 at the inaugu-\nration of the Teatro Paganini in Genova, on April 9th.\ni hirty performances of it were given, which is, for\nthe place and time, a fairly long run.\nThe cast is given below. To this we can add the\nnames of the Stage manager, Giuseppe Righetti, Conductor,\nNicolo Uccelli: Prompter, Pietro Giannetti, Scene painters,\nCarlo Fontana, Costantino Dentone and Antonio Leonardi:\nthe Figurista, Cav. Giuseppe Isola : the Machinists, Novaro,\nAnsaldi and Daguino: the attrezzista Rollero : the head\ntailors, Cavvera, B.emi and Poggi: the Berettonaro, Bremi.\nand lastly the wigmaker, Carlo Piazza.\nThis Antonio Leonardi went later to America where\nhe took up his abode. Whether he painted scenes there\nI cannot say. Mr. Hornblow does not mention him in\nhis two volume \" History of the Theatre in America\nDentone was living in 1875 in Via Baibi, Genova.\nThis Teatro Paganini was built in 1853-55 from de-\nsigns by the architect engineer Tommaso Carpineti, the\nfirst stone being laid on June 28th, 1853,\nThe Platea measures 16 metres 70 centimetres by 18\nmetres 20 centimetres. It has five circles of boxes and a\nLoggione or Gallery, and every circle contains twenty-nine\nboxes.\nTogether with the theatre were built two cafes and a\nbilliard room ; a large vestibule and a Ridotto in line with\nthe fourth circle.\nIt was originally illuminated by gas and had a magni-\nficent Lustre with seventy-six jets suspended over the\nplatea.\nIt was named after Nicolo Paganini the violinist, born\nin Genova in 1788, dying at Nice in 1840.\nIt is one of the finest theatres of Genova which city\ncan boast better iheatres than it can theatre-goer 3.\nI derived the subject of this Ballet, not from Shakes-\npeare's drama \"A Midsummer s Night's Dream \" but\nfrom an Opera Comique (0 by Messers Rosier and De Leu-\nven, which bears the same name.\nI ask indulgence that it Was an inevitable necessity\nfor me to give somewhat in detail the present pro-\ngramme. G. Casati.\nCHARACTERS. ACTORS in 1855.\nWILLIAM SHAKESPEARE Lodovico Moniani\nELIZABETH OF ENGLAND Carolina BagnoU-Merit\nMISS OLIVIA, court lady Antonietta Kurz\nFALSTAFF, keeper of the\nroyal park of Richmond Antonio Coppini\nLORD LATIMER Pompeo Merit\nJEREMIAH, host Vassallo Pietro\nTOM, his son Virgilio Calori\nNELLY, his niece Carolina Mengoli- Massini\nSailors Tavern men-servants and maid-\nservants Masquer aders Actors Ac-\ntresses Cavaliers Boatmen Ladies\nCourtiers Gamekeepers, etc.\nThe scene is laid in England. Sixteenth\ncentury.\nThe music of this Ballet is expressly\ncomposed by the Maestro Paolo\nPART ONE.\nTHE Mermaid Inn—-common room ; at the back a\ndoor opening on to the Thames —ln the centre the\nentrance door; to the right another door, which leads\ninto a cabinet; tables, benches, etc. To the sides the\nportraits of Elizabeth and of Shakespeare - At the\nbacks a raised gallery where a most sumptuous table is\nspread.\nMANY sailors are grouped at various ta-\nbles eating, gaming and drinking\nEnter Shakespease, also in a sailor's costume,\nand exchanges handshakes and greetings with\nthe jovial party, improvising some interesting\nlittle tales.\nThe pretty waiting maids of the tavern\nmove about the room, intent on replenishing,\nso soon as empty, the glasses of their guests,\nwho, a little heated by the frequent libations,\nwould like to recompense them with kisses\nand jests, which they provoke and repulse at\none and the same time with feminine co-\nquet try—Shakespeare certainly does not show\nhimself the least enterprising of the company,\nnor the graceful Nelly the least roguish and\nlively of her companions.\nJealousy of Tom, her fiance, which in-\ncreases the good humour of the great poet.\n\n(l) First performed in Paris April 20 1850."}, {"page_pdf": 13, "page_imprimee": "55", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 4392, "texte": "Shakespeare promposes a toast in honour\nof queen Elizabeth. All accept with enthus-\niasm—Tom alone refuses with a gesture of\ncontempt, at which Shakespeare, offended,\nchallenges him, after a sharp interchange of\nwords, to a boxing match.\nThis is accepted by the other, who is\nonly too eager to find vent for his ill temper\nbut who is beaten after a short encounter.\nIn the mean time there enter the tavern\nthrongs of maskers decked out in various and\nbizarre fashions, returning from a wonderful\nfete given in honour of Elizabeth, and make\na great deal of noise and riotous fun.\nJeremiah, the host, invites the masquera-\nders to give their orders and to use despatch\nbecause his tavern is engaged for a select\ngathering of artists and gentlemen who are\ngiving a great supper there to the luminary\nof England, to William Shakespeare.\nAt these words the poet recalls to mind\nan invitation which he had forgotten, ascer-\ntains that the meeting place is fixed in that\ntavern, and hastens off to don his own\ncostume.\nThe masqueraders, hurried off by Jeremiah,\ngo out after him—Enter Falstaff, who, as\nhead of the banquet, wishes to see, to taste\nand to approve the preparations and the\nselected wines, repeating then the order al-\nready given.\nAfter this accurate and conscieacious exa-\nmination he ascends into the banquetting gal-\nlery accompanied by all the heads-of-staff\nof friend Jeremiah.\nLightnings, peals of thunder, torrents of\nrain—Enter, by the common door, Elizabeth\nand Olivia, the latter in prey to intense agi-\ntation while Elizabeth on the contrary laughs\nat her fears.\nThe Queen, wishing to be present in\nincognito at the fete which her good people\nof London were giving in her honour, had\nrepaired to it masked, with her faithful Oli-\nvia and two gentlemen of the court; from\nthence she passed on to the theatre where\nthere was being performed \" Macbeth \" by\nShakespeare, of whose genius she is a warm\nadmirer ; but on leaving there, separated from\ntheir cavaliers, followed by some drunken\nsailors, overtaken by the storm, they were\nforced to shelter in that tavern.\nElizabeth, to reassure her trembling com-\npanion, shows her a parchment which she\nalways carries with her, in which the high\nSheriff orders every citizen of London to\nlend assistance and valid aid to the presentor\nof it; but, the storm being over, Olivia im-\nplores her not to linger any longer, confessing\nthat, more than anything else, she fears the\njealousy of her noble cavalier, Lord Latimer,\nwho is waiting that evening at the court circle\nwhere she has to return him the bunch of\nflowers which he presents to her every mor-\nning, receiving it back in the evening ; ....a\nbunch which she wears at her girdle.\nThe two women turn to go out—but in\nthat moment Falstaff enters. On seeing him\nthey hastily replace their masks—Olivia's ter-\nror increases lest Falstaff recognize her ; Eli-\nzabeth laughs and communicates her plans\nto her.\nFalstaff is the general keeper of the\nRoyal Park of Richmond the key of which\nhe always carries with him—he must thus\nreconduct the Queen to her own Palace with-\nout recognizing her.\nFalstaff, seeing two women, sets himself\nto play the fascinator and to act the lover—\nand invites them into Richmond Park, the\nkey of which he offers to them—the two\nwomen accept and ask his arm; but as they\nare about to go out lively music is heard\n....It is the guests who are arriving.\nFalstaff hides the two women in the ca-\nbinet, promising to come and fetch them from\nthere so soon as it shall be certain that his\ncompanions, all occupied with wine and\ngaiety, are not noticing him.\nInto the Sala come the guests, Actors,\nActresses, Dancers, Gentlemen ; among them\nShakespeare and Latimer:—Jeremiah and Tom\nannounce that the repast is served:—the latter\nis embarrassed on recognizing in the great\npoet the sailor with the strong fist.\nThe guests all ascend to the upper floor\nsave Lord Latimer, who remains wrapped in\nhis thoughts, and Shakespeare who questions\nhim on the cause of his melancholy—Lati-\nmer confides to him that he loves and is jea-\nlous.—Shakespeare laughs at both the love\nand jealousy, calls all women fickle, and in-\nvites him to drown his sorrow in wine—\nLatimer refuses—Shakespeare, called by his\nfriends, mounts to the upper floor where the\ngaiety is already at its height.\nA little before this Falstaff will have en-\ntered and will have hidden himself in one"}, {"page_pdf": 14, "page_imprimee": "56", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.14", "debut_caractere": 0, "fin_caractere_exclue": 4198, "texte": "of the adjoining rooms—When Shakespeare\nhas gone out he believes that there is no\nlonger anyone in the ground-floor room, and,\nwithout seeing Latimer, hastens to liberate\nthe two women.\nOlivia, on perceiving her lover, utters a\ncry and throws down a little bunch of flowers\nFalstaff, believing it is a gift intended for\nhim, picks it up with transport and lays it\naway against his heart—Olivia staggers and\nfalls back on a chair—All surround her—\nLatimer is seized by a suspicion which he\nsoon drives away.\nAt that moment Shakespeare enters, half\ndrunk, following Nelly. He sees the two\nmasks and wishes at all costs to present them\nto his friends—Falstaff replies that those two\nladies were about to withdraw in his com-\npany—Shakespeare retorts that no one should\ngo out from there that night.\nElizabeth with the imperious gesture of\nthe Queen orders him to clear the way for\nher—Shakespeare in reply locks the door,\nremoves the key, and, drawing his sword,\ndeclares himself ready to oppose the exit\nwith force ; he then enjoins upon Falstaff to\nreturn to the banquet: on Nelly to conduct\nOlivia to her rooms as she stands in need of\nher assistance: on Elizabeth to remain there\nwith him.\nAll obey. Latimer goes out with Fals-\ntaff—The Queen casts a menacing glance on\nthe audacious fellow who dares to impose his\nwill upon her, but, seeing the alteration of his\nlineaments, feels in her heart a profound com-\npassion for that genius which is so miserably\nbeing lost unless a friendly and protective\nhand succeed in saying it—and remains with\nhim almost to carry out a project of her\nown.\nShakespeare, left alone with her, implores\nher to remove the mask—but in vain.\nShe reproves him for so degrading the\ngenius bestowed upon him by God talks to\nhim of the future, of glory, of the theatre, of\nart.—But Shakespeare replies that, betrayed\nby love, by glory, by art, he neither believes\nnor hopes any longer save in one sole com-\nfort, ...in the bottle which he clasps tightly and\nfrom which he gulps down large draughts.\nElizabeth orders him to leave her—Shakes-\npeare promises on condition that she re-\nmove her mask —The Queen refuses—and\nthe great poet, whose reason is clouded by\nthe fumes of wine, staggers, sways, and falls\ndrunk upon a chair.\nElizabeth, having removed her mask, con-\ntemplates him with a sense of noble and\ngenerous pity—and decides to save him from\nthe abyss into which he is about to fall.—\nBut on hearing people coming she replaces\nthe mask and withdraws into the room on the\nleft after having taken the key from him.\nThe guests rush in, all somewhat excited\nby wine, following Jeremiah who does not\nwant to serve them any more to drink—Fal-\nstaff is the rowdiest of them all.—\nIn the meantime the watch is heard ap-\nproaching—General confusion. Elizabeth takes\nadvantage of it to place unseen a parchment\non the hilt of Falstaff's sword—then she retires\nrapidly and unobserved with Olivia.\nJeremiah implores his guests not to expose\nhim to the rigours of the law by remaining\nlonger, and notifies them of the approach of\nthe watch—\" What do you fear? exclaims\nFalstaff ....here am I and my sword \" ; but, in\nstriking on the cross-piece, he finds the parch-\nment, reads it, and is struck dumb.—It or-\nders him in the Queen's name, under pain of\ndeath, to transport Shakespeare instantly into\nthe royal park of Richmond.— The guests in\nthe meantime have all withdrawn.\nHe, having called four of his men, has-\ntens to execute the orders received—while\nthe four men lift Shakespeare up the scene\nchanges.\nPART TWO.\nThe Royal Park °f Richmond—In the background the\nThames—to the left a Gothic Pavilion with a door to\nwhich one ascends by a few steps. Moonlight night.\nTHE four men transport Shakespeare, and\nlay him down in the open air; they then\nretire.—\nThe royal gamekeepers assemble there\nfrom their nightly round—Falstaff arrives, still\ndisturbed by the emotions of the night. Ha-\nving gathered the gamekeepers around him he\ngives them strict orders—no one is to ap-\nproach the royal park that night: he is answer-\nable for it with his own head.\nSo saying, he turns his head and sees\nLatimer before him—Terror of Falstaff who\nimplores him to go away, informing him of"}, {"page_pdf": 15, "page_imprimee": "57", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 4246, "texte": "the orders he has received and the terrible\nresponsability which weighs upon him.\nBut Latimer, in prey to his jealous sus-\npicions, wishes to ascertain whether they are\ntrue ; thus he promises him to retire on con-\ndition that he tells him who were the two\nmasked women of the tavern.\nFalstaff, to whom it seems, too good to\nbe true to free himself from so great a danger\nso cheaply, confesses with a mysterious air\nthat they were his lady loves—and to con-\nvince him more firmly shows him the bunch\nof flowers. Latimer recognizes it; and, be-\nside himself with rage, snatches it out of his\nhand and draws his sword; \" says\nhe, since thou art my rival thou must fight\nwith me \".\nFalstaff, in whom courage is not the prin-\ncipal virtue, not knowing how to get himself\nout of the difficulty, confides to Latimer that\nthe women were not at the tavern for him,\nbut rather .... For whom ? cries the young lord\nfuriously .... Falstaff, hard driven, rolls his eyes,\naround, pale with terror, sees Shakespeare\nwho is sleeping, and pointing him out to La-\ntimer,—For him .... he exclaims.\nLatimer is about to throw himself upon\nthe sleeper when the Queen appears upon\nthe threshold of the pavilion, followed by\nOlivia, both dressed in white and covered\nwith white veils.\nFalstaff sees her, restrains Latimer, and\ndrags him away almost by force—The game-\nkeepers disperse.—Elizabeth communicates to\nher friend the plans laid so as to succeed in\nher generous intention.\nA sweet and mysterious melody awakens\nlittle by little the drowsy poet—He looks\naround as though bemused, seeking to recon-\nnect his own recollections, and sees the park\npeopled with white and airy apparitions which\nsport and frisk before him.\nElizabeth from the highest step of the\npavilion controls with the sound of the harp\nthe movements of those apparitions.\nThen, turning to Shakespeare, it seems\nthat she says \" I am thy genius which speaks\nto thee yet once again before abandoning thee\n—Let the man with his frailties and his vices\ndisappear, and let the poet be born afresh \".\nThen the apparitions, ever obedient to\nthe signs of the Queen, present before his\neyes some pictures from his most celebrated\ntragic poems—Romeo and Juliet—Othello—\nand Macbeth—which ends by exalting his\nmind and his heart.\nThen he, kneeling before Elizabeth, says\nto her—Oh thou who hast restored to me\nstrength, genius, hope, courage com-\nplete thy work,! unveil to me thy features and\nreawaken me also to 10ve....—and beside\nhimself with emotion he is about to raise her\nveil, when the Queen, repulsing him, exclaims\n\" Back! wretched man, someone approaches \".\nLatimer in fact is approaching—but Olivia\nthrusts herself between Shakespeare and Eli-\nzabeth, who retires hastily—Shakespeare does\nnot perceive the change, and repeats to the\nwoman who was standing before him ardent\nprotestations of love. Latimer, furious, rushes\nupon her, tears off her veil, and, recognizing\nOlivia, overwhelms Shakespeare with reproa-\nches, challenges him to a duel, and forces\nhim to defend himself.\nFalstaff rushes up with the gamekeepers—\nOlivia goes in search of the Queen, who\nalone can avert a disaster.\nThe two adversaries contend in spite of\nthe opposition of Falstaff, who reminds them\nthat it is a crime punishable with death to\nfight a duel in a royal park—Shakespeare\npresses hard on Latimer who falls back between\nthe wings.—Falstaff and the gamekeepers\nthereupon rush up.\nFrom the other side comes the Queen.—\nShakespeare, who believes he has killed his\nfriend, reappears greatly agitated, encounters\nthe Queen, recognises her, and turns and ru-\nshes rapidly away like a madman.\nGeneral tableau.\nTHIRD PART.\nReception hall in the Palace of Whitehall. Entrances\nto right and left.\nTHE Queen and Olivia, ignorant of the\nresult of the duel, because the Queen saw\nonly the flight of Shakespeare and is comple-\ntely oblivious of what may have happened to\nLatimer, await with great impatience the ar-\nrival of Falstaff, whom the Queen has had\nsummoned.\nEnter the intrepid guard, still bearing the\ntraces of the terrible proofs to which his\ncourage has been put. The Queen orders\nhim to give her an account of what took\nplace the preceding night in the royal park\nof Richmond. Falstaff, who fears for his life"}, {"page_pdf": 16, "page_imprimee": "58", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.16", "debut_caractere": 0, "fin_caractere_exclue": 3751, "texte": "if the Quen (who he believes to be ignorant\nof everything) should come to know that the\npark was invaded despite her orders and that\na duel was fought in it, declares that, thanks\nto his active surveillance, nothing unusual took\nplace. But the Queen makes him swear upon\nhis life what he asserts, and threatens to pu-\nnish him severely if he should have lied.\nAt such words, Falstaff, trembling from\nhead to foot, throws himself at her feet con-\nfessing everything ; but he reassures her re-\ngarding the life of Latimer, relating how the\nyoung Lord, who was believed to be severely\nwounded, had but tripped and fallen on the\ngrass.—Joy of Olivia and of the Queen at\nthis news.\nElizabeth accords her favour to Falstaff on\ncondition that he will always and to everyone\nmaintain that nothing took place that night in\nthe royal park of Richmond and that he did\nnot see there either Shakespeare or Latimer,\nor the Queen, or Olivia.\nFalstaff, bewildered between fear and\nsurprise, repeats mechanically the words of\nElizabeth ; his amazement increases on finding\nin his hat the key which he had given to the\ntwo masqueraders and which the Queen placed\nthere without his being aware of it.\nIn the meantime Elizabeth seats herself\nat the table, and writes a note in which she\nexplains everything to Lord Latimer, reas-\nsures him as to the love and fidelity of Olivia,\nand recalls him to court, enjoining upon him\nabsolute silence respecting all that took place.\nThe note has hardly been despatched\nwhen an usher announces William Shake-\nspeare. He is introduced.\nThe Queen thanks him for the prompti-\ntude with which he responded to her invita-\ntion to present himself at the Palace. wish-\ned, she continues, to tafie odvantage of a\nsolemn fete, which gathers around me all that\nthere is of noble and eminent in the three\nKingdoms, to receive at court, and see for the\nfirst time, the great poet who does honour to\nEngland.\nShakespeare is amazed by such words\nand humbly reminds Elizabeth of the visions\nof Richmond park and of her generous coun-\nsels. The Queen replies that certainly his\nimagination caused him to take a dream for\nreality. Shakespeare insists, and cites two\nwitnesses, Miss Olivia and Falstaff.\n• Both of them reply with a decisive nega-\ntive to all his agitated demands. Shakespeare\nthen throws himself at the feet of the Queen\nand says to her—Even Were all a dream\nthere is one fact which is, alas, real.—I have\nslain Latimer.\nLatimer at that moment appears on the\nthreshold ; Elizabeth points him out to Shakes-\npeare, who, in despair, fears for his own\nreason, and ....since, he exclaims, which\nconsoled my life is but a dream ..../ renounce\nlife.\nThe Queen then draws him aside and,\n... No, says she, you have not dreamed, live\nfor England ....and for me.\nShe then calls Latimer and Olivia to her,\nunites their hands, and presents to the bride\nand bridegroom a rich casket; presenting ano-\nther, no less rich, to Shakespeare. He opens\nit and discovers a wreath of laurel.\n\"Oh I lam not worthy, exclaims the\ngreat poet in confusion, going down on one\nknee ; \" Yes, you are, responds the Queen,\nit fell from your head, I replace it and fas-\nten it there. From this moment you will al-\nways find in your Queen a protectress.... .\n\"And nothing m0re....\" asks Shakespeare\nwith emotion. \" And a friend in \"\nreplies the Queen in a low voice ; and in\nthus saying she encircles his brow with the\nrich crown, and orders that the day be cele-\nbrated in which the Queen of England, in\nthe name of the country, thanks Shakespeare\nfor his works.\nFrom within is heard the music of the\nfestival. Elizabeth, taking Shakespeare by\nthe hand, introduces him into the Great Ball\nRoom\nPART FOUR\nwhere the supreme poet is feted and ap-\nplauded by all.\nTHE END"}]}, {"article_id": "bm-bmtnaau-1927-04-01-c015", "article_bluemountain": "bmtnaau_1927-04_01#c015", "volume": "bmtnaau_1927-04_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=bmtnaau192704-01.2.10", "titre_corps": "A DESIGN FOR A STAGE SCENE", "titre_sommaire": "A DESIGN FOR A STAGE SCENE", "signature_source": "", "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=bmtnaau192704-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 54, "texte": "A DESIGN FOR A ST AGE SCENE.\nBy Gordon Craig.\nPlate 7."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c016", "article_bluemountain": "bmtnaau_1927-04_01#c016", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "59", "page_fin": "63", "image_debut": 19, "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=bmtnaau192704-01.2.11", "titre_corps": "SOME SCENIC DIRECTIONS", "titre_sommaire": "SOME SCENIC DIRECTIONS", "signature_source": "GIULIO TROILI DA SPINLAMBERTO", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 19, "page_imprimee": "59", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 3724, "texte": "SOME SCENIC DIRECTIONS\nUSUALLY KNOWN AS PARADOSSO.\nTRANSLATED FROM THE ITALIAN.\nBY GIULIO TROILI DA SPINLAMBERTO\nGIULIO TROILI da Spinlamberto ( the\nMarchese Amico Ricci for some reason\nconverts into di Spilimberto) called Paradosso,\nwas born in Firenze (?) in 1613 and died in\nBologna (?) in 1685.\nHe was architect and scenographer. He\npainted in the Teatro Farnese in Parma where,\nbetween 1680 and 1708, Ferdinando Bibiena\nsaw his work.\nHis famous book (a folio) \" Paradossi\nper praticare la prospettiva senza saperla\"\nWas published in 1683 by in Bolo-\ngna, hut seems to have been finished by Troili\norT February 24th 1672, for his Dedication\nin the first edition (1683) is so dated.\nWe have the authority of Zanotti (1139)\nthat in those days it was considered by the\nartists to be '[a very useful book \"• ft /s\nillustrated with bold woodcuts, two of which\nare reproduced here.\nThese illustrate the two short chapters (Nos.\nXVIII and XIX) dealing with the Theatre;\nchapters which, since they exercised an influence\nupon Ferdinando Bibiena, may not be entirely\nwithout value for us: for, even though the\nartists of some lands today think fit to race\nalong in competition with the motor car trade,\nsome there are who prefer to go more slowly\nknowing what they know>\nHOW TO RAISE A SCENIC STAGE, WITH\nTHE POSITIONS OF THE TELARI.\nAS a rule we Painters find the Platform or\nFlooring of the Stage with its slope\nready made, and with the positions for the\ntelari already indicated.\nFrom what I have observed in the Thea-\ntres of Parma, of Modena, of Ferrara, and\nhere in Bologna, I find that the height of the\nfront of the Stage is more than that of a\nhuman figure, being about five feet; and its\nheight at the back measures the ninth part\nof its whole depth from front to back. When,\nhowever, the front of the stage is less than\nfive feet in height, practical experience teaches\nus that the tenth or eleventh or twelfth part\nof the distance from front to back 15 sufficient\nfor the height at the back.\nHaving, therefore, a floor space equal to\nABCD, fig. I, the breadth of which is 70\nfeet, and the length, or rather depth, 45 feet,\nmark the two points E and F to indicate the\nwidest space between those two lines upon\nwhich the Telari(l), on which the scenes are\ndepicted, are to terminate. The space be-\ntween the one point and the other is 30 feet,\nand the space between G and H is 10 feet.\nThe two lines EH, GF are to mark the\nterminal lines of the Telari, be they set\nslanting or not slanting.\nAs regards the relative distance of these\ntwo lines from each other at the back, there\nis no other rule save that of the gratification\nof the eye for attaining the effect of great\ndistance which is given in these days to stage\nscenes.\nIf one wishes to work according to rule,\nand not haphazard, one must prolong these\ntwo lines EH and FG until they meet to\nform the angle O, which serves as the apex\nof the Pyramid, and the vanishing point where-\nin all the horizontal lines of the scene in\nconstruction tend to meet.\nAll this has to be worked out on paper\nwhen, owing to the impediment of the back\nwall BC, one cannot put it into execution in\nthe Theatre itself.\nThrough the point O must be drawn the\nhorizontal line OZ.\nThen let the terminal point N be set at\nsuch distance from the front of the stage as\nseems best, so that N is distant 40 feet\nfrom X, and so that the whole distance from N\nto O may be 100 feet, which distance should\nalso be marked off on the horizontal line OZ\nat the point where there is a star.\n\n(i) A Telaro or Telaio means any framework upon which\ncanvas can be stretched. It is here used to indicate the wings\nor the side pieces of scenery, and the original Italian term\nhas been retained. Translator."}, {"page_pdf": 20, "page_imprimee": "60", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.20", "debut_caractere": 0, "fin_caractere_exclue": 674, "texte": "Although the present diagram I does not\nallow of this measurement being shown, it\ncan be better seen in figure 2 where the two\nlines OZ and FL meet. Thus,f from the\n9\npoint N which represents the eye, to the\npoint O, the distance is 100 feet; and the\ndistance is the same from O to R, where\nthe star is placed.\nTherefore, to find the positions for the\nTelari in regular order, one acts by the or-\ndinary rule, making the diagonal lines converge\nto the vanishing point, thus representing a Sala\nwith its Ceiling, a Loggia with Columns, a\nGallery with Pilasters, and other proportioned\nobjects in such wise that the more remote\nparts shall appear smaller than the nearer ones."}, {"page_pdf": 21, "page_imprimee": "61", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 4382, "texte": "If, for instance, you desire a Loggia which\nis wider than it is long, as, for example,\n30 feet wide and 15 long, let X be drawn\nto the vanishing point, cutting the line EO\nin the point i; then draw a line from F to\ncut it in point 2, and so on with the others.\nPoint 2 will give you the position for marking\noff a square.\nHaving found the terminal points for the\nTelari by means of the regular process, and\nhaving set them up perpendicularly upon the\nstage, either parallel to the front line of the\nstage, or set obliquely in relation to this, it\nis certain that those portions of the scene\nwhich must recede in perspective must con-\nverge to a point determined by rule and not\nby chance.\nLet this point of convergence be, for\nexample, the point O.\nFrom this point draw a thread, passing\nthrough the middle of the stage and across it,\nas does OX in fig. 2 ; and let this, being\nprolonged, touch the floor of the auditorium\nat the point T; as does OP, in the side\nview of the stage. And although reason\nwould demand that this line NO should be\nactually horizontal, as OM is seen to be, it\nis customary, (since at present the stages are\nso long that such a line would reach to too\nhigh a point in the auditorium, ....at times as\nhigh as 10 feet and even more as is seen\nfrom P to M), to take, from the point P, the\nordinary height of a man, as indicated in\npoint N, and draw from it a thread, such as\nis indicated in ON; which thread then serves\nto find every foreshortening, all such being\nobtained by means of another thread which\nshould have at its end a ring that slides along\nthe said thread ON.\nHaving now found the vanishing point O,\nand the Star for the point of distance, and\nthe Terminal points of the Telari such as\n1, 2, 3, 4, and the thread ON for the ho-\nrizontal line, the whole process, performed by\nthis present ordinary rule, may be compared\nwith the rule given for cutting the Pyramid.\nFor example; in the sideview given in\nfig. 2 let the line marked 10, 20, 30, 40\nbe considered the section of the floor of the\nauditorium, extending a distance of 40 feet\nfrom the stage line F. And let the line FY,\n5 feet higher, marked 15, 30, 45, and 60,\nbe parallel to the line of the floor P.\nThis serves to show the slope of the\nstage, which, at point V will be 5 feet high,\nsince its height must measure the ninth part\nof the stage's depth.\nIf, from the point marked 15, we draw\na line straight towards the line M, it will\ncut the line PO in the front at the exact\npoint of the first Telaro, so that this first\nTelaro will be set 15 feet from the front of\nthe stage, just as in the first figure.\nThe same result is obtained by drawing\na line from the point 30 to the point M,\nsince this will give the position of the two\nsecond Telari or apparenza, distant 30 feet\nfrom the front of the Stage, just as it proved\nto be in the ordinary method of working\nshown in the first figure ; so that, by using\nthe ordinary rule, one can produce the effect\nof scenes seen in Perspective upon flat sur-\nfaces, and upon obliquely set Telari, with the\ngreatest facility, and does not work blindly\nand on haphazard lines.\nTO FACILITATE THE SCENIC PRACTICE.\nTO facilitate the regular working out of the\nscenes one proceeds in two different ways.\nBy the first, one has to find the heights of the\nTelari when these are already set in their\nplaces; by the second, having the Telari\nwhen they are not yet set up in their places,\nthe work is very convenient.\nOne takes, with all exactitude, all the\nmeasurements upon the two lines EO, FO\nso as to know the positions of the Telari\n1,2,3, 4, etc. One then takes the distance\nfrom each of these points to the line IK\nwhich marks the middle of the stage.\nThen let there be drawn the profile of\nthe stage MN, in such a manner that the\nlines of the Telari reach as far as this said\nprofile, which is very helpful for finding the\nheight of each Telaro.\nSupposing that on the first Telaro QR\nthere is the semblance or design of a Column,\nBase, Capital, Pedestal, Architrave, Freize or\nCornice, and we draw lines from all these\nparts to the vanishing point O, we shall have\nevery proportion in the other Telari also, as\nis seen by the line marked with a star and O.\nThe Horizon line LS will be marked\nout, according to the method set forth on the\npreceding page. Its height ML, in the front\nof the Stage, is of a just stature of five feet\nor a little less."}, {"page_pdf": 22, "page_imprimee": "62", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.22", "debut_caractere": 0, "fin_caractere_exclue": 680, "texte": "We have, in the last page, the whole\nbreadth of the stage as 30 feet and the half\nof it as 15 feet.\nIf we measure the ground line AI of the\nfirst Telaro A, it will be, for example, 13 feet;\nthe second, B, II and a half feet; and the\nthird C, 10 feet, and so on with the others.\nThus our measure of the steps or feet will\n« A\nserve for the first Telaro Q, showing that the\nhalf of the breadth of the pavement A is\n13 feet; but for the second Telaro one must\ndivide the line of II and a half feet into 13\nparts, and calculate each part as one foot,\nbut smaller than the first: so likewise must\none divide into 13 parts the width of 10 feet,\nto make use of these in the third Telaro;"}, {"page_pdf": 23, "page_imprimee": "63", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 4699, "texte": "and in this manner there must be as many\nlittle measurements as there are Telari.\nOne can, however, mark upon a piece\nof wood four measurements of different length.\nHaving thus the design of the first Te-\nlaro, with the measurements of the number\nof feet for the heights, one should then\ncarry to a convenient place the first two Te-\nlari, as one sees YZ in the small diagram P,\nso that they may be set up adjoining each\nother, when we want to achieve in one the\nsame effect as in the other. Because this\nprocess renders it very convenient to draw\nthe lines parallel to the front of the Stage.\nLet the horizontal line TV be drawn,\nconformable to the height required; that is,\non the first Telaro it will be, for example,\nabout 4 feet and a half; in the second Te-\nlaro 4 feet, in the third 3 feet and a half,\nand so on with the others.\nThe point T, where all the lines must\nconverge, is distant 13 feet from the cut of\nthe Telaro, as the point V should also be.\nThese points will serve as well as if one\nshould make use of the thread, as indicated\nabove, for the Horizontal line.\nWishing to find the just gradient, set the\npoint of distance as far back as is the dis-\ntance of, the first Telari or the line on which\n'Jit-\nthey are set, from the point of sight N, as\nis seen in the preceding page, and do the\nsame with every other Telaro. But let the\ndistances be increasingly great in proportion\nas the Telari are increasingly distant from\nthe said front line. Here, then, it is neces-\nsary to make use of the adjusted paces (1), so\narranging that the same number of feet mea-\nsured by the Column on the first Telaro will\nalso be allotted to the Column of the second\nand the third Telari, and so on.\nIn carrying the Telari subsequently to\ntheir places, their gradient will be allowed\nfor, together with the gradients upon the Te-\nlari themselves, which in some cases close in\nthe great size of the Stage and are known\nas first, and second, Orizonti. (Horizons).\nThe better to understand what has been\nsaid let us study figure 2. in which we have\nmany details, such as the Plan, and various\nraised sections, as for example the first Ho-\nrizon MNPL : the thread CO, or rather the\nhorizontal line, gives us the point of conver-\ngence R, for the points to be worked out in\nthe first Horizon; and so with the others.\nThis thread CO is that upon which the\nring runs, with the moveable thread, for find-\ning the graded measurements both in those\nTelari which are set aslant, and in those\nwhich are parallel to the front of the Stage.\nFor those which are aslant, one takes the\nheight where the ground lines S, i. S, 2.\nS, 3 terminate above the horizontal line C, O.\nIf one wishes to represent upon the slan-\nting Telari lines which are parallel to the\nfront of the Stage, let there be attached\nto the two sides of the Telari which stand\nforward from the Orizonte a thread AB, pa-\nrallel to the front of the Stage. Then extend\nthe horizontal line C, O towards the Audi-\ntorium until it reaches the point N, as on the\npreceding page. When the distance limit has\nbeen found in point N, take a thread which\nreaches as far as the Telari AB. Let this\nthread be AZ, which will terminate in the point\nV, grazing, however, the thread AB, which will\ngive us, on the Telaro, the line AV, which\nWill appear to be parallel to the front of the\nStage. And prolonging the said line AV,\nas in VT, it will terminate above the Hori-\nzontal line, which must traverse the Telari,\nas is seen in the small inset diagram above\nin P; and one takes this as the accidental\npoint, to which all the parallels are drawn.\nOne can, it is true, work by proportions,\nwithout adopting the thread each time, once one\nhas found one above and one below of the\nsaid lines, so as to give due proportion to\nall that is represented on the first Telaro. If\nit happen that the Telari are already set up\nin use, one will take the measurements of the\nfirst Telaro, ....that is, the Pedestal, Base, Co-\nlumn, Capital and Cornice, and then, from each\nof these divisions, draw lines to the point of sight\nO when there is no impediment; and these will\ngive us all the proportions for the other Telari.\nAs for the more minute measurements, let\nthe measurements of the first Telaro be taken\nseparately, as is shown in the small diagram\nABCD. These measurements are taken upon\nthe line AB. Then take a point haphazard,\nsuch as O, to which all the points will be\ndrawn with threads, since these will give the\nsame measurements proportionately for the\nsecond Telaro EF, and for the third GH,\nand so with all the others when these are\nset within the two lines.\n\n(i) i. e. the artificial divisions of space which, by a con-\nvention, are taken as representing feet."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c019", "article_bluemountain": "bmtnaau_1927-04_01#c019", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "64", "page_fin": "65", "image_debut": 24, "image_fin": 25, "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=bmtnaau192704-01.2.12", "titre_corps": "ADVERTISING AT THE HEART'S EXPENSE", "titre_sommaire": "ADVERTISING AT THE HEART'S EXPENSE", "signature_source": "John Brownsmith", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 24, "page_imprimee": "64", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 4196, "texte": "ADVERTISING AT THE\nHEART'S EXPENSE.\n\nWHAT MR. RICHARD CAPELL WROTE IN A\nLONDON DAILY. AND WHY HE WROTE IT\nTHE Romantic Lovers are passing.\nLet everyone pop out his head from\nhis window to have a look. It will not be\na last look for 1 am sure that the lovers will\nbe returning down the street tomorrow. Ac-\ncording to Mr. Richard Capell(I) the romantic\nlover is passing away—and so, says Mr\nCapell, romantic music is off. That is ano-\nther and a funnier thing; for, believe me, never\nso long as humanity lasts will the romantic\nlover go—except to reappear, nor romantic\nmusic die—sufficiently for our peace.\nWhat Mr. Richard Capell is driving at\nis that Lord Berners is coming up.\nLord Berners is a kind of funny-man—he\nlaughs, and by laughing wants to make you\nlaugh—but it is not to be done.\nLord Berners is skittish—was skittish when\nlast I heard him twiddling on the piano. As\n1 listened I thought to myself, from what an\nocean of Romanticism this little fount springs.\nIn what untold noble sacrifices and other\nsweetnesses this stuff and nonsense has its\nroots. But I shuddered a little to think of it\nall. Why is it, why is it, asks Mr. Richard\nCapell, leaning forward, so earnestly—\" why\nis it when a modern composer like—(a cough)\nlike Lord Berners (who has written the\nmusic for the new piece to be done by the\nRussian ballet at the London Lyceum)—why\nis it that, when he sets Heine to music, he\nfeels bound to interpret \" Du bist wie eine\nBlume \" as having been addressed to a white\nsucking-pig, with answering grunts in the\nbass? \" And he goes on to say that \" mu-\nsical criticism, unaided, cannot answer \" and\nsuggests that the scientist can.\nBut why disturb the scientist always about\nthese simple little matters. Lord Berners\nseizes on an old, and to him comically exqui-\nsite verse by Heine because presumably he\ncannot get anything as good from, let us say,\nthe Sitwells. Then Lord Berners starts think-\ning of sucking pig because he is too sen-\nsitive. The harsh realities of life he refuses\nto experience—he will not grunt and sweat\nunder a weary life—he will only note down\nthe grunts of his clique. But he is not hap-\npily placed to hear proper grunts; no live\nLord is. That may come later; perhaps: Lord\nknows. Meantime where can one best ima-\ngine pigs grunting ?—in clover? what stuff—\nwhat nonsense .... no, in Heine—in the per-\nfection of song. The true modern, if lord-\nlike, musician, can catch all the grunts in\nHeine, all the squeaks in Burns, and every\nsqueal in Shakespeare.\nCome away, come away, death \".\nWell, let us not touch on that lest no pig\nhowl.\nMonteverdi alone is modern enough to set\na tune to such rum stuff as Shakespeare wrote\nand both of them dead these three hundred\nyears.\nPoor Lord Berners—he is not really mo-\ndern. You know—he knows—we know.\nCan he, for example, even attain to the ad-\nvanced modernism of Monteverdi ?... ask mu-\nsicians.\nSo Mr. Capell, as gallant as a musical\ncritic can be, would draw a cloak over the\nshoulders of Lord Berners to protect him from\nthe storm. Instead of saying what he can do,\nhe will say what he cannot do. Lord Ber-\nners cannot be romantic; sentiment is the\nlast thing Lord Berners ever sinks t0....\nanyhow.\nPersonally I do not believe it. I am pretty\nsure that Lord Berners, if he continues to\nwrite music, will one day rise to the romantic\nheights of Handel and Purcell, even if the\nMonteverdian peaks prove too high for\nhim.\nBut should Lord Berners not do this, some-\nbody else will; some writer of music un-\nknown even to Mr. Richard Capell and to\nyou and to me. For what do any of us know\nabout this supposed disappearance of romantic\nlovers, really. What can we safely say about\nscience and its power to change lovers. Be-\ncause the twopenny ha'penny Press veers with\nthe wind its Press men are too apt to suppose\nall else to be equally variable. But it is not\nso:—Lovers never change. I saw two of\nthese only yesterday standing at the corner of\na big wall, aged eighteen and twenty-two.\nThey may, of course, have been filled to the\nbrim with the furies of the intellect: they may\n\n(l) See an article by Mr Capell entitled \" Romantic Lo-\nvers Passing \" published in the \" Daily Mail \" November 2.\n1926."}, {"page_pdf": 25, "page_imprimee": "65", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 3767, "texte": "have learnt the lesson how to make love scien-\ntifically, at university, at home; but so far\nas I could see they were only making love\nwith the eyes. There again I may be in error.\nTheir eyes may not have been made of the\nsame stuff that the eyes of the last eight mil-\nlion years have been made of. They may\nhave been made of glass or of ivory and\npulled by little strings inserted by the phy-\nsician in their youth. But I was totally de-\nceived. I took them to be those ancient\neyes of a young man and a young woman,\nand certainly one pair of eyes was saying\n\"Du bist wie eine Blume *\\ And I heard\nno grunts, I saw no sucking-pig.\nPerhaps these two delicacies are only to\nbe found in the most aristocratic circles. My\ntwo young people were merely a young\nand a young gentleman, and they were stan-\nding in the foyer of a Theatre.\nMr. Capell says that somebody the other\nday said: Our young people make love self-\nconsciously, knowing that they are merely in\nthe grip of an agelong biological force\nI would only correct one word of this.\nI would change the word \" people \" to\n\" fools for while there are a million young\npeople who will make love as it has been\nmade for untold centuries, there must always\nbe a handful of people eager to help the\ntrashy modern journalist out of his difficulty,\nand who will make love for him a la\nmode. It is the latest thing to pretend to\nbe making love as though in the grip of\nan agelong biological force. It is nothing\nelse but one of those silly pretences which\na very few awkward if pretty people are\npretending. But it doth seem a little bit of\na nuisance that this sort of a pretence, this\nparticular silliness, should be so often made\nso much of by able writers like Mr. Capell,\nand spread far and wide through immense\njournals like the Million Mail. For, on rea-\nding this article, there is no doubt whatever\nbut that another five hundred stupid young\nwomen will test this latest mode, love biolo-\ngical, and that will cause everyone who tests\nit a lot of pain. And ten thousand young\nmen will be puzzled, troubled, and ten thou-\nsand contradictions may take place. For girls\nare silly things and think that the latest little\nthing would be rather fun to try, and so they\ntry it on with their young men, and the result\nis catastrophic.\nWHY MR. RICHARD CAPELL WROTE IN A\no LONDON DAILY. O\nAND why this long article by Mr. Capell\nabout romantic love passing and about\na new kind of love coming ? why all these\nhints towards a new mode, why all this talk\nof Schumann, Goethe, Heine, Stravinski, the\nsucking pig and the rest. Is it so as to say\nsomething to young people ? Is it in order\nto explain something serious about music ?\nWhat was the reason ? It was unfortunately\nonly as an advertisement. An advertisement\nfor the Russian ballet and for Lord Berners'\nmusic, and just the insidious kind of adver-\ntisement the Soviet loves. Well, advertise-\nment is a very good thing, but if advertise-\nment is going to kill the affection between a\nhundred young people while it cackles on\nabout what it does not know and about what\nit has not even the right to mention, then\nsuch advertisement is to be damned over and\nover again.\nI wish all the healthy young people of\nEngland would have a rag with modern jour-\nnalism, when it uses as advertisements the\nthemes which are the private property of young\nmen and women.\nI like all that Mr. Capell writes, of course,\nbut I do wish that the young people would\nrag him to death this time and point out that\nin his article on the passing of Romantic love\nhe is, without suspecting it, serving the best\ninterest of the worst elements of tenth-rate\njournalism.\nThey must bring him to life again after-\nward, for after all where should we all be\nwithout our Richard Capell.\n\nJohn Brownsmith."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c021", "article_bluemountain": "bmtnaau_1927-04_01#c021", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "66", "page_fin": "66", "image_debut": 26, "image_fin": 26, "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=bmtnaau192704-01.2.13", "titre_corps": "A SIXTEENTH CENTURY DESIGN FOR A THEATRE", "titre_sommaire": "A SIXTEENTH CENTURY DESIGN FOR A THEATRE", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 26, "page_imprimee": "66", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.26", "debut_caractere": 0, "fin_caractere_exclue": 3984, "texte": "A SIXTEENTH CENTURY\nDESIGN FOR A THEATRE.\nJ. S.\nTHE Design by Giorgio Vasari il Giovane (l)\nwhich we reproduce, forms one of a series\nof drawings, all on uniform sheets, drawn in\nblack and coloured inks, each sheet measuring\nabout 38 centimetres high by 27 centimetres\nwide.\nThe series, which is preserved among the\nFlorentine archives, is entitled: \" Citta ideale |\ndel Cat?6 Giorgio Vasari | int)enta e disegnata\nI'anno 1598 that is : \" Ideal City, of Ca-\nvaliere Giorgio Vasari, conceived and drawn\nin the year 1598\".\nThe set of sixty-four drawings, on loose\nsheets, is enclosed in a portfolio with text in\na fine accurate writing, commencing with a\ndedicatory letter \"Al Sermo Ferdinando Me-\ndici Gran Daca di Toscana \" and dated \"\nFirenze il di pmo (2) di marzo 1598 \" and\nsigned by his \" Humiliss'\"0 e Devotissmo seroo\nil cat?6 Giorgio Vasari\".\nIn this dedicatory letter Vasari reminds\nthe Duke of encouragement already received\nwhen he presented to him the work of his\nuncle Giorgio Vasari ; and explains that\nhe now ventures to lay before him \" -\nsente libro di piante, insieme con qualche pro-\nfilo, le quali dimostrano parte per parte tutte\nquelle cose, che sono necessarie farsi in una\nbella e bene ordinata Citta \": which, being\ntranslated, runs : \" the present book of plans,\ntogether with some side-views, which show\npart by part all those things which it is ne-\ncessary to construct in a beautiful and well-\nordered city \".\nThe designs include a cathedral, royal\npalace, churches, palaces for nobles and for\npublic offices : public edifices of all kinds,\nsuch as a port, a market, a mint, a munici-\npality, school, library, granary, arsenal, prison,\nhospital; together with houses for more mo-\ndest citizens, and monasteries, baths, bridges,\ngardens, and all the other features of civic life.\nThere is also a long address \" A benigni\ned amorevoli letlori \", ....to the benignant and\nloving readers, ....which may mean that the\nwork was intended for publication, though\nwe have not come across a copy.\nThe text which Vasari adds to his design\nfor the Theatre runs, translated into English,\nas follows :\n\" Now, to imitate in some degree the\n\" ancients, who always had in their cities\n\" some special place where spectacles of va-\n\" rious kinds were performed. Thus we find\n\" that not only Roma had its theatres, of\n\" which noble remains may still be seen, but\n\" that also in Verona, Arezzo and other\n\" places most noble buildings were constructed\n\" for this purpose.\n\"For this reason we have made the pre-\n\" sent plan of a great Saloon, or rather Stan-\n\" zone, in which to recite comedies, tragedies\n\" and other like things ; for jousts and similar\n\" knightly tourneys can be performed upon\n\" the piazzas and in the wide streets.\n\"We have designed two stairways so\n\" that the men can mount and descend with-\n\" out impeding the women; and, so as not\n\"to cause confusion, gradi(l) have been con-\n\" structed around for them also.\n\" A capacious space has been left for the\n\" stage, so that many persons may be able\n\" at the same time to assemble in front of it,\n\" and that behind there may be room for the\n\" actors; and that there may also be conve-\n\" nient space for the many musicians who are\n\" very often required.\nThe following references are added to\n\" the letters on the Plan.\n\" A. Stanzone ; (2) B. Gradi, (3); C. En-\n\" trance. D. Double stairways. E. Stairs\n\"up to the stage. F. Place for the actors.\n\"G. Rooms behind the scene \".\nIt is interesting to compare this plan with\nPlate 15 in Mr. Gordon Craig's last book,\n\" Books and Theatres \".\n(1) Giorgio Vasari il giovane was the nephew of Giorgio\nVasari who wrote the Lives of the Painters.\n(2) The first of March. *\n(3) Giorgio Vasari, author of the 44 Lives of the Pain-\nters, etc. was born in 1511 and died in 1574. His nephew,\nthe designer of these plates, was still living in 1619.\n(1) Steps or \" gradinati \" for the spectators to sit upon.\n(2) Auditorium or floor space of the great saloon.\n(3) See under Note i."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c023", "article_bluemountain": "bmtnaau_1927-04_01#c023", "volume": "bmtnaau_1927-04_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=bmtnaau192704-01.2.14", "titre_corps": "PLAN FOR A THEATRE", "titre_sommaire": "PLAN FOR A THEATRE", "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=bmtnaau192704-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 72, "texte": "PLAN FOR A THEATRE.\nDesigned by Giorgio Vasari il Giovane 1598.\nPlate 8."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c024", "article_bluemountain": "bmtnaau_1927-04_01#c024", "volume": "bmtnaau_1927-04_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": 29, "image_fin": 29, "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=bmtnaau192704-01.2.15", "titre_corps": "CARICATURE DRAWING OF MLLE. GEORGES IN THE ROLE OF \"MEROPE\"", "titre_sommaire": "CARICATURE DRAWING OF MLLE. GEORGES IN THE ROLE OF \"MEROPE\"", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 29, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 596, "texte": "CARICATURE BRA WIJVG OF MLLE. GEORGES IN THE ROLE\nOF \"MEROPE\"\n\nAlfred Edward Chalon (zySo-1860) made this drawing in pen and water-colour of Mile.\nGeorges and David in 1820: it is now in the Victoria and Albert Museum, London.\nMr. Martin Hardie, the keeper of drawings and prints, has kindly allowed us permission to\nreproduce it. In 1820 Mile. George was thirty four years of age. The design is inscribed\n'' Mile Georges et David \" and \" La Mere-ope et sons fils David, 1820 Presumably some\nfun is intended in the three words La Mere-ope — 14 Merope but where the joke lies\nis not evident to us."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c025", "article_bluemountain": "bmtnaau_1927-04_01#c025", "volume": "bmtnaau_1927-04_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": 29, "image_fin": 29, "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=bmtnaau192704-01.2.15.1", "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": 29, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.29", "debut_caractere": 613, "fin_caractere_exclue": 621, "texte": "Plate 9."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c026", "article_bluemountain": "bmtnaau_1927-04_01#c026", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "67", "page_fin": "68", "image_debut": 31, "image_fin": 32, "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=bmtnaau192704-01.2.16", "titre_corps": "THE CENSOR AND POOR IAGO", "titre_sommaire": "THE CENSOR AND POOR IAGO", "signature_source": "X. Y. Z", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 31, "page_imprimee": "67", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 4122, "texte": "THE CENSOR AND\nPOOR IAGO.\n\n** We've just come from the country, Mr. Maynard,\nWe've just come from the North\nAnd we d lifee a nice engagement, Mr. Maynard,\nFor the purchasing of beans and broth\nTHIS song was written by neither Comstock\nnor Shaw. I am not certain about the\nlast line of the ditty. It was to purchase\nsomething which rhymed with North not\nFame, nor the Keys of Heaven, nor a motor-\ncar for the wife; nothing at all expensive, it\nwas something quite necessary.\nThey who sang this song were two bro-\nthers, I forget their name ; and I forget whe-\nther they got their engagement but this is how\nthey set about it. Mr. Maynard was an\nagent, and the two brothers, serious actors, I\nbelieve, before going in to see him entwined\ntheir arms in the old orthodox pas-de-deux\nfashion, had the door flung open, and entered\ndancing, and singing this preposterous ditty,\nconvinced that this sort of thing would wake\nup the bored Mr. Maynard to some sort of\naction. It was an actor, 1 believe Mr. Cooper\nCliffe, who told us the story one evening in\n1896 in a dressing room on the 3rd floor at\nthe Old Lyceum.\nI remember the tune. Since that evening\n1 have, I know not how many times, found\nmyself singing it—always in the most serious\nmoments always wondering what Mr. May-\nnard's face was like, and always convinced\nof the sound common sense of the two bro-\nthers who still compel my admiration.\nYes \" we want a nice engagement, Mr.\nMaynard\".... Now, Messrs. Comstock and\nShaw remind me just a little of these two.\nThey too wanted nice engagements, but ne-\nver were they half so engaging as the two\nbrothers. Those inhuman actors evidently\nloved their foolery better than their salary,\nand I think it is about time (and quite the\nright period) to put up a statue to them,\narms entwined, smiling debonaire in the 2nd\nposition, and on the base of the statue these\nwords\nTO TWO UNKNOWN ACTORS\nWHO WANTED\nA NICE ENGAGEMENT.\nMr. Comstock and Mr. Shaw never\nwanted an engagement for long. Although\nthe mask is in the end mightier than the pen,\nthe pen in the hands of a good Puritan can\ndo far more mischief. Not that Comstock\nand Shaw wanted to do that: their aim was\nalways to do good. Blushing being, gene-\nrally, excluded from their programme, they set\nabout winning fame openly. The one attacked\nthe wicked actors, the other went for the\nwicked playwrights.\nThey were alike in one particular.\nBoth loved the Censor.\nIt seems to us a strange thing to be able\nto say that Shaw could tolerate the Censor,\nbut it is clear that, had he lived in the age\nof Congreve and Wycherley, he himself would\nhave become the Censor.\nLiving and writing his plays in our day,\nhowever, he fell foul of the Censor. The\nCensor was a man of the world and Shaw\na reformer of it. Naturally reformers have\nto be censored more carefully than any other\nmore ordinary men. In correcting the vices\nof the age, the reformers are apt to forget\nthe first thing in any programme of reform—\nthemselves. There Mr. Comstock and Mr.\nShaw were altruists: in all else egoists.\nLike Falstaff they would banish all the\nworld but not plump Jack.\nIt seems to us a strange thing to be able\nto picture Comstock and Shaw as a couple\nof fat knights; but I take it Comstock is like\nthe old Fellow gone thin, and Shaw, as can\nbe seen any day from that immortal drawing\nof him made by Mr. Lowe, (!) is, round\nthe eyes, the mouth, and nose, all Falstaff.\nBut Falstaff with a purpose. lago posing as\nFalstaff.\nNot that Shaw would \" stab men in the\ndark\": he would be more likely to drop a\npurse of ducats in their pocket and then shout\nfor the B3 Branch of the Society for carrying\ndrunken men to Hospital, tip them well, and\ngo home and write an article attacking that\nSociety as incompetent and venial.\nWhat I mean is that Shaw puts on the\nFalstaffian way to hide the awful direness of\nhis purpose. The tragedy of lago is that lago\nfelt too keenly, and could not write letters\nto the Cyprus Daily Chronicle.... was always\nboasting of more than he dared do and so\nwas obliged to do whatever he daren't do,\nin the dark.\n\n(i) Published a few mouths ago in 14 The New Statesman'"}, {"page_pdf": 32, "page_imprimee": "68", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.32", "debut_caractere": 0, "fin_caractere_exclue": 4123, "texte": "* *\nOthello being dark and noble in a brutal\nway, lago, emulating him, hoped that, by\ngetting into the dark, he too might suddenly\ncarry on in a noble brutal way.\nShaw has the double appearance of lago\nand Falstaff: so much so that some years\nago, on reading lago when preparing the\nplay of Othello for the stage, 1 noted down\nthat honest lago was to look like Shaw: the\npink skin was to be seen through the rather\nreddish beard: the assumed jollity was to be\nobviously assumed; he was to be an uncom-\nfortable man of limited intelligence going at\nfull steam ahead all the time. He was to\nbe looked up at by all the supers, the sol-\ndiers, the servants; nobodies like Rodrigo\nwere to take him for somebody and show\nit plainly. Only were Othello, Desdemona,\nCassio, Brabantio, to be almost unaware of his\npresence.... only were Othello and Cassio\nto be aware of it as they became nobodies.\nEmilia was to know him and to give him\naway to us from the very first.\nAnd he was to smile on and on with\nhis teeth showing, and he was to strut with\nthe nape of his neck much in evidence,\nupright;—big boots, nothing comely at his\nwrists or neck,.,. Jaeger, I thought: he was\nto have a voice which suggested a man suf-\nfering from some physical pain which he\njauntily pooh poohed. There was,—and I\ncan't make this out at all—there was to be\na touch of Bram Stoker about him. All\nIrishmen are not alike, but I suppose there\nwas something akin between Stoker and Shaw.\nI think it was the cheery Irish voice, and\nsomehow, in both, it seemed a little forced,\nthat cheeriness.\nI am wondering, can Comstock be Irish?\nI doubt it; yet it is possible : possible too\nthat his voice is a forced one, his whole at-\ntitude put on ....more than likely he loves\nhis Congreve dearly and regrets that Wy-\ncherley is so seldom staged even by amateur\nsocieties.\nShaw and Comstock are not really Fal-\nstaffian, not real lagos at a11.... not even real\nCromwells in mufti. They are the leaders in\nthe Censor business because they are the two\nmost awkward men of the age. They were\nstanding in the crowd and got shoved forward\nto the head of the procession in this Masque\nof Awkwardness which was produced by the\nold Furitanical tidal wave of cold water which\nnowadays is not asked to come along with\nits ancient tidal force and fuss because, now-\nadays, we all have our own baths and use\nthem regularly.\nDiscovering themselves at the head of the\nProcession in this Masque of Awkwardness,\nComstock and Shaw did their best, and it\nmust be admitted they excelled themselves.\nMore than any other men on earth, Shaw\nand Comstock have made it difficult for the\nCensor to retire. No sensible men or women\never before worried about the power of im-\npropriety, since impropriety is but the reverse\nof propriety and both are with us and will\nbe and have been, even as radishes and\nwatercress, cups and saucers, noughts and\ncrosses, have been with us. Some will use\na radish who have no use for a cress; you\ndrink your tea out of a saucer, I may drink\nmine out of a cup, others out of both.\nWe are and always have been fools, and\nShaw and Comstock are no wiser than we,...\nwe even consider them stupider. It is foolish\nof them, we think, to do as we don't. If\nthey attacked the Censor instead of the im-\nmorality of plays, we should hate them be-\ncause we don't do so.\nWe hate all that isn't just what we all love.\nLook at us when two young men or two\nyoung women or a young man and a young\nwoman become friends. We bristle;—why?\nBecause we are fools, and folly has been\npopular and is made more and more popular\ncentury by century.\nWe take no steps to make sound sense\npopular. We kill artists; why?—because\nwe are not artists. We hate lovers because\nwe are out of love. We suspect good verse\nand prose because we cannot write it. We\nlook a new dress up and down, and sniff\nbecause we haven't bought it.\nWe scream about plays in which naked\nwomen appear because we are dressed up,\nand daren't undress: we fume —we flaunt\nand we flourish.\nOne flourish begets another. Which ac-\ncounts for many things which have flourished\nand still flourish in the Theatre,\n\nX. Y. Z."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c028", "article_bluemountain": "bmtnaau_1927-04_01#c028", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "69", "page_fin": "70", "image_debut": 33, "image_fin": 34, "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=bmtnaau192704-01.2.17", "titre_corps": "PICTURE BOOKS", "titre_sommaire": "PICTURE BOOKS", "signature_source": "FELIX URBAN", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 33, "page_imprimee": "69", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 4423, "texte": "PICTURE BOOKS.\nBY FELIX URBAN.\n(I)\nPICTURE books are so easily read, and I\nfear this is the reason why I like them so\nmuch. Here are five good ones.\nThe first is a scholarly Picture book—for\nMr. Campbell Dodgson has important things\nto tell us about Albrecht Diirer (2) now that\nAlbert Durer has gone to America.\nDiirer's etchings and woodcuts when col-\nlected together always make a fine Picture-\nbook, even without any text; but the text to\nthis Catalogue raisonne by the Keeper of\nPrints and Drawings of the British Museum\nis the last word on the subject—and the sub-\nject is the metal plates.\nI, as a dramatic critic forced to sit out\nperformance after performance in the Theatre\nof my native town of Sheffield, often turn to\nDiirer as a relief, wearied to death by the\nungainly, inexpressive, fatuous and floppy\nattitudes taken by the actors who put on the\nrobes of Thespis—Greek or Roman or Shakes-\npearean :—who play in what (for some rea-\nson only known to our theatrical profession)\nare known by the name of \" costume pieces \" :\nbored when 1 see the same old gestures, the\neternal three-quarter-front pose of Macduff as\nhe asks \" Stands Scotland where it did \",\nhis hand on hip passing anon to arms crossed\non breast: grieved and wearied as 1 see him\ndoing just as every other Macduff has done\nfor the last forty years ; 1 then return home\nand take from its shelf my Diirer picture book\nand I realize how litile the actors of our land\nunderstand the practical use that these Picture\nbooks could be to them.\nIt seems they cannot derive from the work\nof the masters. On the other hand they can\nderive from Theatrical prints, and thus \" The\nHistory of Harlequin \" by Mr. Cyril W. Beau-\nmont (3) will be of more use to them than the\nbook on Diirer.\nBefore I leave Diirer may 1 ask the scho-\nlars, the connoisseurs, and the other knowing\nmen of the Engraving world, how it is that\npublishers who are only too eager to issue\nmonographs which shall sell as well as instruct,\nare year in and year out denied the chance\nof issuing a book of the Etchings of Jacques\nCallot? Diirer, Mantegna, Pollaiuolo, Barbari,\nCampagnola, Altdorfer, Rembrandt, these are\nthe fellows about whom the art critics are\neternally persuading publishers to issue one\nmore book.\nWith all the greatest respect to the seven,\nI am heartily sick of them. I want Callot,\nand I know hundreds of others who want\nCallot, and damme if anyone will give us\nCallot, and this the year 1927 and he buried\nas long ago as 1635.\nCallot is every whit as great a master\nof engraving as Diirer and about three times\nas lively and eight times as delightful—and I\nrepeat this is the jolly year 1927.\nI appeal to Mr. Dodgson to do the right\nthing and give us a complete illustrated mo-\nnograph-catalogue raisonne and all, with\n\" every known work of the master illustrated \"\nof Jacques Callot, Frenchman, 1593-1635.\nSuch a picture book would do more to\nrevive the art of engraving—to cheer the\nnation—to awaken the Theatrical profession—\nand to satisfy the public than all the mono-\ngraphs on these other artists will do.\nIf too busy to do the work himself Mr.\nDodgson will be in touch with many an Ita-\nlian or French critic who knows his Callot;\nand out of these could select one to do the\nwork—to introduce Callot as he deserves to be\nintroduced to our public; properly—completely.\nMr. Beaumont has reintroduced Harlequin\nto us, and when he issues a cheaper edition\non plain paper and with less swaggerness the\nPublic will come to know him.\nMr. S. Sit well seems to have nothing to\ndo, so why doesn't he become a publisher\nand issue these things for the Public? Al-\nready he has the knack of writing prefaces ....as\nthis volume proves. THE SITWELL PRESS,\n....books at one shilling to five shillings no-\nthing more costly ....strikes me as quite a notion.\nMr. Beaumont should not be allowed to\nspoil us : it must cost him a terrible amount,\nand he has something else to do.\nHe loves these things and he gives his\nlife to them because of that,—an awful mis-\ntake. The mistake—and let us make no mis-\ntake here—is not; Mr. Beaumont's : it is ours :\nour fault and Mr. Sitwell's, and the fault of\nall the other wealthy amateurs. We too\n\n(1) Mr. Urban wrote in \" The Mask Volume IV, on\nthe value to actors and workers in the Theatre of the study\nof the Old Masters.\n(2) Albrecht Diirer by Campbell Dodgson.\n(3) Issued by Mr. Beaumont at 76 Charing Cross Road,\nprice £ 2.2.0."}, {"page_pdf": 34, "page_imprimee": "70", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.34", "debut_caractere": 0, "fin_caractere_exclue": 4392, "texte": "easily take a seat in Beaumont's cosy corner,\nand are too blind to endeavour when we\ncome across it; take it to be a fad and Mr.\nBeaumont a dilettante.\nMr. Beaumont's cosy corner is quite the\ncosiest I have ever sat in. Some of you may\nnot know it. It consists of one.big, dilapi-\ndated, but very comfortable arm chair. It is\nin the only corner in his otherwise draughty\nshop in Charing Cross Road,«. No. 75, by\nthe way.\nThe shop consists of two rooms packed\nfrom floor to shelf with books; —books also\nfill up every available space, and it is with\nthe utmost difficulty you steer your way in\nand out of this storehouse.\nBut, while I could linger for a long time\ndescribing the several peculiarities and plea-\nsant things in this workshop of this enthu-\nsiast—a practical enthusiast, too—I must not be\ndiverted by anything, for what I want to stress\nhere is the mistake of it all.\nDownstairs Mr. and Mrs. Beaumont print\ntheir books on their handpress, publish and\nsell them.\nNow the mistake we make is to be blind\nabout this same Beaumont press. What is\nit ? We guess and guess, and, not daring to\nask, we size it all up as follows :\nIt is all a pose.\nDo not mistake my meaning, I beg of\nyou. I mean that the appearance of being\nfrightfully hard up is a pose : of being re-\nduced to two or three rooms, working more\nor less unaided without capital.\nEither all this is a pose, or Mr. Beaumont\nis a very remarkable fellow, and the sooner\nwe one and all see to it that his work is\nbacked by some proper financial backing the\nbetter. Now Mr. Sitwell might rouse up\nand establish a place where all the books\nthat we want and that no one will give us\ncan be planned out, set up, printed and bound.\nWhy leave all the pluck or the pose, which-\never it is, to the Beaumonts—and all the\ntrue laurels. Why ? ....because it has never\noccurred to people who have nothing to do\nthat some people have too much to do, or\nthey'd never sit by and watch them tripping\nlike Harlequin along so erectly, so gallantly.\nNot that Mr. Beaumont strikes a spangled\npicture. His is one of power. This I put\nto all young and fairly well-to-do young art\nconnoisseurs of the day.\n€J Some of the most entertaining and most\ninteresting Modern Picture Books are issued\nby \" The Studio \".\n\" Posters and Publicity \", the Autumn\nnumber of the \" Studio \" for 1926, and\n\" Art and Publicity \", the Autumn number\nfor 1925, contain advertisers' designs from\nFrance, Holland, Switzerland, Germany, Eng-\nland, Italy, and America There are about\na hundred of them reproduced in colour, and\ninnumerable quantities in black and white.\nI would sooner sit and look at these ad-\nvertisement designs than I would read most\nnovels, or visit most cinemas or picture gal-\nleries. The experience is refreshing.\nMuch of the English work is decidedly\ngood and will surprise and delight anyone\nwho cares to discover it for themselves.\nSome of Mr. D. Percy Bliss's woodcuts\nfor \" The History of Rasselas \"(2) are as good\nas his best work, which is to my mind par-\nticularly good ; but some are as bad as his\nworst. Bliss is one of the lively English\nwood-cutters :—they are rare. When an Eng-\nlishman enters this field he very often feels\ngrave and dignified, and so his work is apt\nto become rather dull. Not so Bliss. Bliss\nis serious and so he is gay :—but he must not\ndo too much work. He had far better have\ndone four to six designs for this \" Rasselas \"\ninstead of the dozens he has done ; and some\nof his full page plates are decidedly a failure:\nthey are actually lifeless in parts, and that is\nsomething I had thought impossible in Bliss.\nIf a picture book has a lifeless spot in it,\nit wearies us far more surely than does a life-\nless piece of writing, for the attraction and\nrepulsion is far swifter to act upon us.—Like\na light going out, a dull picture leaves one\ndesolate.\nBy the way how packed with pictures is\nthat beautiful book by Miss Elinor Wylie,\n\" The Venetian Glass Nephew \"(3>. What\npictures !—what a picture book ! ! I see that\nHeinemann later brought out this book of hers.\nBut how is it the scouts of the publishing\nworld in London are so sleepy that they did\nnot long ago spy these' exquisite works and\ntell their employers of them ?—So often two\nor three years behind everyone else :—it is\ntoo bad on our public.\n\n(1) The Studio: 44 Leicester Square, London.\n(2) J M. Dent & Sons. Price io/6 net.\n(3) Heinemann. Price 7/6."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c029", "article_bluemountain": "bmtnaau_1927-04_01#c029", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "71", "page_fin": "73", "image_debut": 35, "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=bmtnaau192704-01.2.18", "titre_corps": "FIVE BOOKS", "titre_sommaire": "FIVE BOOKS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 35, "page_imprimee": "71", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.35", "debut_caractere": 0, "fin_caractere_exclue": 4241, "texte": "FIVE BOOKS.\nTHEATRE ET MUSIQUE MODERNES EN CHINE\nTHERE is this that can be said at once for\nthe Chinese Theatre, it photographs\nbadly.\nThe Japanese stage poses better.\nI have visited neither Japan nor China so\n1 have seen no performances of either of the\ntwo stages. What I have read of the Japa-\nnese stage takes my fancy quickest. But that\nagain is to say something in favour of the\nChinese.\nTheir stage is less tidy and more Italian:\n1 suspect their taste to be not as faultless,\nnot as immaculate, as the taste displayed in\nthe shop windows of London, Paris and Ber-\nlin ; certainly it is not comparable with the\nsame taste which the English hostess displays\nin her drawingroom.\nSo the first point is won by the Chinese.\nAs for books on the Chinese Theatre,\non the Japanese Theatre, and photographs,\nall these are very deceptive. In Ame-\nrica there is a theatrical photographer who\ncan make even a paper model for a scene\nlook like something built of stone in the open\nair. Altogether unreliable is a camera in the\nhands of the crafty. Its raison d'etre was to\nlay bare truth, whereas it is today in league\nwith those who wish to take in the public :\nit is no longer itself. I don't object, but it\nhas obviously capitulated.\nSo the bad photos of this book by M.\nGeorge de Morant delight me. I edge nearer\nto the study of the Chinese Theatre; 1 shift\nfurther away from the Japanese stage, but\nwith a copy of the No plays in my pocket.\nAnd I shall return some day to write of de\nMorant's book if only to linger to write some\npage or two on the first line of his second\nchapter : \" Tout acteur ou actrice, en Chine,\ndoit jouer, chanter et danser... \".\nDidst thou hear that, dearly loved old\nBritish actor ?... \" must play, sing and dance \"\n.... \" every actor and actress must .... \"in\nChina \".\nSounds reasonable, does it not ? or is hard\nwork all High-brow nonsense? ....\" doit jouer,\nchanter et danser \" : .... Mon dieu ! aliens\nau Cafe de la Regence tout de suite!\nTHE CHINESE THEATRE .\nWITH four coloured drawings (not prints,\ndrawings on silk), by Chinese students,\nthis rather costly, luxe book comes to tempt us\nand we all harrassed to death by foolish\ngoings on in Hankow or Canton or where not,\nover there in that same China, where, says\nMr. Zucker sententiously, \" the actor has at\nhis command consummate skill to hold the\nmirror up to life ; he is no less of an artist\nthan his occidental colleague\nOne is tempted again; .... this time to\nclose the book as one murmurs \" is that all? \":\nbesides, it makes the \" occidental colleague \"\nlook such a fool.\nOther books claim more for the Chinese\nstage than this one, and some day I hope to\npay longer and more serious attention to the\nseven or eight important books on Eastern\nTheatricals than I have as yet had time\nto d 0.... and even write one myself.\nThese days one has time only to miss all\nwhich counts because we have to get a\nlittle exercise so as to keep well, and this\nwe get by jostling in the street. The moun-\ntains are too far off and the lanes too damp,\nand besides, even were they brought to our\ndoors they would have to wait for the things\nwhich don't count yet which have to be seen\nto polished off and then the day is over. -\nSo China can wait while her occidental\ncolleague is being served first and worst. 1\nnever understood how it is that the old pagan\nChristian truth, \" He that is first shall be\nlast \" is no longer listened to by those na-\ntions which pride themselves on their sound\ncommon sense, their foresight and their level-\nheadedness.\nThe \" group of nations \" I refer to is that\nwhich is better known as the Empire of the\nNewspaper. For when no longer power is\non the increase we may, 1 believe, say there\nis a leakage somewhere, and then, sooner or\nlater, comes the panic; and if it take ten\nhours, ten years or a century to scuttle, all\nis one; \"He that was first has become\n\nTheatre et Musique Modernes en Chine. G. Soulie de\nMorant. Librairie Paul Gauthner, Paris, Price Frs. 200.\n/The Chinese Theatre by A. E. Zucker. Jarrolds.\nLet's go to the Pictures, by Iris Barry, Chatto & Windus.\nPrice 7/6.\nJulia Marlowe, Her Life and Art; D, Appleton & Co.\nPrice Dollars 5.00*\nConfessions of an Actor, by Jack Barrymore, Robert\nHoldep & Co. Price 10/6 net."}, {"page_pdf": 36, "page_imprimee": "72", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.36", "debut_caractere": 0, "fin_caractere_exclue": 4173, "texte": "last and, to vary the second verse, \"he\nthat was last and is now left will be damned\nif he'll push\nLET'S GO TO THE MOVIES.\nYES, China can wait whereas Cinema can't:\nbesides, who would keep Miss Iris Barry\nwaiting. She has something to say about\n\" the paucity of dramatic invention of the\nfilm-makers \", the tag of \" the false and silly\nconvention \" of the mid-Victorian period\n\" that it paid to be good \" \" which of all\nthings is the most horrible \" she adds.\nI wonder if the Cinema is losing more\nground and more money than ever I suspec-\nted : that horror about \" pay \" which horri-\nfies Miss Barry seems sincere enough.\nIt reminds me of the kind of talk young\nstudio people used to talk about thirty years\nago this little old-fashioned contempt for\nwhat pays, be it the good, the bad or the\nindifferent, is so like our attitude of thirty\nyears ago, ie, in the Victorian era.\nNowadays, as so many of Miss Iris Barry's\nwords show, we are indifferent or contemp-\ntuous to all powerful things and have become\nregular boomsters of all that is weak, all that\ncannot wait.\nThis is not what we can call \" Christian\ndregs \". I suppose it cannot be that. Let\nme quote the whole passage from Hammond\nChickling's famous book:\n\" The vice of today that horrible\n\" passion for display to cover emptiness.\n\" Kindness gone mad discernment with\n\" mud in its eyes the brawny young woman\n\" employed at £ 10 a week to boom the\n\" weak, the paltry and the inane in terms\n\" of the best and the strongest, what is this\n\"do you think? You take it and her to be\n\" vice personified you see in her a vampire,\n'* a horrible advanced something which\n\" you cannot even find a name for, you\n\" picture her and what she represents as\n\" something new it and she are but Chris-\n\" tian dregs\nNo, no, no, do not tell me that charming\nMiss Iris Barry is that that she is merely\na little sentimentalist who \" won't cry\": tell\nme that she is better than the snapshot makes\nout; that this twisted body with its distorted\nface on top grinning is not Iris Barry\non board the ' Aquitania '; that this other\nsnapshot, Miss Barry at the Ritz is a terrible\nlibel on her that she positively is a woman\nlike every other Miss or Mrs. and merely\nfooling the camera, the films, and the men\nwho pay her to write them up. Let me\nbelieve that she is a typical girl of com-\nmonsense, then I can count on getting on\nto the study of the Chinese theatre in about\ntwo or three years. But if you tell me that\nthis is Miss Iris Barry, this hurried snapshot\nof a real being, and that she is typical of\ntoday, and that this Cinema is the Cinema,\nthen of course you are asking me to believe\nmore than I will believe.\nLet us not go to these movies :—let us\ngo to the rival show.\nJULIA MARLOWE, HER LIFE AND ART.\nOR rather let us read about Miss Julia Mar-\nlowe and see what it was that led to the\nadmission of that swarth Childe, Prancing Nig-\nger, into the Dark Tower.\nMiss Marlowe was and is a beautiful\nwoman and a beautiful actress. Would that\nthis alone had been enough to save the whole\nstage of America from disaster. The tale\nshe tells shows that the actress believed\nit sufficient, and if there were five hundred\nmore such actresses something nearer achieve-\nment would result.\nWe should be in something like a posi-\ntion to advance rapidly, so that prancing\nnigger may take the floor, have its cake and\nwalk on it. It is taking thirty to forty years to\nmake us stir half an inch, but the enemy have\nthat advantage, .... we are being pushed back.\nIt is because certain men and women like\nJulia Marlowe realize this that they make\nsuch heroic single attacks all out of order\nand all leading to nothing. Heroic and futile.\nWhat was to have been done in 1900\nstill remains to be done. First united belief\nand then a united agreement to advance on\nthe one and only right road and in order.\nAll else is fantastic dream. Why has it\ntaken us twenty-seven years to see this ?\nFrom Duse to Miss Marlowe the whole\nline was waving its arms beautifully, but\nquite ignorant of what the difficulties were\nwhich beset them, their lovely personalities,\nand their immense talents and the rest of us.\nThey waved cried laughed, and\nwere swept away."}, {"page_pdf": 37, "page_imprimee": "73", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.37", "debut_caractere": 0, "fin_caractere_exclue": 1068, "texte": "The stage, battered, betrayed occasionally\nby percentage hunters who are inside its\nwalls, still remained where it was ; and in\nthe Citadel are those who know what is\nneeded.\nWhen will the troops the artists\nthese performers, wake up and learn disci-\npline and fidelity to that citadel of the stage ?\nTo an idea a cause, and be damned\nto a little personality. Till they are ready\nto learn nothing can be done ; each \" doit\njouer chanter et danser \" to begin with\nAt least fifteen years work if you begin\nat the age of five, and during that time perhaps\nthere are other things to learn, not so showy,\nbut valuable to discipline.\nCONFESSIONS OF AN ACTOR.\nSTILL, Jack Barrymore confessing is a delight;\nhe has practically nothing to say; he\nis as good as gold. What a boy! saying\nnothing perfectly; he can draw well too, and\nstage-manage and make a speech, and do\nlots of things. 1 don't know of any book by\nan actor that I like better, for I know none\nso modest or told with greater sweetness.\n\nAnd now how about a little work or is it still too\nearl y ? Yoo~ No~ I Joo,"}]}, {"article_id": "bm-bmtnaau-1927-04-01-c030", "article_bluemountain": "bmtnaau_1927-04_01#c030", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "73", "page_fin": "73", "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=bmtnaau192704-01.2.19", "titre_corps": "FROM A SENSIBLE LONDON JOURNAL", "titre_sommaire": "FROM A SENSIBLE LONDON JOURNAL", "signature_source": "HILDA TREVELYAN THOMSON", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 37, "page_imprimee": "73", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.37", "debut_caractere": 1070, "fin_caractere_exclue": 1650, "texte": "FROM A SENSIBLE LONDON JOURNAL.\nHILDA TREVELYAN THOMSON.\nI\nSoft as a gathered flower falls\nWhen lightly thrown,\nSo lies the hand of my dear love\nWithin my own.\nII.\nAs petals of the palest rose\nHer fingers white,\nThe faint sweet fragrance of her palm\nIs love's delight.\nIII.\nLife sleeping flowers, the fingers close\nI k*ssed apart.\n. ... In that soft, secret hiding-place\nIs hid my heart.\nIF Hilda Trevelyan Thomson had written of his hands,\nhis palm, it would have been more ordinary, I admit;\nbut it might have:\nfirst, had a very bad influence ;\nand secondly, done a lot of harm."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c031", "article_bluemountain": "bmtnaau_1927-04_01#c031", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "73", "page_fin": "74", "image_debut": 37, "image_fin": 38, "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=bmtnaau192704-01.2.20", "titre_corps": "\"ONLY\" : A NOTE BY C. G. SMITH", "titre_sommaire": "\"ONLY\" : A NOTE BY C. G. SMITH", "signature_source": "C. G. SMITH", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 37, "page_imprimee": "73", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.37", "debut_caractere": 1652, "fin_caractere_exclue": 3259, "texte": "\"ONLY\"\nA NOTE BY C. G. SMITH.\nA writer living in Pekin reports to an Ame-\nrican periodical that there is a remarka-\nble Chinese actor called Mei-Lan-Fang(I)\nwho performs, as did the Elizabethan, the\nprincipal female roles.\nHe writes of this young actor that he\n\" deserves all his fame \", and proceeds to\ntells us something (by now quite familiar to us) ;\ni.e., that the conventions of the Chinese Thea-\ntre are much like the Elizabethan,—scenes,\nmake-believe and all. \"It is necessary only\nto walk about a little and to go out by the\nleft hand door und reappear immediately\nafterwards through the right hand door to\nmake it clear to the spectators that the scene\nis changed \".\nNow linger a moment round that word\n' only \\\n\"It is necessary only to walk about a\nlittle \" etcetera. \" Only i.e., that is all\n... no more than that, i.e., practically nothing.\nNow it is not possible to make a more\nmisleading suggestion to the western stage\nthan that this walking about a little is a mere\nnothing, for it is acting.\nThe westerner holds that acting ends\nwhere the scenepainter, carpenter, and gene-\nral effect maker are told to bustle; that if a\nproper scene is set up representing castle walls,\nor a room in a palace, an actor can then come\non and do the rest—it having been half done\nfor him before he enters. The westerner is\na very easy-going pleasant creature to let the\nactor off so easily, and to be satisfied by\nsceneries and effects which belong by rights\nto the Toy theatre or the Peepshow. And\nthe western actor has been quick to avail\n\n(i) Mri-Ran-Fan according to Miss Zoe Kincaid (Kabuki:\nMacmillan),"}, {"page_pdf": 38, "page_imprimee": "74", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.38", "debut_caractere": 0, "fin_caractere_exclue": 3109, "texte": "himself to the full of the indulgence the\nplaygoer has shown him.\nAnd a fine state of things has been\nbrought about by this all-round eye-winking.\nIn Europe we hear so much too much\ntoday about the poor actor who is suffering\nunder the tyrannical usurpation of his stage\nby producer, scenic artist, light-effecter and\nthe rest. While listening to the outcry we\nwatch the actor silently protesting with a\nquiet shrug of the shoulders that he is no\nlonger allowed to be the king he once was\nof his own boards. What does the gesture\nreally mean ?\nDoes it mean that he wants to he master\nof plays so as to cut them: of scenes to vul-\ngarise them ; of lights to focus them on himself?\nIf so, then all is still in the realms of hum-\nbug.\nOr is he perhaps truly grieved ? Does\nhe really want to do the whole trick unaided ?\nTo come on to a bare platform and show\nthat he can positively make us feel that he\nis in a forest or before castle walls; that he\nis the hero coming back disguised as a shep-\nherd ; that this is the threshold of his old\nhouse, and that that is a dog which is bounding\ntowards him and now fawning and licking\nhis face and leaping up and throwing him\nback. Does he really want to do the whole\nthing, to be the real actor ?\nIf so, away with all scenes, remove the\nlime lights and silence the effects. Let\neveryone stand back, clear the stage; get\nout of the playhouse, and let the actor come\nonce more to his own for he has at last come\nto his senses.\nLet him but show us that he is able to\ndo this—to act a scene into existence, and\nwill not Appia, will not Roerich, will not\nStern and the shade of Bakst rejoice, and go\ninto the stalls and forget all their old non-\nsense and enjoy the immense spectacle—the\nactor alive again ?\nBut the truth is he is more or less dead\nand it's because of this and for no other\nreason (and let there be no mistake about\nthis) that the theatre has had recourse to sce-\nneries and lightings and to producers—to\nstage-managers—to every possible means by\nwhich the actor can be propped up.\nAnd it's been a difficult enough business\nthese last hundred years or so getting all\nthat bric-a-brac into shape; to make some-\nthing in some way approaching distinction\nout of the cardboard and the papier mache.\nIt has been very difficult indeed, and\nthe man for whom it has been done, the\nactor who would shirk half his task, he is\nthe very one to complain—perhaps it was to\nbe expected.\nThese artists who came to his help, who\nliterally propped him up with their sceneries\nand trappings, are now told they are usur-\npers.\nLet these artists but leave him, and un-\npropped he will fall to the ground ; for he\nhas no longer the knowledge of what it means\nto act. Perhaps the Chinese stage can instruct\nand convince him where he lacks knowledge\nand faith. Who is there who will not be\nready to welcome the true actors the day\nthey appear strong at all points.\nBUT to think that reporters visiting the East,\nshould write back to the West and tell\nus that it is \" only necessary to walk about\na little to make it clear to the spectators that\nthe scene is changed \". . . . only!"}]}, {"article_id": "bm-bmtnaau-1927-04-01-c034", "article_bluemountain": "bmtnaau_1927-04_01#c034", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "74", "page_fin": "74", "image_debut": 38, "image_fin": 38, "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=bmtnaau192704-01.2.21", "titre_corps": "A WARNING TO ARTISTS : A Dishonest Agent", "titre_sommaire": "A WARNING TO ARTISTS : A Dishonest Agent", "signature_source": "DIDDLED", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 38, "page_imprimee": "74", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.38", "debut_caractere": 3111, "fin_caractere_exclue": 4417, "texte": "A WARNING TO ARTISTS. A Dishonest Agent.\nDIDDLED.\nNOT one who swindles you out of £ 100,—that is but\na peccadillo and perhaps the result of sheer stupidity\nor poverty. I forgive him.\nThe kind of agent I call dishonest is the man of\nsome education who comes to you with the proposal cf a\ngentleman saying he would like to arrange something\nto forward your work in Europe or America; and who,\nwhen you give him the permission to try, returns home\nand, on the strength of his visit to you, establishes rela-\ntions with hundreds of wealthy or influential people he\nwould never have come to know unless he v/ent to them\nunder cover of your name, and yet does nothing for you.\nAchieves nothing,\nA year or so later you learn that, through his coming\nin touch with these wealthy and influential people, he has\nbegun to do something not for you but for himself. You\nmake enquiries and you find out that what he is doing is\nin a Theatrical line, and more or less on the lines you\nhad sketched out: he has begun at the point at which you\ntold him lie could open negotiations on your behalf, he is\nsupported by the men he went to in your name.\nI have known several such men.\nOne was a Dutchman, the others were Americans.\nTheir act can not be called a peccadillo : it is a delibe-\nrated swindle.\nI do not forgive them."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c035", "article_bluemountain": "bmtnaau_1927-04_01#c035", "volume": "bmtnaau_1927-04_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": 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=bmtnaau192704-01.2.22", "titre_corps": "THE ROYAL COBOURG THEATRE, LAMBETH", "titre_sommaire": "THE ROYAL COBOURG THEATRE, LAMBETH", "signature_source": "Schnebbelie", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 39, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.39", "debut_caractere": 0, "fin_caractere_exclue": 185, "texte": "THE ROYAL COBOURG THEATRE, LAMBETH.\nAs first opened, May 11th 1818.\nFrom an Engraving by Stow of the drawing by Schnebbelie, R. R.\nFor further description see Editorial Notes.\nPlate 10."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c036", "article_bluemountain": "bmtnaau_1927-04_01#c036", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "75", "page_fin": "75", "image_debut": 41, "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=bmtnaau192704-01.2.23", "titre_corps": "ON ACTORS", "titre_sommaire": "ON ACTORS", "signature_source": "EDMUND DE GONCOURT", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 41, "page_imprimee": "75", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.41", "debut_caractere": 0, "fin_caractere_exclue": 4049, "texte": "ON ACTORS.\nBY EDMUND DE GONCOURT\nTHE GONCOURT BROTHERS CALL IN AUGUST 1865\nON THE ACTOR M. BRESSANT WHO IS TO PLAY\nIN THEIR PIECE \" HENRIETTE MARSHAL\n1865. August 28. No. 30 Rue du\nPetit Pare, Avenue de l'lmperatrice. Is M.\nBressant<2) at home ? We were ushered by a\nservant into a room full of paintings by Bonvin\nand Wattier, &c., including a large dark\nportrait of Bressant, representing the actor in\nhis young days, a picture in which the gloo-\nminess of the tints and the fatalistic expression\nof countenance suggests the sinister apparition\nof a Hamlet such as Scribe might have de-\npicted....\n\" Bressant came in and began by refusing\nto play the role. He said that all the other\nparts are superb, relegating the one we of-\nfered him to quite a secondary position; he\npleaded the fact that he had not acted for\nsome time, and that he wished to create\nsomething.... Then as we rose to leave, and\nexpressed our regret, he exclaimed that he\nwould like to oblige us, admitted the possi-\nbility of his having glanced through the part\nsomewhat superficially, promised to re-read\nit, and see whether anything could be done !\n\" I begin to realise that actors are actors\nin home life. It is their custom to begin with\na refusal, they like to be pressed, and to\nappear to reconsider their decision. I feel as\nif I were on the threshold of diplomatic So-\nciety, where the part of the actor is to hide\nthe desire he feels to undertake a certain role,\nand whose histrionic powers are brought into\nplay for that object, and strengthened by the\nfear lest the part should be offered to another.\n\" We next call at No. 32 Rue du Petit\nPare on Delaunay (3). Thierry(4) told us that\nin his case everything was settled, so the object\nof our visit was merely to thank him for ha-\nving undertaken the role.\n\" His house presented quite a different\naspect; the rooms were small, the furniture\ncovered with damask, the pictures dealt with\nsacred subjects, the ' Madonna della Sedi \\\nand Napoleon the First, some photographs,\namongst which was one of Delaunay hanging\nopposite to that of a lady.\n\" Through the window-curtains could be\nseen a little green arboured garden, such as\none would expect to belong to the house of\na suburban wine merchant. Delaunay ap-\npeared in an elegant silk shirt.\n\" When we expressed our first words of\nthanks he affected surprise, and said he really\nquite failed to understand what this was all\nabout, that Thierry had never mentioned the\nmatter to him—that he had quite understood\nfrom his colleagues that a jeune premier had\nbeen engaged for the part! When we urged\nthe importance of the role, he replied that on\nreading the piece he was so much occupied\nwith the whole that he had paid but slight\nattention to this role, and that it was impos-\nsible for him to play the part of a boy of se-\nventeen. We found ourselves obliged to ask\nhim to reconsider his decision ; he was finally\nkind enough to say he would think the matter\nover. We then retired full of bewilderment,\nand feeling that we did not understand the\nsituation.\nWe were struck with the ugliness of\nthese men, eternally condemned to play the\npart of lovers before the footlights. Their\nhair is already grey, and their features seem\nto be destoried by dint of Theatrical poses....\n\" At four o'clock we went to Thierry, in\norder to give him an account of our visits to\nBressant and Delaunay. He manifested, on\nhearing of what took place, great indignation;\nhis voice, usually so unctuous trembled with\nanger. \" What! do you mean to tell me that\nDelaunay said —but I had arranged his holiday,\nso as to have him back in the middle of Sep-\ntember on purpose, Mark you this, nothing in\nthe theatrical world is ever real. The attempt\nto deceive is itself false! \"\n(1) From l< The Journal of Edmund and Jules de Gon-\ncourt: English translation 1895. Volume 2. page 29-31,\n(2) J. B. Prosper Bressant was born in 1815 and died in 1886.\n(3) Louis Arsene Delaunay was born in 1826 and died in 1903.\n(4) Edouard Thierry : born 1813, died 1894 : Director of the\nTheatre Francais 1859-71."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c038", "article_bluemountain": "bmtnaau_1927-04_01#c038", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "76", "page_fin": "76", "image_debut": 42, "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=bmtnaau192704-01.2.24", "titre_corps": "STENDHAL IN MILANO : TRANSLATED INTO GERMAN BY JOHANN WOLFGANG VON GOETHE AND INTO ENGLISH BY A. D. COLERIDGE. WITH A NOTE ON CRITICS BY C.G.E", "titre_sommaire": "STENDHAL IN MILANO : TRANSLATED INTO GERMAN BY JOHANN WOLFGANG VON GOETHE AND INTO ENGLISH BY A. D. COLERIDGE. WITH A NOTE ON CRITICS BY C.G.E", "signature_source": "C. G. E", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 42, "page_imprimee": "76", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.42", "debut_caractere": 0, "fin_caractere_exclue": 2457, "texte": "STENDHAL IN MILANO.\nTRANSLATED INTO GERMAN BY JOHANN\nWOLFGANG VON GOETHE AND\nINTO ENGLISH BY A. D. COLERIDGE.\nWITH A NOTE ON CRITICS\nBY C. G. E.\nTHEY are now reviving an opera of Mayers\nElena which Was played before La Testa di Bronzo:\nwhat languishing music ! the transports at the Sestett in\nthe seevnd Act! thai is the musique de nocturne, gentle,\nmelting, the true music of melancholy, which I have so\noften heard in Bohemia. This is a bit of genius, which\nthe Veteran Mayer has kepi from early days, or else,\nsomebody gave it to him ; it supported the entire Opera.\nThere's a people for you ! Why they are born for the\nbeautiful! An Opera, two hours in duration, is sustained\nby one delicious movement, which lasts hardly six mi-\nnutes : people come fifty miles to hear this Sestett, sung by\nMademoiselle Fabre, Remorini, Bassi, Bonoldi, &, end\nthrough the forty performances, six minutes make them\nforget the (wo hours of ennui.\nThere is nothing shocking in the rest of the Opera, hut\nthere is simply nothing at all.\nFrom a letter to Zelter from Goethe, March 8. 1818.\nONE does not always realize that old Goethe\nwas still young enough in 1818 at the\nage of sixty-nine to appreciate some of the new\nwriters then appearing.\nAnd he hasn't forgotten das land where\nthe orange trees grow, and where the\naudiences in the theatres have that rarest\nsense,—common sense.\nBut then what critics they have always\nhad, these Italians: no gush about \" the wit\nand grace and charm and intelligence and in-\ncomparable beauty of Miss Nobody, by which\nI mean there is nothing to compare it with\nunless it be the Tudor Elegance of Holbein's\nportraits or some wide-eyed Japanese and\nso on and so on, etc. etc.\nAnd that's the 1926 and 1927 London\nstyle.—Enough to damn any profession in ten\nSundays,...and yet the writer of such bana-\nlities is often held to be \"a great dramatic\ncritic \".\nLondon would do well to get rid of such\ncritics; they talk at the actors and talk such\nsloppy stuff: never brace them, always butter\nthem, and seem terrified to death lest they\nshall fail to satisfy their passion for praise.\nThe Italian critic refuses to allow his per-\nsonal feelings to reach out in this objectio-\nnable English way to the young ladies on\nthe stages: careful of their epithets, these\ncritics are wise enough to censure what is unfit\nrather than yearn around searching for bits of\nsentimentality with which to pelt the reader\nwho wasn't there to judge for himself."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c040", "article_bluemountain": "bmtnaau_1927-04_01#c040", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "76", "page_fin": "76", "image_debut": 42, "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=bmtnaau192704-01.2.25", "titre_corps": "LITERARY AMERICA", "titre_sommaire": "LITERARY AMERICA", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 42, "page_imprimee": "76", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.42", "debut_caractere": 2459, "fin_caractere_exclue": 4442, "texte": "LITERARY AMERICA\nTHE following extract of a whole slice from a recent\nnumber of \" The American Mercury \" (j) is made\nwithout apologies for the intention but with many for the\nact, the defence for which is that it is such fun.\nTHE Overwhelming Genius of Literary America, lII.\n1. 44 Thornton Niven Wilder, author of * The Ca-\nbala \\ who is only 29, comes before the world with a\nstyle distinguished by maturity and by an exquisite sense\nof tonal values, subdued to a perfect and supple instrument\nof literary expression. He uses words with the professional\nsense of color and numerical weight of a gambler dealing\na faro bank. His style bears comparison with Pater....\nIt suggests one of those wonderful clocks made by medieval\ncraftsmen which, when other timepieces merely strike twelve,\nkeep track of sidereal and ecclesiastical time, mark the\nphases of the moon with meticulous accuracy... —New\nYork Times Book Review.\n2. 44 In H. C. Witwer, America has a humorous writer\nwithout an equal Roanoke, Va., Times»\n3. 44 Master of the art of fiction and true genius—\nGeorge Pattullo ! \"—Central Oregon Press.\n4. 44 No writer, not even the mighty Kipling, can paint\na word picture with half the warmth and color of Achmed\nAbdullah. In this respect he stands unequalled by any\nauthor in the history of English literature —Minnea-\npolis StGr.\n5. \" Arthur J. Rees has the valued gift possessed\nby Stevenson and Poe \".—New York Herald-Tribune\nBooks.\n6. 44 .... Paul Green is doing for America what Synge\nhas already done for Ireland \".—Ditto.\n7. 44 Nowhere on Anita Loos' countenance can there\nbe found the faintest trace of that supersophisticated wisdom\nand cynical knowledge of lifp and men and women that\nwould have drawn the respect of Rabelais and the envy\nof Voltaire \".— The Theatre Magazine.\n8. 44 Only a Dumas could conceive fiction that equaled\n4 The Rosalie Evans Letters ' \".—Gertrude Atherton in the\nInternational Book Review.\n(i) From \" Clinical Notes \" by George Jean Nathan."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c042", "article_bluemountain": "bmtnaau_1927-04_01#c042", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "77", "page_fin": "84", "image_debut": 43, "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=bmtnaau192704-01.2.26", "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": 43, "page_imprimee": "77", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.43", "debut_caractere": 36, "fin_caractere_exclue": 6295, "texte": "BOOK REVIEWS\n\nTHEATER UND LICHT SPIEL-\nHAUSER, by Paul Zucker. ( Verlag\nErnst Wasmuth A. G. Berlin). Price\n32 Marks.\nTHE Verlag Wasmuth often issues\nup to date books on the Theatre,\nand those who are awake to the\nmodem stage ought to keep a sharp\neye open in the Wasmuth direction—\nfor this Verlag produces them well\nand at a fairly reasonable price.\nIn the present volume eighteen Mo-\ndern Theatres are shown us and eleven\nCinemas. The Cinemas one and all\nstrike me as being distinctly stupid\naffairs, spite of the fact that one is by\nPoelzig—and he full of intelligence.\nEven in his Cinema builiing \" The\nCapitol \" in Berlin, erected in 1926, he\nmanages to invent a ceil'ng that is\noriginal, and forces his originality cle-\nverly in many a detail; but, like the\nrest of the architects, the excellent\nPoelzig blunders over Cinema in that\nhe gives it a house that is like a\nTheatre. I am no architect, but for\nthis creation of modern times,... this\nCinema,... I think I should try to\nconstruct a modern house.\nHere was the chance and it has\nbeen missed. Possibly deliberately\navoided : —if so, then Poelzig has not\nblundered. Maybe proprietors of these\nGerman Cinemas are pessimistic about\nits health, and are to be heard saying\nto their wives at the daily breakfast\n\" My dear, not butter AND marmalade\ntogether, butter or marmalade *\\ \" Why,\ndarling? \" she asks. \" Because things\nare looking black on the horison, swee-\ntest : there's not much more life in the\nGerman movies: and we may soon have\nto turn our own thirty-nine houses into\ntheatres\nWell, well, when the poor directors\nof these Berlin Cinema palaces have to\ndo that it will be quite easy, so like are\nthe places to real little Theatres,—and\nthen they will again be able to lay the\nmarmalade on the buttered bread.\nBut if Poelzig, for some reason un-\nknown, has not done well over the Ci-\nnema, he has assuredly done belter than\nanyone else in this book in the way\nof theatres,... if we exempt Henry Van\nde Velde, of whose work we shall speak\nlater on. The date given in the book\nto Poelzig's \" Grosses Schauspielhaus \"\nBerlin is 1919. I was always under\nthe impression that it was put together\nin 1912-13, for Professor Reinhardt,\nand that a ready-made circus was\ntransformed by the architect into this\nmost theatrical, and, to me, best of mo-\ndern spectacle playhouses. There is a\ngood deal I dislike about it; but, taken\nall in all, and compared with the other\nexamples in this collection, it easily\ntakes first place,... as a modern affair.\nOskar Kaufmann can do a pretty\npiece of work too, making as good a\nshow inside and outside; but, while\nhe impresses U3 before we enter, on\nour entering the place he merely tickles\nour fancy. He likes woodwork of the\nboudoir kind, and fantastics of every\nkind. He's no t at all bad at I he game,\nbut he has not yet fashioned a real\nTheatre.\nThe mind of Herr Fahrenkamp is\ntoo much occupied with Japanese Art\nfor him to do all he would like to do,\nand Lossow and Kuhne have no notion\nwhat stage and drama are, for they\nexert themselves magnificently to achieve\nthe wrong thing.\nMax Littmann, struggling manfully\nwith the old Wagner notion, which\nattacks most of us when we are young,\nand, thank God, leaves us at peace\nwhen we grow up, reveis in It all and\nmakes more out of it than anyone ever\ndeemed possible.\nIn Munchen his Prinz Regenten\nTheatre of 1901, and his Kunstler\nTheatre of 1908, will always remain\na proof of this architect's devotion to\na great cause; but by the time he\ncame to build at Posen in 1910, and\nat Stuttgart in 1912, he shows us that\nhe has already had enough of it, so\nhe slips in circles and side\nboxes and Uncle Tom Cobbley and\nall, with a fine Foyer or two, chan-\ndeliers, and really one begins to feel a\nbit cosy again,... cosy in the old grand\nstyle. The exteriors of his two Stutt-\ngart Theatres, if not quite the thing, are\nthe very next best thing to it.\nSeeling* s Charlottenburg Theatre looks\nto *me a useful place and it would be\nthe very thing for me, if I lived in\nCharlottenburg. Distance has not lent\nenchantment in this instance. I do not\nbelieve anyone could possibly call it\nartistic and that is a virtue.\nWalter Gropius, in his 1923 Thea-\ntre at Jena, has had an idea and carries\nit out well. He is a very gentle man I\nshould say, perhaps even weak at times,\nfor outside and inside his excellent\nsmall theatre is so very hard. Nothing\ncan allow him to unbend: even his\nseats are the very deuce, presuming\nHell is icy as folk believe. But there's\na something I like in Gropius: may be\nI respond to this very weakness not to\nunbend. 1 hope some day Gropius will\nmake one curve, one little curve in one\nof his walls and then but I await\nthe miracle.\nAnd now to come to Henry van\nde Velde. Where this architect dif-\nfers from the others is that he really\npauses.... pauses, to think of the Drama;\nand when we come to consider this\nfact it occurs to us as perhaps the pro-\nperest way of setting about the busi-\nness. Van De Velde is the only ar-\nchitect out of the nine here represented\nwho seems to have considered the pro-\nscenium. His plan is here to show us\nthis, though unfortunately no photograph\nis given of the stage and its proscenium.\nBuilt in 1914, at Koln, its semi-\ncircular stage was an innovation; the\ncentre of the Van de Velde stage is\nwhere it should be : as a rule there\nis no centre;... such a mistake to forget\nthat little point even spite of all the\nguarantees of Democracy. Van de\nVelde is a true artist and has no po-\nlitics, and therefore is balanced, and re-\ncognizes little things like the circle,\nthe half circle, and the centre ; and,\nif he cannot contrive to curve his audi-\ntorium, far be it from him to insist:\nhe will keep his curves for the stage*\nThe stage is the gainer. This same\nproscenium seems to have appealed to\nhis collaborators in the Theatre Champs-\nEly sees, the swell playhouse which was\nput up in Paris in 1913. I well re-\nmember seeing it in 1912, while in\ncourse of construction. These collabo-\nrators A. and G. Perret, charmed by\nthe Van de Velde stage proscenium\nof 1914, adopted it in 1925, for their\ntheatre at the Paris Exhibition of Arts\nand Crafts.\nHenry Van de Velde has always\nbeen a pioneer—l need hardly empha-\nsize that fact—so well it is known* All"}, {"page_pdf": 44, "page_imprimee": "78", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.44", "debut_caractere": 0, "fin_caractere_exclue": 6985, "texte": "pioneers come across each other after\ncutting their way through the forests,\nswimming the big rivers, and at last,\nwith a chuckle of delight, land at the\nPioneers Inn, one of the most dense-\nly populated hostelries on earth ; for\nthe pathetic picture of the lonely pio-\nneer is all bunkum. You can any\nday prove this for yourself if you can\nget a through ticket to the Pioneers\nInn which lies somewhere N N by\ns s.\nIt is an odd place. On arriving\nthere you lose not only yourself but\nall sense of time and place ; you may\neven for a moment suppose yourself in\nHollywood, for the first thing that\nmakes you rub your eyes is the sight\nof a gentleman in a maroon brocade\nwaistcoat embroidered with silver, silk\nbreeches and stockings, Hack shoes\nwith silvered buckles, stretching his legs\non a bench : by him stands another ;\nhe wrears a toga: the two are quite\nsilent. Shojuld you not recognize them\nat once you can on enquiry learn\nthat the first is named Charles Nicolas\nCochin, and the second ApeJopius....\nwho as some of you know was the first\nlo suggest stone as a good warm fauteuil.\nIt was, I learn, adopted after a delay\nof two hundred and eighty seven\nyears.\nAs for Cochin, you all know him.\nBut you may not know of this incident\nin his life.\nTaking a stroll one evening after\nsundown, and the year sometime about\n1760, M. Cochin, greatly to his sur-\nprise, found himself outside the walls\nof Paris, the village in which his plea-\nsant but rather cramped homestead\nstood. Taking a turn to the left, a\ntusiom so often indulged in by pio-\nneers, he thought he saw a light in\nthe distance. He had noticed this light\nonce or twice before, but had paid\nlittle heed to it because, on enquiring\nof a group of Parisian peasants, who\nwere reading and laughing over 44 Le\nDernier Cri the fashionable journal\nof that day, they had told him to ask\nthem another, one yokel being polite\nenough to add 44 there aint no blooming\nlight, you old fooL.. that's a brick\nWall\nThanking his last informant for his\ncourtesy, M. Cochin turned back, en-\ntered the Porte St. Michel and went\nright home. But this stroll of his be-\ncame habitual, and, by habit toe, those\nsame five or six Parisian peasants al-\nways seem to have had the identical thing\nto say to M, Cochin when he paused\nlooking at the brick wall as though he\nsaw a light on its flat plastered surface.\nIt was in fact a blind alley into which\nthe good Cochin was so incessantly\nroaming of an evening, and anyone but\na Cochin would have recognised that\nimmediately and stopped roaming al-\nways into the same blind alley. But\none night Cochin was late with his\nstroll: and on arriving at the blind\nalley not a peasant was to be seen ;\nnone was there to say to the old fool\n44 get along with you \"; so he got\nalong at the double, for there was the\nlight, right enough. 44 Since I see it,\nit must be there \" thought Cochin;\nbut, like all Pioneers, he kept looking\nand relooking, shyly cautious lest he\nmight really be making a fool of him-\nself ; and so he went on and on and\nnever returned to Paris : and by 1 790\nhe had actually arrived at the Pioneers\nfnn where two great gentlemen in togas\nand one in a Kimono met him at the\ngate saying 44 welcome,.,, you have\nbeen long expected\nIt seems that to a new arrival this\nis all they say, everything else being\nso clear to the understanding of all\nthe gathering that it is held unneces-\nsary to talk it aloud : but later on one\nfinds out that there are hundreds of\ntopics :—the seasons, the price of to-\nbacco, the size and weight of pebbles,\nthe precision of the stars, (though this\ntopic has been banned since the arrival\nof Herr Slackenschmidt, for on his\ncoming everyone knew immediately that\nthe stars detest being precise and so\nall were able once more to enjoy their\nlight and their coming up and going\ndown without having to say any-\nthing).\nBut my tale must stop, not because\nthere is not a middle and not an end\nto add to this begining, but because\nthe middle's so long and the end is so\nslim. Besides 44 The Mask \" is so\nslight, and will not bear the mere frame\nwcrk of that tale: suffice it to say\nthat every pioneer, from Jaos (who as\nyou know was the first) down to Mon-\ntejallo, gees to, and is at home at, the\nfamous but (to others) utterly unknown\nInn, and there they al! have the time\nof their lives.\nNever, never is anyone heard to\nspeak of going back to Paris for exam-\nple ; that ceases to be a possibility on\naccount of the ludicrous notions involved\nin the idea—and in like manner no\none speaks of going back to anywhere\nwhat ever, having arrived, having as-\nsembled, have found, like Cochin did,\nthat what peasants in Paris and London\nand Poggibonsi take to be a blank\nwall is actually an open way. Would\n:you speak at all after such a disco-\nvery ?\nWell, I am a mild kind of pioneer,\nso I talk; and my talk all hovers\naround Henry Van de Velde and his\nideas, which are born by the hundred\nwhen he is tired of giving birth to\nmerely ten at a time. That he carries\nout all his ideas is not in the nature\nof things ; he is keeping thousands to\nexchange silently with the rest of us\nwhen we all foregather at the famous\nInn.\nWhat a charming book to be sure\nis this 44 Theater und Licht Spiel-\nhauser \" ; it has brought me a glimpse\nof this architect. But I know him\nslightly and I know him to be an\nunblushing advertiser. But what an\nadvertiser he is, with his strange habit\nof employing a special advertising agent.\nBut even there he is a pioneer, for\nhis travelling advertising agent is his\nvoice, and, when ever he speaks, a\nposter sketched in the finest colours is\nlaid upon silk and is slowly unrolled;\nthis he pins to the door, the shutter,\nthe lintel, where ever you will. The\nonly other voice in any way approach-\ning it for quality is that of . General\nD'Annunzio; but, as some one else\nhas said, even as the words of Mercury\nare harsh after the songs of Apollo,\nso is the voice of this most musical\nof poets but a squeak after you have\nonce heard Van de Velde,\n\nTHE AUTOBIOGRAPHY AND\nMEMOIRS OF B. R. HAYDON.\n2 Vols. Peter Davies. Price 20/-net.\nFANNY BURNEY AND THE\nBURNEYS by R. Brinsley Johnson.\nStanley Paul & Co. Price 161-net.\nTHERE are books wholly devoted\nto theatrics—ie, the tricks of the\ntheatre, and these are often a bore.\nThere are also books which are given\nto theatring a little,—that is to say,\nthe people in the said books hang\naround the theatre waiting their time,\nsaying things, jotting them down, re-\ncording trifles; these are sometimes\nreally of interest and assuredly enter-\ntaining.\nIn the first category come the Me-\nmoirs of Actors, Annals of the Stage,\nand serious works :—Colley Cibber's\nApology, Dumas's 44 My Odyssey \",\nMantzius's History of Theatrical Art:\nwhile in the second we have such\nbooks as 44 Crabb Robinson's Diary\n44 The Table Talk of Samuel Ro-\ngers \" and Haydon's 44 Autobiogra-\nphy\nMany of us who devote our lives\nto the stage, who have to act, pro-\nduce, or scrub the beards and dust\nthe velvet hangings every day and"}, {"page_pdf": 45, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 6746, "texte": "night, seldom have time to read any\nof these hooks. Some of us who only\nappear in Acts I and V of a play\nhave an hour and a half of spare time ;\nso we fill that up by reading the\n44 Observer \" or the 44 Referee \" ; the\nquieter joys of an hour or so with a\nbook are impossible in a dressing room\nof a Theatre. Many have tried it and\nknow it to be impossible, It's like\ntrying to read on the esplanade of\nsome seaside place, or on the edge of\na cafe.\nThat's why the newspaper was in-\nvented, and why our newspapers grow\nnoisier and noisier. Tis to drown the\nclatter of cups, glasses and hoofs and\nthe whirr of wheels and the rest of\nthe pandemonium.\nThat we do, we newspapers ; and\ntis a churlish world if it says unkind\nthings abou) us; for we are a kind\nof League of Mercy, and with our\ndope we drown the miseries of the\nbusy man.\nUtter then no harsh word about\nthe thunder in 44 The Mask \" ; it serves\nits purpose.\nBut if we would crown the racket\nwe would not kill the moonlight; nor\neven the arc lamps which make ci-\nties bright when the quiet comes at\nlast.\nAnd in such quieter and brighter\ntimes we may find an hour or two\nin which to pick up a book of Me-\nmoirs and therein discover things here\nand there about Talma, Siddons or\nMile. Georges ; for now and again such\nstars are mentioned by people who\nsaw them.\nFor example, in 44 Crabb Robinson's\nDiary \" :—44 1814, August 26. Arrived\nin Rouen in the evening, and heard\nthat Mile. Duchesnois was to perform.\nTired and even hungry as I was, I\ninstantly.... \" and there you have it.\nIt is such scraps that please me more\nthan whole books of an actor's or\nactress's 44 Recollections \", for there I\nget my actor and actress as the public\nsees them ; and I also get a glimpse\nof someone else besides my actor and\nactress which has its uses. I see Wil-\nliam Godwin, Haydon and Talfourd;\nI am aware of the presence of Words-\nworth, and Coleridge often pops in :\nSamuel Rogers is there ;—and here is\nlittle Charles Lamb with his 44 Dicldle-\ndiddle dumpling, my son John, Went\nto bed with his breeches on\"; and\nWordsworth murmuring 44 Charles—my\ndear Charles \".\nSometimes Byron appears ; Moore\nis always there; and Miss Burney\nseems to be hovering, while in a chair\nsits Talleyrand hidden by the others.\nSo that when I catch a momentary\nglimpse of my actor and actress in the\nmidst of such a gay company as this,\n1 feel that things have assumed their\nright proportions again and that all the\nworld is not a stage—while the stage\nonce more really becomes a bit of the\nworld.\nBut there is one odd thing about\nthis wonderful, gay and dear company\nof men and women:—Blake is absent.\nNo one seems to know him, and yet\nyou and I and everyone else know\nhim so well today. Did he not die\nin 1827.\nIn the Memoirs, Autobiographies and\nthe other books his absense is felt;\nno one even utters his name. It\nspeaks well for such a jolly company\nthat I do not leave it to seek out\nW. B. in his little rooms in South\nMoulton Street. To be fair on the\nmerry companions, one of them did\ngo and look for him ;—that was Crabb\nRobinson; but I find no word of\nBiake in Haydon's 865 closely printed\npages. Yet Haydon knew Fuselii,\nFlaxman, Crabb Robinson, Stodhart,\nand all these men knew Blake.\nDid Lamb know him ? he had\nread 44 Songs of Innocence \" ; and\nKeats, is it possible that Keats, Blake\nand Lamb were never together ?\nIt was not perhaps only King\nGeorge 111 and the Public who called\nBlake mad;—possibly even Lamb\nthought him a bit queer, and Keats,\nRogers, Haydon and the rest, when his\nname came up to the top in the talk,\nsurely dismissed it and killed it with the\nword 4 Crazy '.\nIt is rather awful to think this may\neven have been so.\nFor the love of God, charity then....\nAnd a pause if you are not by nature\ncharitable, lest you kill more than even\nthe devil dreamed mankind fool enough\nto kill.\nYet I would I had the time and\nwit to search the archives for some\nrecord showing that Lamb did know\nBlake, and that they had walked and\ntalked together when the big swells\nwere not about.\nWhat little folk most of the big\nswells were one realizes as one goes\nthrough Haydon's Autobiography and\nthe Fanny Burney papers.\nI should like Miss Burney did she\nfuss less;—but I never knew a bigger\nfusser. And as I know some of the\nartists who visited her house (to meet\nher father Dr. Burney) I dislike her\nsmug way of sizing them down.\nBesides, Miss Burney was a dead-\nhead, and did 44 prefer for acquain-\ntance the well-bred and obliging Miss\nDavies to the selfsufficient and impe-\nrious Bastardini\" (1775).\nShe prefers the tame Davies to al-\nlowing a brilliant artist to be herself.\nThis Bastardini, as she calls her in-\ncorrectly, was La Signora Agujari,\none of the fine singers admired by Mo-\nzart.\nYet she has to admit that Agujari\nis 44 alone and unrivalled \".\nShe likes Garrick for Garrick plays\nthe fool for her in the house 44 to pique\nher \" and that strikes her as so admi-\nrable.\nWhen she became Madame d'Ar-\nblay she loses much of her pertness\nand becomes dull.\nThe editor of these new papers finds\nher pictures of men and manners in\nthe 18th century 44 incomparable \" ;\nyet also finds the Burneys 44 not quite\nwell-bred \" and sometimes using 44 the\nlanguage of a snob \", lacking in 44 emo-\ntional balance \" and with 44 no sense\nof style \".\nWhat would all that matter if only\nFanny Buiney's pictures of the men\nand manners of the 18th century had\nbeen well drawn, well sketched, or\neven dashed in well.\nHaydon does better with the early\npart of the 19th century. That 44 im-\nmortal evening \" on December 28th,\n1817, with Lamb, Monkhouse, Keats\nand Wordsworth, plus the stranger,\nthe comptroller of stamps, is certainly\nrecorded well. But when all is said\nand done by these immortals of that\nfamous evening, one turns to look\ntowards Mr. William Blake at No. 17\nSouth Moulton Street. On December\n28th, that same evening, three days\nafter a merry Christmas (it is the very\nsame evening in 1926 and it is half\npast seven that I write this—a hundred\nand nine years have rolled by—) I seem\nto see this man, with a grander head\nthan Beethoven's, now sixty years old,\nstill slowly and gravely colouring by\nhand a copy of a book which he\nprinted in 1789, 44 Songs of Inno-\ncence \", and a copy of a later book\nin 1794, 44 Songs of Experience\";\nfor he had an order for the two for\nwhich he is to be paid 44 on deli-\nvery \" some £ 2.10.0 at the very\nleast.—Today we auction them for\nabout £ 300 apiece.\nLamb preferred Blake's 44 Canter-\nbury Pilgrimage \" to Stothaid's. 44 A\nwork of wonderful power and spirit,\nhard and dry, yet with grace \" he\nsaid of it, on one occasion.—lt was not\non that 44 immortal evening\" Decem-\nber 28, 1817, for what would Keats\nhave thought, or Wordsworth.\nYet Lamb had moral courage."}, {"page_pdf": 46, "page_imprimee": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.46", "debut_caractere": 0, "fin_caractere_exclue": 6609, "texte": "<< PLAY-MAKING \" by William\nArcher. (Third Edition) Chapman &\nHall, Ltd. Price 7/6 net.\nTHIS volume on 44 Play making \"\nwas presumably written by the late\nWilliam Archer in the hope of making\nclearer to us how to set about writing\na play. But instead of telling us simply\nhow to do this he gets lost in his\nsubject. He keeps on referring to little\ndetails in the work of Ibsen, Dumas,\nTolstoi, Maeterlinck, Pinero and other\nplay writers. He pops from one name\nto another ; he tells us that Galsworthy\ndoes this, where as Fitch doesn't; while\nJones works so, Pinero works somehow\nelse.\nThis makes us wish he would keep\nstill and settle on any one Dramatist and\ntell us clearly how the man does write\na play,\n1 was eager to learn what Archer\nwould tell me about the method of\nDumas pere, and on turning to the five\nreferences to Dumas pere I learnt\nabsolutely nothing.\nWhen he starts to tell us how Shakes-\npeare wrote a play he again goes\npopping about from one play to ano-\nther. I want to see Shakespeare the\ncraftsman at work on any one play, ...on\n44 King Lear 44 Hamlet \" or 44 Mac-\nbeth \" not on 44 King Hambeth\nThose of us who are born preachers,\nactors, painters, poets, dramatists, en-\ngravers, gardeners, builders, only lack\nthe little tip from the old pro 44 how\nto do it \". Now Archer doesn't tell\nus. He tries to tell us, but in order\nto give anyone the tip you have to give\nit in a sentence of six words, or of\nthree, for you have to prove that its\neasy, f know this for I have given\npeople the tip.\nAll the dear good Archer does is to\nshow us how fearfully complicated it all is\nand Archer, just because of this\nsimple nature of his that was bent on\ncomplicating, was held in awe by half\nLondon. 44 What does Archer say \"\nwas then the word, as today 'tis 44 what\ndo Brown and Agate say Lengthy\ntalks about a thing done or how to do\nit, are really of very little importance.\nAnd here we see Archer, a play-writer,\nwasting his and our time for forty odd\nyears on elaborate criticisms as Brown\nand Agate are doing today. Confusing\neveryone, .... helping not at all. You\nmay say thai it requires a certain ge-\nnius to give pupils a clue to secrets in\nsix words: if this be so, then the\nsooner we stop listening to the pedants\nwho give us nothing but a headache\nand turn to the lesser men, the merely\nintelligent ones with a genius for illu-\nminating things, the better for London.\nCan't it be stopped ? cannot an end\nbe put to this elaborate criticism ?\nI wouldn't rob Agate or Brown of a\npenny of the hard gained cash; but I think\na new job has to be found for them,\nand I suggest they purchase a copy of\nWilliam Archer's 44 Play-making \" and\nsee if that will teach them how to\nwrite some jolly good successful plays.\nFor to any but a dramatic critic 44 Play-\nmaking \" is written in a foreign language.\n\nVINCENT CRUMMLES. HIS\nTHEATRE AND HIS TIMES:\narranged by F. J. Harvey Darton.\nWells Gardner, Darton & Co. Price\n£> 2.2.0 net.\nFIRST of all a number of illustrations,\nnine in colour, by 44 Phiz\", Fred\nBarnard and others, and some repro-\nductions of a rare playhouse [or two,\nmake this book a delight to keep dipping\ninto; .... and until you plunge you\noften dip.\nThen you read those chapters by\nDickens which present Crummies to\nyou, and you've plunged.\nThen you come out and enjoy Mr.\nDarton's commentary, every word of\nit, as you dry in the sun.\nThis is a book, a sound book, to\ngive to a boy : such a present is worth\nsix lost months of education at Eton.\nNot the least curious thing in the\nbook is the fact that Onwhyn's extra\nillustration showing Crummies is prac-\ntically a portrait of our renowned\nEnglish dramatic critic James Agate;\nI cannot therefore agree with the no\nless celebrated dramatic critic Mr.\nSidney Dark that 44 Mr. Crummies\nexisted until the war\nThere is another picture in the book\nof topical interest, for it shows us\n44 An audience at Sadler's Wells \", in\nthe early part of the nineteenth cen-\ntury, and this depicts for us what Miss\nBaylis wishes to revive. One would\nnever have thought it.\n\nTHE LETTERS OF MARIE AN-\nTOINETTE, FERSENAND BAR-\nNON, Edited by O. G. de Heiden-\nstam. John Lane. Price 12/6.\nI cannot find these documents interes-\nting, nor am I interested in Marie\nAntoinette as she is set dovn in these\npages.\nShe strikes me as a pretentious lady,\nand not particularly straightforward.\nOne realizes what it was that drove\nthe French people to destroy her.\nOne's sympathies for her are driven\naway by her unceasing meddling.\nAs with her amateur roles, so with\nher amateur stateswomanship; they were\n44 royally ill played \".\nIn 1789 this Queen had supported\nthe pretensions of the hairdresser Leonard\nto the directorship of the Theatre des\nTuileries, and the best he could\ndo was to exploit an Italian company\nthere.\n\nA PLAYGOERS WANDERINGS\nby H. M. Walbrook• Leonard Par-\nsons. Price 10/6.\nIT is not that too many books of\nTheatrical memoirs are appearing;\nit is only that the books are exagge-\nratedly large, too expensive, and unne-\ncessarily fine for the purpose: by\nthat I mean work purposes.\nBooks of this kind could easily be\nissued at five shillings and be thinner,\nsmall type used, and plainer covers.\nFor if not for u5,... for the workers\non the stage [or the historians..., for\nwhom are these books ?\nYou tell me that Old Playgoers are\nthe readers and are ready to pay what\na stall in a Theatre cost in the old days.\nBut tell me something more:\nwould these playgoers object to buy\nthese kind of books if plainer, more\nlike a work book and less like a fancy\nnovel ?\nBut this is wandering from Mr. Wal-\nbrook and his good book, worth quite\nten and sixpence if only for the char-\nmingly written chapter on the old Prin-\ncess's Theatre and two other desolate\nplaces where once was so much hap-\npiness.... but I am anticipating the end\nof the twentieth century. I am writing\nfor the friends of my great grandsons,\nwho will doubtless be once again\n44 sentimentalists \".\nThey will like Mr. Walbrook s book\nand will search for it in the Charing\nCross Road, will find it at a shop\nwhich will have the name Dobell written\non a board above the window.\nBut it is not alone for one chapter\nthat you'll bang ycur ten and sixpence.\nThe twenty nine chapters are all good.\nMr. Walbrook is the stuff a good\nplaygoer was made of once, and will\nbe made of again and again. Of its\nkind this book is quite one of the best\nthat has appeared for many a day.\nBy the way, I think on page 130\nthe author means 44 Danish not44 Nor-\nwegian \" Dramatist; and on page 51\nit was the crash of glass from a window\nleft open, and all the crockery, not\nmerely the fall of one plate."}, {"page_pdf": 47, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 6220, "texte": "LETTERS CONCERNING THE\nENGLISH NATION by Voltaire.\nPeter Davies. Price 15/ net. (only\n750 copies for sale).\nWITH an able Introduction by Mr.\nCharles Whibley, this reprint of\nthe letters is once more very welcome :\nand surely never before have they\nbeen so beautifully printed or on such\ndelicious paper or better bound.\nMr. Peter Davies indeed seems to\nknow a good deal about book-making.\nMr. Whibley in his short introduc-\ntion writes of Voltaire taking 44 a certain\npride in making Shakespeare known in\nFrance \" ; but, if I remember aright, I\nbelieve that it was another Frenchman\nwho did this. I somehow recollect\nMr. Swinburne telling me in his high\nvoice as he sat patting his knees that\nhe had just discovered that another\nand not Voltaire had made Shakespeare\nknown to France.\nBut no one need bother about what\nVoltaire though of Shakespeare or any-\nthing else because it is only the way\nhe says things that is so enchanting,\nnot what he says.\n\nSHOOT! by Luigi Pirandello. Chatto\n& Windus. Price 7/6.\nTHIS novel by the famous Italian\nwriter is very readable, but it has\nthe confused and confusing elements in\nit which I ior one dislike intensely.\nThe author is this time lucky in his\ntranslator who is none other than\nMr. C, K. Scott Moncrieff.\nThat the book is fuij of intelligent\npassages need not be doubted, and for\nthese it is wrell worth reading; but it\nis too full of unrest, an unrest which\nseems even a little affected : it is agi-\ntated where it might easily (no, not\neasily but assuredly) have been calmly\nplanned, calmly done or put aside :\nthat is what I feel.\nWell then....\n\nMINIATURES AND SILHOUET-\nTES hy Max Von Boehn. Dent &\nSons. Price 10/6 net.\nFIRST of all a very cheap book.\nWell written, with forty coloured\nplates and about two hundred black\nand white illustrations ; entertaining and\nmost informing ; it seems to me to be\naltogether an admirable piece of book\nwork in every way.\nThe only fault I can find is that\nthe line blocks which purpose to give\nus reduced representation of the silhou-\nettes are often blotchy. Goethe's nose\nand wig and tail-coat on page 185\nare spoiled : on pages 186, 187, 188,\n189 the outlines of Goethe and his\nsister and the Frau von Stein are also\nquite spoiled, and the duchess of Weimar\non page 192 apparently has sticking\nplaster on her nose.\nIt is very careless of the block-maker\nor the printer or someone, and yet it\ndoesn't spoil the book.\nFor the student of the Theatre there\nis a good deal in this volume to interest\nhim, especially the portraits of Mile\nDuchesnois, Mile Lange, Theresa Peche\nand Pr^ville.\nAnd what enchanting young ladies\nwere the Sisters Rushout, how sweet\nthe Duchess of Devonshire as Bone\nrepresents her; how adorable almost\neveryone represented by that genius\nIsabey.\nThe author tells us that the art of\nminiature painting has never been ap-\nproved by the critics which is so\nright. Is the art of the puppet approved\nof by the critics ? No: the critic has\nhis life to care for ; he too wishes to\nprosper and be happy. He must praise\nthe big canvas and the big actor: he\nwinks and does it. He winks be-\ncause he knows that little puppets and\nlittle miniatures stand in no need of\npraise and will always enchant all those\nwith wit to discover them for them-\nselves.\nI wish I had some of these lovely\nminiatures.\n\nSIDEWALK STUDIES by Austin\nDobson. Oxford University Press.\nTHE POEMS AND PROPPIE-\nSIES OF WILLIAM BLAKE.\nEveryman Series. Dent & Sons.\nPrice 2/— net.\nTHE \" World Classics\" is a series\nwhich grows on one. The volumes\nare real pocket with but one defect;\n....the ridiculous design, in gold too,\nwhich serves to titivate the back. A\nworse design could have been found,\na more commonplace unnoticeable pat-\ntern could have been had quite easily.\nSo why this preposterously funny thing\nto disfigure these volumes ?\nDobson's 44 Studies \" are perfect\nthings in their way, and were already\nspoken of in the last number of 141 he\nMask \" : and as many treat of Thea-\ntricals every theatre lover should possess\nthem. But why wont the Oxford\nUniversity Press tell us the price of\nthese volumes as clearly as the Dents\ndo with their volumes of the Everyman\nSeries ?\nThis Volume of Blake's poems\nshould prove to be one of the most\npopular volumes of that celebrated series.\nIt is a remarkable two shillings' worth.\nLet me warn would-be purchasers to\nsearch carefully for the eighteen repro-\nductions of 44 The Gates of Paradise \" ;\nfor, if you glance too rapidly through\nthe volume, these will not immediately\nbe found by you. The eighteen are\nall placed together, and they are sur-\nprisingly well reproduced.\nI know Blake's designs fairly well,\nbut many of these platfs are new to\nme, not having appeared in any of the\nGilchrist books or in the Oxford Press\nedition or anywhere else.\nAn interesting introduction by Mr.\nPlowman, together with a bibliogra-\nphical list, adds value to the little\nvolume.\n\nPASTICHE A Music Room Bookl\nby Yvonne Cloud and Edmund X.\nKapp. Faber & Gwyer. Price\n42/ net.\n44 * g 'HIS is \" as the publishers state,\nA 44 a book for music lovers\nHere are records in pen and pencil of\nthings and persons musical. We are given\nportraits or portrait caricatures of Dol-\nmetsch, Coats, Busoni, Sir Henry Wood,\nRavel and others. Accompanying these\nruns a pretty brook-like burble of text,\noften broadening to a stream, never\nswamping us or deafening us ; pla-\ncid and nicely it goes on.\nBut I for one am convinced that\nboth the draughtsman and the writer\ncan do more than they have done here.\nThey do enough to show me that they\nboth have sturdy intelligence, which is\nthe rarest of things. These two young\nartists seems to me to have a future\nbefore them.\n\nCUES AND CURTAIN CALLS\nby H. Chance Newton. John Lane.\nPrice 12/6 net.\nTHESE are records of the English\nStage from 1869 until today.\nMr. H. Chance Newton, the recorder,\nis a name little known to the public,\nbut he is known to all the readers\nof 44 The Referee '* as Car ados.\nThis Car ados is the only part Mr.\nNewton has played with overwhelming\nsuccess ; for though he was an actor\nof distinction in his youth, he decided\nin 1877 to beat all other actors hollow\nby playing one role 18,250 times\nthis role of Car ados.\nWhile performing this (he literally"}, {"page_pdf": 48, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 6552, "texte": "created the part), he managed to be\nof great service to the actors he knew\npersonally such as Irving, Tree, Wilson\nBarrett and a dozen or so less well\nknown men. He was a good old friend\nto these: always reliable, helpful and\nkindly.\nKnowing them so well and for so\nlong, it is a real delight to hear him\ntalking about them in his clever book\nof gossip.\nThis able old man for he is now\nseventy-three years of age manages\nto get through this rather long work\napparently without any effort and with\nbut two cr three errors. His worst\nerror is after all merely this, that\nhe omits to mention certain men and\nwomen talents or celebrities.\nHs failed to see Salvini though Sal-\nvini was acting in London in 1875,\nin 1876, and again in 1884. Neither\nare Madame R6jane, Signora Duse,\nM. Coqueiin, or Miss Isadora Duncan\nmentioned. Nor are Mr. Shaw, Sir\nGerald du Maurier, Mr. St. John\nErvine, Mr Masefield or Miss Sybil\nThorndike.\nBut after all Car ados may have been\nindifferent to those persons who Mr.\nChance Newton did not know perso-\nnally ; and indeed the personal ele-\nment iooms largely in this book, .... ty-\npical of the immense importance the\npersonal element plays in the English\nTheatrical world.\nSo we hear a great deal about\n44 good old Herbert that being Sir\nHerbert Tree; 44 good old Barry Sul-\nlivan 44 good old Creswick \" and\nothers who were assuredly as good,\nand old only in the familiar sense.\nWe rather like to realize how often\nthese excellent good fellows thought a\nthing 4 4 d—d good 44 d—d \" that\nor 44 d—d \" the other because it is\nvery dashing.\nWe aie not a little interested to\nlearn that Mrs. Kendal is a Jewess;\nOld Ben Webster, grandfather or great-\ngrandfather of 44 the artistic \" Mr. Ben\nWebster of today, a Jew, and that\nBelasco, Augustus Harris, James Fer-\nnandes and a dozen others whom we\nhad always taken to be highbrow Chri-\nstians, were of the same persuasion.\nWe relish the definite statement\nnailed to the mast that 44 undoubtedly\nof all the actors of the past, whom\nIrving had never seen, the Kean (ie\nEdmund Kean) was Irving's idol\nOne is relieved to be assured that\nit wasn't the gentlemanly Macready, or\nthe smart David Garrick, but was none\nother than the brandy-drinking rascal\nKean. Not that Irving particularly\nadored his idol for his blemishes, but\nthat, knowing him a man of genius he\nsnapped his fingers at the rest.\nThere is an interesting conversation\nwith Tree recorded, in which Mr.\nNewton urges the actor not to play Marc\nAntony in 44 Julius Caesar \" ; and how\nTree began rehearsing Cassius. In the\nend he threw tjiat part over and re-\nverted to Marc Antony saying to Mr.\nNewton 44 in his most apologetic man-\nner \", 44 I had to go back to Antony\nas I find that an actor manager is always\nexpected by the public to play that\npart\".\nA few years ago, adds Mr. Newton,\nHenry Ainley said the same thing to\nhim : 44 I want to play Brutus .... but\nI find that an actor manager is always\nexpected to cast himself for Marc\nAntony\nThis doing what is 44 expected\"\nstrikes me as a peculiarly weak argu-\nment and should serve as a warning\nto those of us who are today rather\nsympathetic towards that old system of\nactor-manager, showing us that there are\nfatal defects in the system.\nI believe Mr. Newton errs when he\ntells us that 44 it is not generally known\nthat Irving \" first 44 met Ellen Terry\n(in a play acting sense) at the Queen's \"\nwhen they played in the 44 Taming of\nthe Shrew \" ; and also when he retells\nthe anecdotes about 44 Fuss!e \", Irving's\ndog, and says he was lost at Southamp-\nton and turned up at No. I Stratton\nStreet, London.\nThese facts were recorded some\nyears ago by Miss Terry in her Bio-\ngraphy, though the place Fussie returned\nto was Grafton Street not Stratton\nStreet, for it was in 1888, according\nto Miss Terry (in 1887 according to\nMr. Brereton) and Irving had not moved\nfrom his house to his flat.\nBut these are after all trifling errors\nand will disturb no one but the histo-\nrian ; and what are the scribes and\nreporters made for but to do that.\nAfter reading the whole book one\ngets the impression that without Mr.\nChance Newton the English Stage\nmight have been a very different place\nfrom what it is.\n\nRELATION IN ART by Vernon\nBlake. Oxford University Press.\nMR. Vernon Blake \" after twenty-\nfive years of almost constant ab-\nsense\" comes to London with this\ndifficult book, rendered difficult perhaps\nby a certain lack of understanding: for\nwho is there who, perceiving our need,\nwill give us stones when it is bread\nfor which our eyes are appealing.\nPerhaps it was rather unfair of us\nto leave things to a vague appealing\nlook: it was rather unfair of us not\nto have told such a man twenty years\nearlier what it was we wanted. For,\nhad he known, I feel he could have\ndelivered the goods.\nObviously we forgot to tell Mr.\nBlake ; and so, while we haven't to\nblame him now for not having read\nour looks, we fear that others will not\nbe so considerate, and they will find\nhim tedious and say so, and there an\nend. They will possibly recognize\nmuch of the old studio talk of the last\nthirty years in this very long book of\nhis, and will be sympathetic to this\nclever talker who wants really to thrash\nthe matter out even if everyone leaves\nbefore he has finished talking: but\nthen they will say in defence 44 he\nreally didn't make it any clearer to us,\nand what is more he wouldn't stop\ntalking \".\nThe book is nicely printed by Mac-\nClose and Co, The University Press,\nGlasgow, for the University Press,\nOxford.\n\nWILLIAM BLAKE. 1757-1827\non the Lord's Prayer, by John Henry\nClarke M. D. The Hermes Press.\nPrice 7/6.\nVERY well worth getting because\nthe author has gone to great pains\nto save you, the reader, pains. There\nare some writers who, as they prepare\na book, think of nothing but their dear\nselves. These are bound to give us\npain; but Mr. Clarke is one of the\nother kind ;—he is all the time trying\nto save us trouble.\nThis he does by telling us to take\nit easy—not to struggle—not to try to\nunderstand Blake's vision since to un-\nderstand Blake is as easy as swimming\nif you will go easy with the water and\ntrust it.\n\nTHE MEMOIRS OF CARLO GOL-\nDONI, written by himself; Translated\nfrom the original French by John\nBlack. Alfred A. Knopf, London ;\nPrice 10/6 net.\nMR William A. Drake has written\nan introduction to this volume\nand said all that I would like to have\nsaid here about Goldoni. Mr Drake\nhas stolen a march on me;—and be-\nsides, until I read his introduction, I\nhadn't thought of the things he thinks\nof and puts down.\nThe translation by Mr. Black is"}, {"page_pdf": 49, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 6419, "texte": "dated 1814 and it might be a good\ndeal better. But it is good enough for\nthe secondary purpose of the book,\nwhich is to show us something of what\nhappened in the theatres of Italy be-\ntween 1732 and 1762.\nIt is to be read carefully by any\nserious stage-manager, for the writer\nhas a good many valuable hints to\nhand over to him.\nThe book has not the brilliance of\nCarlo Gozzi's Memoirs. One receives\nno impression of that Venice awaiting\nthe canon of Bonapaite to wake it\nfrom its immense dream : a dream like\na vast tapestry into which one can\ndrift in a gondola and find the very\nair sweet almost to stickiness.\nWith Goldoni we are given a point\nA—his lodging : a second point B—\nhis theatre ; and we are made to draw\na straight line through calle and canal\nfrom A to B, and to rush breathlessly\nafter this dapper little shopkeeper as\nhe plies his trade twixt the two given\npoints.\nGoldoni once said he would write\nsixteen plays during one year for the\nTheatre to which he acted as supplier\nof plays. Fie delivered the sixteen,—\nhe was an exemplary theatrical person:\nhis Memoirs make this clear. He was\na clever, able little being—but give me\nGozzi as representative of Italy.\nGoldoni might have sprung from\nsome Garden City in England or from\nWindlefeidt near Mullhausen.\nActually I take him to be a Swiss;—\nhe hails from Basle so far as I am\nconcerned; he is so utterly in order\nand to so little purpose.\n\nA HISTORY OF LATE EIGH-\nTEENTH CENTURY DRAMA\n1700 to 1750, 1750-1800 by\nAllardyce Nicoll. Two Volumes. Cam-\nbridge University Press. Price 16/-\neach.\nWHEN a new book of Professor\nNicoll's is announced you can\nalways count on its being indispensable\nto you.\nHere is the trained Historian at his\nwork: here he astounds you with the\nsame rapidity with which he collects\nall the known facts and sorts them\nout; and if you are lucky enough to\nbe able to add dates and other facts\nto the huge collection all the better;—\nbut it is not often you can add any-\nthing to the Nicoll heap.\nAt the end of the first volume the\nauthor gives us a Handlist of plays,\n1700 to 1750, which runs into a hun-\ndied and seven pages. It is truly\nwonderful. At the end of the second\nvolume he gives a Handlist of Plays»\n1750 to 1800, which runs into a\nhundred and thirty odd pages.\nBy the way, I would be inclined to\nquestion Professor Nicolis statement\nthat \" the fashion for private theatres\nalmost certainly came from France\nand to say that, if it came via France,\nthe fashion was started in Italy.\n\nGILBERT AND SULLIVAN by\nA. H. Godwin. J. M. Dent & Sons.\nPrice 6/- net.\nI witnessed the performance of seven\nof the Gilbert and Sullivan operettas\nduring their first runs at Theatres,\nOp£ra-Comiques and Savoys.\nHow I enjoyed them ! It was the\ntunes, the jingle and the singers—\nespecially Grossmith—that caught and\nheld me. The words were lost on me.\nNow I find it is the words which\nI go searching for.\nHow good they are. I believe the\nactors today speak them far better than\nthey did in my day. Then they\nplopped them out of their chubby\ncheeks, smiling a conceited kind of\nsmile about nothing—half singing these\nincisive sparkling phrases—or those\nabout the heart.\nI should very much like to see a\nfirst-class English company of 1927 in\n\" Patience \". Next to that I get con-\nsiderable pleasure reading this able book\nby Mr. Godwin.\nIt was so sunny in the London of\nthose days, and not to sing would have\nbeen an insult to Queen Victoria, that\nlady who kept all things and people\nin their right places. Seldom was a\nbutcher found editing a paper then\n—because halfpenny papers had not\nbeen invented. Butchers have managed\ntheatres, but not in Queen. Victoria's\nday :—they were one and all too busy\nchopping up meat for the Royal Family.\nThose today who doubt this never knew\nLondon in those days, no Butcher's\nshop being complete unless it had\nthe Royal Arms over its portals with\n\" Purveyor to the Royal Family \" in\nfine gold letters.\nAnd on the gold the spring sun of\nLondon would twinkle and the carriage\nwheels would go round flashing, and\nthe horses* hoofs trampled musically,\nand Sullivan heard it and Gilbert saw\nthe point.—London then Was the world.\nWhy bother what the thinkers in Ame-\nrica were thinking, or the other pro-\nfound nobodies were saying. London\nwas the world,—well then :—and had\nit not been so no Gilbert, no Sullivan\nwould have collaborated together for\nyou and me.\nMake London the world again for\nus artists, and by jingo we'll live up\nto it.\n\nESSAYS ON OLD LONDON by\nSydney Perks. Cambridge University\nPress. Price 12/6 net.\nCITY STREET NAMES by Louis\nZettersten. Selwyn & Blount. Price\n3/6 net.\nMR. Zettersten covers a lot of\nground in his handbook, whereas\nMr. Perks touches here and there in a\nscholarly way,—the Guild Hall, great\nfire of 1666, and the subsequent schemes\nof restoration are the subjects of these\nhis brief essays.\nMr. Zettersten was a business man\nin the city, and if he had an hour for\nlunch gave fifteen minutes to food for\nhimself and forty-five minutes to col-\nlecting food for us, which food he\nserves up for us in this little book.\nHis idea was to see a new ally,\nstreet, court or institution each day,\nand each evening he would look up\nall about the said institution, court,\nstreet or ally.\nMr. Perks being City Surveyor to\nthe Corporation of the City of London\nis right there on the spot, and has\n\" been able to consult records not\nusually available to the general public \",\nand the result he gives us in his hand-\nsome volume.\nBoth authors refer their readers to\nHorwood's Plan of London which was\nrecently reprinted in its entirety in\n\" The Mask \" So The Mask will\nprove useful once more.\n\nBERNARD SNA W MAN\nAND HIS WORK: Harold\nSkimpole B. A. _ George Allen &\nUnwin Ltd. Price Si- net.\nA celebrity is often unfortunate in his\nbiographers, who more often than\nnot misrepresent the man and his work\nwhile doing their level best to utter\nthe truth.\nMr. Shaw is more than lucky iii\nhaving as biographers doughty sappers\nwho shovel and shove away like any-\nthing.\nLet them but stick at it and in time\nthe snow will all be cleared away and\nthe suburban villa will look its best.\nMr. Skimpole and his publishers have\ndone a remarkable thing in producing\nthe book for so small a sum ; but I\nan not so sure that this is not one of\nthe books which ought to have cost\ntwenty-one shillings or even two guineas.\nIt is written as its subject deserves\nand the several comparisons of Mr."}, {"page_pdf": 50, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 2625, "texte": "Shaw with Mr. Chesterton are very\nright and proper.\nThere is very liitle I can find fault\nwith in the little volume, which should\nprove a welcome addition to many li-\nbraries of southern England.\n\nRIP VAN WINKLE GOES TO\nTHE PLAY. Brander Matthews.\nCharles Scribner's Sons. Price 10/6 net.\nPROFESSOR Brander Matthews is\nnow seventy-four years of age and\nseems to have haunted the playhouse\nlonger than even our own 44 Car ados\".\n(Mr Chance Newton) has done.\nHe has been 44 for sixty-four years\nan incessant and indefatigable playgoer\".\nBorn in 1852, Mr. Matthews took\nhis first dip in the Stygian pool at the\nage of eight when he saw Boucicault's\nstage version of 44 The Heart of Mid-\nlothian \" ; and as early as 1869 he\nbegan writing about Theatres, yet is as\nyoung as he was then, and is 44 con-\nvinced that the methods of today are\nbetter than those of yesterday \".\nThis is one of the best books he has\nwritten.\nIt is a collection of short readable\nessays on things Theatrical which were\nwritten in 1913, 1917, 1920, 1922,\n1923, and 1924. So that the last\nwas written when he was in his se-\nventy-second year, and may we all do\nas well in our sixty-second.\nThat he gives us nothing written in\n1926 is only because the hearty old\ngentleman is collecting those writings\nnow, and probably intends to let us\nhave them in 1 929 when he will have\nsome foot notes to add.\nMost of his 44 old fashioned\" no-\nnotions are right notions. He tells us\nwhere they come from ; he quotes Ristori\nor Jepherscn or Rachel or some other\nauthority. He is proud to do so. Would\nthat he were equally proud to quote\nthe authorities when he comes out\nwith one or two 44 modern\" notions.\nThese he commends, and takes the\ncredit for them, which is a somewhat\ntricky and reprehensible thing to do.\nHe is at times a little long-winded,\nas, for example, at the beginning of\nthe essay on 44 The Question of the\nSoliloquy \" where he takes two pages\nto say when it justifies itself and when\nit doesn't.\nHe could have done it in six lines.\nHe writes very tolerantly of modern\nacting, for he keeps himself most care-\nfully informed on modern developments.\nI won't say that I should have\nenjoyed eighty or a hundred pages more\nabout the one or two great American\nactors and actresses so little known to\nus, ...Jepherson and Clara Morris, for\nexample, in place of the same number\nof pages devoted to odd scraps relating\nto thirty or forty Europeans about whom\nwe probably know rather better than\ndoes the good Professor.\nStill, we cannot find fault with this\nlast little book by the genial American\n44 guide, philosopher and friend \" of the\nlate William Archer."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c043", "article_bluemountain": "bmtnaau_1927-04_01#c043", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "77", "page_fin": "77", "image_debut": 43, "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=bmtnaau192704-01.2.26.1", "titre_corps": "FROM \"BRANT'S SHIP OF FOOLS\" 1347", "titre_sommaire": "FROM \"BRANT'S SHIP OF FOOLS\" 1347", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 43, "page_imprimee": "77", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.43", "debut_caractere": 0, "fin_caractere_exclue": 34, "texte": "FROM \"BRANT'S SHIP OF FOOLS\" 1347."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c044", "article_bluemountain": "bmtnaau_1927-04_01#c044", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "77", "page_fin": "78", "image_debut": 43, "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=bmtnaau192704-01.2.26.2", "titre_corps": "THEATER UND LICHT SPIELHAUSER by Paul Zucker", "titre_sommaire": "THEATER UND LICHT SPIELHAUSER by Paul Zucker", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 43, "page_imprimee": "77", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.43", "debut_caractere": 50, "fin_caractere_exclue": 6295, "texte": "THEATER UND LICHT SPIEL-\nHAUSER, by Paul Zucker. ( Verlag\nErnst Wasmuth A. G. Berlin). Price\n32 Marks.\nTHE Verlag Wasmuth often issues\nup to date books on the Theatre,\nand those who are awake to the\nmodem stage ought to keep a sharp\neye open in the Wasmuth direction—\nfor this Verlag produces them well\nand at a fairly reasonable price.\nIn the present volume eighteen Mo-\ndern Theatres are shown us and eleven\nCinemas. The Cinemas one and all\nstrike me as being distinctly stupid\naffairs, spite of the fact that one is by\nPoelzig—and he full of intelligence.\nEven in his Cinema builiing \" The\nCapitol \" in Berlin, erected in 1926, he\nmanages to invent a ceil'ng that is\noriginal, and forces his originality cle-\nverly in many a detail; but, like the\nrest of the architects, the excellent\nPoelzig blunders over Cinema in that\nhe gives it a house that is like a\nTheatre. I am no architect, but for\nthis creation of modern times,... this\nCinema,... I think I should try to\nconstruct a modern house.\nHere was the chance and it has\nbeen missed. Possibly deliberately\navoided : —if so, then Poelzig has not\nblundered. Maybe proprietors of these\nGerman Cinemas are pessimistic about\nits health, and are to be heard saying\nto their wives at the daily breakfast\n\" My dear, not butter AND marmalade\ntogether, butter or marmalade *\\ \" Why,\ndarling? \" she asks. \" Because things\nare looking black on the horison, swee-\ntest : there's not much more life in the\nGerman movies: and we may soon have\nto turn our own thirty-nine houses into\ntheatres\nWell, well, when the poor directors\nof these Berlin Cinema palaces have to\ndo that it will be quite easy, so like are\nthe places to real little Theatres,—and\nthen they will again be able to lay the\nmarmalade on the buttered bread.\nBut if Poelzig, for some reason un-\nknown, has not done well over the Ci-\nnema, he has assuredly done belter than\nanyone else in this book in the way\nof theatres,... if we exempt Henry Van\nde Velde, of whose work we shall speak\nlater on. The date given in the book\nto Poelzig's \" Grosses Schauspielhaus \"\nBerlin is 1919. I was always under\nthe impression that it was put together\nin 1912-13, for Professor Reinhardt,\nand that a ready-made circus was\ntransformed by the architect into this\nmost theatrical, and, to me, best of mo-\ndern spectacle playhouses. There is a\ngood deal I dislike about it; but, taken\nall in all, and compared with the other\nexamples in this collection, it easily\ntakes first place,... as a modern affair.\nOskar Kaufmann can do a pretty\npiece of work too, making as good a\nshow inside and outside; but, while\nhe impresses U3 before we enter, on\nour entering the place he merely tickles\nour fancy. He likes woodwork of the\nboudoir kind, and fantastics of every\nkind. He's no t at all bad at I he game,\nbut he has not yet fashioned a real\nTheatre.\nThe mind of Herr Fahrenkamp is\ntoo much occupied with Japanese Art\nfor him to do all he would like to do,\nand Lossow and Kuhne have no notion\nwhat stage and drama are, for they\nexert themselves magnificently to achieve\nthe wrong thing.\nMax Littmann, struggling manfully\nwith the old Wagner notion, which\nattacks most of us when we are young,\nand, thank God, leaves us at peace\nwhen we grow up, reveis in It all and\nmakes more out of it than anyone ever\ndeemed possible.\nIn Munchen his Prinz Regenten\nTheatre of 1901, and his Kunstler\nTheatre of 1908, will always remain\na proof of this architect's devotion to\na great cause; but by the time he\ncame to build at Posen in 1910, and\nat Stuttgart in 1912, he shows us that\nhe has already had enough of it, so\nhe slips in circles and side\nboxes and Uncle Tom Cobbley and\nall, with a fine Foyer or two, chan-\ndeliers, and really one begins to feel a\nbit cosy again,... cosy in the old grand\nstyle. The exteriors of his two Stutt-\ngart Theatres, if not quite the thing, are\nthe very next best thing to it.\nSeeling* s Charlottenburg Theatre looks\nto *me a useful place and it would be\nthe very thing for me, if I lived in\nCharlottenburg. Distance has not lent\nenchantment in this instance. I do not\nbelieve anyone could possibly call it\nartistic and that is a virtue.\nWalter Gropius, in his 1923 Thea-\ntre at Jena, has had an idea and carries\nit out well. He is a very gentle man I\nshould say, perhaps even weak at times,\nfor outside and inside his excellent\nsmall theatre is so very hard. Nothing\ncan allow him to unbend: even his\nseats are the very deuce, presuming\nHell is icy as folk believe. But there's\na something I like in Gropius: may be\nI respond to this very weakness not to\nunbend. 1 hope some day Gropius will\nmake one curve, one little curve in one\nof his walls and then but I await\nthe miracle.\nAnd now to come to Henry van\nde Velde. Where this architect dif-\nfers from the others is that he really\npauses.... pauses, to think of the Drama;\nand when we come to consider this\nfact it occurs to us as perhaps the pro-\nperest way of setting about the busi-\nness. Van De Velde is the only ar-\nchitect out of the nine here represented\nwho seems to have considered the pro-\nscenium. His plan is here to show us\nthis, though unfortunately no photograph\nis given of the stage and its proscenium.\nBuilt in 1914, at Koln, its semi-\ncircular stage was an innovation; the\ncentre of the Van de Velde stage is\nwhere it should be : as a rule there\nis no centre;... such a mistake to forget\nthat little point even spite of all the\nguarantees of Democracy. Van de\nVelde is a true artist and has no po-\nlitics, and therefore is balanced, and re-\ncognizes little things like the circle,\nthe half circle, and the centre ; and,\nif he cannot contrive to curve his audi-\ntorium, far be it from him to insist:\nhe will keep his curves for the stage*\nThe stage is the gainer. This same\nproscenium seems to have appealed to\nhis collaborators in the Theatre Champs-\nEly sees, the swell playhouse which was\nput up in Paris in 1913. I well re-\nmember seeing it in 1912, while in\ncourse of construction. These collabo-\nrators A. and G. Perret, charmed by\nthe Van de Velde stage proscenium\nof 1914, adopted it in 1925, for their\ntheatre at the Paris Exhibition of Arts\nand Crafts.\nHenry Van de Velde has always\nbeen a pioneer—l need hardly empha-\nsize that fact—so well it is known* All"}, {"page_pdf": 44, "page_imprimee": "78", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.44", "debut_caractere": 0, "fin_caractere_exclue": 5980, "texte": "pioneers come across each other after\ncutting their way through the forests,\nswimming the big rivers, and at last,\nwith a chuckle of delight, land at the\nPioneers Inn, one of the most dense-\nly populated hostelries on earth ; for\nthe pathetic picture of the lonely pio-\nneer is all bunkum. You can any\nday prove this for yourself if you can\nget a through ticket to the Pioneers\nInn which lies somewhere N N by\ns s.\nIt is an odd place. On arriving\nthere you lose not only yourself but\nall sense of time and place ; you may\neven for a moment suppose yourself in\nHollywood, for the first thing that\nmakes you rub your eyes is the sight\nof a gentleman in a maroon brocade\nwaistcoat embroidered with silver, silk\nbreeches and stockings, Hack shoes\nwith silvered buckles, stretching his legs\non a bench : by him stands another ;\nhe wrears a toga: the two are quite\nsilent. Shojuld you not recognize them\nat once you can on enquiry learn\nthat the first is named Charles Nicolas\nCochin, and the second ApeJopius....\nwho as some of you know was the first\nlo suggest stone as a good warm fauteuil.\nIt was, I learn, adopted after a delay\nof two hundred and eighty seven\nyears.\nAs for Cochin, you all know him.\nBut you may not know of this incident\nin his life.\nTaking a stroll one evening after\nsundown, and the year sometime about\n1760, M. Cochin, greatly to his sur-\nprise, found himself outside the walls\nof Paris, the village in which his plea-\nsant but rather cramped homestead\nstood. Taking a turn to the left, a\ntusiom so often indulged in by pio-\nneers, he thought he saw a light in\nthe distance. He had noticed this light\nonce or twice before, but had paid\nlittle heed to it because, on enquiring\nof a group of Parisian peasants, who\nwere reading and laughing over 44 Le\nDernier Cri the fashionable journal\nof that day, they had told him to ask\nthem another, one yokel being polite\nenough to add 44 there aint no blooming\nlight, you old fooL.. that's a brick\nWall\nThanking his last informant for his\ncourtesy, M. Cochin turned back, en-\ntered the Porte St. Michel and went\nright home. But this stroll of his be-\ncame habitual, and, by habit toe, those\nsame five or six Parisian peasants al-\nways seem to have had the identical thing\nto say to M, Cochin when he paused\nlooking at the brick wall as though he\nsaw a light on its flat plastered surface.\nIt was in fact a blind alley into which\nthe good Cochin was so incessantly\nroaming of an evening, and anyone but\na Cochin would have recognised that\nimmediately and stopped roaming al-\nways into the same blind alley. But\none night Cochin was late with his\nstroll: and on arriving at the blind\nalley not a peasant was to be seen ;\nnone was there to say to the old fool\n44 get along with you \"; so he got\nalong at the double, for there was the\nlight, right enough. 44 Since I see it,\nit must be there \" thought Cochin;\nbut, like all Pioneers, he kept looking\nand relooking, shyly cautious lest he\nmight really be making a fool of him-\nself ; and so he went on and on and\nnever returned to Paris : and by 1 790\nhe had actually arrived at the Pioneers\nfnn where two great gentlemen in togas\nand one in a Kimono met him at the\ngate saying 44 welcome,.,, you have\nbeen long expected\nIt seems that to a new arrival this\nis all they say, everything else being\nso clear to the understanding of all\nthe gathering that it is held unneces-\nsary to talk it aloud : but later on one\nfinds out that there are hundreds of\ntopics :—the seasons, the price of to-\nbacco, the size and weight of pebbles,\nthe precision of the stars, (though this\ntopic has been banned since the arrival\nof Herr Slackenschmidt, for on his\ncoming everyone knew immediately that\nthe stars detest being precise and so\nall were able once more to enjoy their\nlight and their coming up and going\ndown without having to say any-\nthing).\nBut my tale must stop, not because\nthere is not a middle and not an end\nto add to this begining, but because\nthe middle's so long and the end is so\nslim. Besides 44 The Mask \" is so\nslight, and will not bear the mere frame\nwcrk of that tale: suffice it to say\nthat every pioneer, from Jaos (who as\nyou know was the first) down to Mon-\ntejallo, gees to, and is at home at, the\nfamous but (to others) utterly unknown\nInn, and there they al! have the time\nof their lives.\nNever, never is anyone heard to\nspeak of going back to Paris for exam-\nple ; that ceases to be a possibility on\naccount of the ludicrous notions involved\nin the idea—and in like manner no\none speaks of going back to anywhere\nwhat ever, having arrived, having as-\nsembled, have found, like Cochin did,\nthat what peasants in Paris and London\nand Poggibonsi take to be a blank\nwall is actually an open way. Would\n:you speak at all after such a disco-\nvery ?\nWell, I am a mild kind of pioneer,\nso I talk; and my talk all hovers\naround Henry Van de Velde and his\nideas, which are born by the hundred\nwhen he is tired of giving birth to\nmerely ten at a time. That he carries\nout all his ideas is not in the nature\nof things ; he is keeping thousands to\nexchange silently with the rest of us\nwhen we all foregather at the famous\nInn.\nWhat a charming book to be sure\nis this 44 Theater und Licht Spiel-\nhauser \" ; it has brought me a glimpse\nof this architect. But I know him\nslightly and I know him to be an\nunblushing advertiser. But what an\nadvertiser he is, with his strange habit\nof employing a special advertising agent.\nBut even there he is a pioneer, for\nhis travelling advertising agent is his\nvoice, and, when ever he speaks, a\nposter sketched in the finest colours is\nlaid upon silk and is slowly unrolled;\nthis he pins to the door, the shutter,\nthe lintel, where ever you will. The\nonly other voice in any way approach-\ning it for quality is that of . General\nD'Annunzio; but, as some one else\nhas said, even as the words of Mercury\nare harsh after the songs of Apollo,\nso is the voice of this most musical\nof poets but a squeak after you have\nonce heard Van de Velde,"}]}, {"article_id": "bm-bmtnaau-1927-04-01-c045", "article_bluemountain": "bmtnaau_1927-04_01#c045", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "78", "page_fin": "79", "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=bmtnaau192704-01.2.26.3", "titre_corps": "THE AUTOBIOGRAPHY AND MEMOIRS OF B.R. HAYDONFANNY BURNEY AND THE BURNEYS by R. Brinsley Johnson", "titre_sommaire": "THE AUTOBIOGRAPHY AND MEMOIRS OF B.R. HAYDONFANNY BURNEY AND THE BURNEYS by R. Brinsley Johnson", "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": "78", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.44", "debut_caractere": 5982, "fin_caractere_exclue": 6985, "texte": "THE AUTOBIOGRAPHY AND\nMEMOIRS OF B. R. HAYDON.\n2 Vols. Peter Davies. Price 20/-net.\nFANNY BURNEY AND THE\nBURNEYS by R. Brinsley Johnson.\nStanley Paul & Co. Price 161-net.\nTHERE are books wholly devoted\nto theatrics—ie, the tricks of the\ntheatre, and these are often a bore.\nThere are also books which are given\nto theatring a little,—that is to say,\nthe people in the said books hang\naround the theatre waiting their time,\nsaying things, jotting them down, re-\ncording trifles; these are sometimes\nreally of interest and assuredly enter-\ntaining.\nIn the first category come the Me-\nmoirs of Actors, Annals of the Stage,\nand serious works :—Colley Cibber's\nApology, Dumas's 44 My Odyssey \",\nMantzius's History of Theatrical Art:\nwhile in the second we have such\nbooks as 44 Crabb Robinson's Diary\n44 The Table Talk of Samuel Ro-\ngers \" and Haydon's 44 Autobiogra-\nphy\nMany of us who devote our lives\nto the stage, who have to act, pro-\nduce, or scrub the beards and dust\nthe velvet hangings every day and"}, {"page_pdf": 45, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 6746, "texte": "night, seldom have time to read any\nof these hooks. Some of us who only\nappear in Acts I and V of a play\nhave an hour and a half of spare time ;\nso we fill that up by reading the\n44 Observer \" or the 44 Referee \" ; the\nquieter joys of an hour or so with a\nbook are impossible in a dressing room\nof a Theatre. Many have tried it and\nknow it to be impossible, It's like\ntrying to read on the esplanade of\nsome seaside place, or on the edge of\na cafe.\nThat's why the newspaper was in-\nvented, and why our newspapers grow\nnoisier and noisier. Tis to drown the\nclatter of cups, glasses and hoofs and\nthe whirr of wheels and the rest of\nthe pandemonium.\nThat we do, we newspapers ; and\ntis a churlish world if it says unkind\nthings abou) us; for we are a kind\nof League of Mercy, and with our\ndope we drown the miseries of the\nbusy man.\nUtter then no harsh word about\nthe thunder in 44 The Mask \" ; it serves\nits purpose.\nBut if we would crown the racket\nwe would not kill the moonlight; nor\neven the arc lamps which make ci-\nties bright when the quiet comes at\nlast.\nAnd in such quieter and brighter\ntimes we may find an hour or two\nin which to pick up a book of Me-\nmoirs and therein discover things here\nand there about Talma, Siddons or\nMile. Georges ; for now and again such\nstars are mentioned by people who\nsaw them.\nFor example, in 44 Crabb Robinson's\nDiary \" :—44 1814, August 26. Arrived\nin Rouen in the evening, and heard\nthat Mile. Duchesnois was to perform.\nTired and even hungry as I was, I\ninstantly.... \" and there you have it.\nIt is such scraps that please me more\nthan whole books of an actor's or\nactress's 44 Recollections \", for there I\nget my actor and actress as the public\nsees them ; and I also get a glimpse\nof someone else besides my actor and\nactress which has its uses. I see Wil-\nliam Godwin, Haydon and Talfourd;\nI am aware of the presence of Words-\nworth, and Coleridge often pops in :\nSamuel Rogers is there ;—and here is\nlittle Charles Lamb with his 44 Dicldle-\ndiddle dumpling, my son John, Went\nto bed with his breeches on\"; and\nWordsworth murmuring 44 Charles—my\ndear Charles \".\nSometimes Byron appears ; Moore\nis always there; and Miss Burney\nseems to be hovering, while in a chair\nsits Talleyrand hidden by the others.\nSo that when I catch a momentary\nglimpse of my actor and actress in the\nmidst of such a gay company as this,\n1 feel that things have assumed their\nright proportions again and that all the\nworld is not a stage—while the stage\nonce more really becomes a bit of the\nworld.\nBut there is one odd thing about\nthis wonderful, gay and dear company\nof men and women:—Blake is absent.\nNo one seems to know him, and yet\nyou and I and everyone else know\nhim so well today. Did he not die\nin 1827.\nIn the Memoirs, Autobiographies and\nthe other books his absense is felt;\nno one even utters his name. It\nspeaks well for such a jolly company\nthat I do not leave it to seek out\nW. B. in his little rooms in South\nMoulton Street. To be fair on the\nmerry companions, one of them did\ngo and look for him ;—that was Crabb\nRobinson; but I find no word of\nBiake in Haydon's 865 closely printed\npages. Yet Haydon knew Fuselii,\nFlaxman, Crabb Robinson, Stodhart,\nand all these men knew Blake.\nDid Lamb know him ? he had\nread 44 Songs of Innocence \" ; and\nKeats, is it possible that Keats, Blake\nand Lamb were never together ?\nIt was not perhaps only King\nGeorge 111 and the Public who called\nBlake mad;—possibly even Lamb\nthought him a bit queer, and Keats,\nRogers, Haydon and the rest, when his\nname came up to the top in the talk,\nsurely dismissed it and killed it with the\nword 4 Crazy '.\nIt is rather awful to think this may\neven have been so.\nFor the love of God, charity then....\nAnd a pause if you are not by nature\ncharitable, lest you kill more than even\nthe devil dreamed mankind fool enough\nto kill.\nYet I would I had the time and\nwit to search the archives for some\nrecord showing that Lamb did know\nBlake, and that they had walked and\ntalked together when the big swells\nwere not about.\nWhat little folk most of the big\nswells were one realizes as one goes\nthrough Haydon's Autobiography and\nthe Fanny Burney papers.\nI should like Miss Burney did she\nfuss less;—but I never knew a bigger\nfusser. And as I know some of the\nartists who visited her house (to meet\nher father Dr. Burney) I dislike her\nsmug way of sizing them down.\nBesides, Miss Burney was a dead-\nhead, and did 44 prefer for acquain-\ntance the well-bred and obliging Miss\nDavies to the selfsufficient and impe-\nrious Bastardini\" (1775).\nShe prefers the tame Davies to al-\nlowing a brilliant artist to be herself.\nThis Bastardini, as she calls her in-\ncorrectly, was La Signora Agujari,\none of the fine singers admired by Mo-\nzart.\nYet she has to admit that Agujari\nis 44 alone and unrivalled \".\nShe likes Garrick for Garrick plays\nthe fool for her in the house 44 to pique\nher \" and that strikes her as so admi-\nrable.\nWhen she became Madame d'Ar-\nblay she loses much of her pertness\nand becomes dull.\nThe editor of these new papers finds\nher pictures of men and manners in\nthe 18th century 44 incomparable \" ;\nyet also finds the Burneys 44 not quite\nwell-bred \" and sometimes using 44 the\nlanguage of a snob \", lacking in 44 emo-\ntional balance \" and with 44 no sense\nof style \".\nWhat would all that matter if only\nFanny Buiney's pictures of the men\nand manners of the 18th century had\nbeen well drawn, well sketched, or\neven dashed in well.\nHaydon does better with the early\npart of the 19th century. That 44 im-\nmortal evening \" on December 28th,\n1817, with Lamb, Monkhouse, Keats\nand Wordsworth, plus the stranger,\nthe comptroller of stamps, is certainly\nrecorded well. But when all is said\nand done by these immortals of that\nfamous evening, one turns to look\ntowards Mr. William Blake at No. 17\nSouth Moulton Street. On December\n28th, that same evening, three days\nafter a merry Christmas (it is the very\nsame evening in 1926 and it is half\npast seven that I write this—a hundred\nand nine years have rolled by—) I seem\nto see this man, with a grander head\nthan Beethoven's, now sixty years old,\nstill slowly and gravely colouring by\nhand a copy of a book which he\nprinted in 1789, 44 Songs of Inno-\ncence \", and a copy of a later book\nin 1794, 44 Songs of Experience\";\nfor he had an order for the two for\nwhich he is to be paid 44 on deli-\nvery \" some £ 2.10.0 at the very\nleast.—Today we auction them for\nabout £ 300 apiece.\nLamb preferred Blake's 44 Canter-\nbury Pilgrimage \" to Stothaid's. 44 A\nwork of wonderful power and spirit,\nhard and dry, yet with grace \" he\nsaid of it, on one occasion.—lt was not\non that 44 immortal evening\" Decem-\nber 28, 1817, for what would Keats\nhave thought, or Wordsworth.\nYet Lamb had moral courage."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c046", "article_bluemountain": "bmtnaau_1927-04_01#c046", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "80", "page_fin": "80", "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=bmtnaau192704-01.2.26.4", "titre_corps": "\"PLAY-MAKING\" by William Archer", "titre_sommaire": "\"PLAY-MAKING\" by William Archer", "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": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.46", "debut_caractere": 0, "fin_caractere_exclue": 2813, "texte": "<< PLAY-MAKING \" by William\nArcher. (Third Edition) Chapman &\nHall, Ltd. Price 7/6 net.\nTHIS volume on 44 Play making \"\nwas presumably written by the late\nWilliam Archer in the hope of making\nclearer to us how to set about writing\na play. But instead of telling us simply\nhow to do this he gets lost in his\nsubject. He keeps on referring to little\ndetails in the work of Ibsen, Dumas,\nTolstoi, Maeterlinck, Pinero and other\nplay writers. He pops from one name\nto another ; he tells us that Galsworthy\ndoes this, where as Fitch doesn't; while\nJones works so, Pinero works somehow\nelse.\nThis makes us wish he would keep\nstill and settle on any one Dramatist and\ntell us clearly how the man does write\na play,\n1 was eager to learn what Archer\nwould tell me about the method of\nDumas pere, and on turning to the five\nreferences to Dumas pere I learnt\nabsolutely nothing.\nWhen he starts to tell us how Shakes-\npeare wrote a play he again goes\npopping about from one play to ano-\nther. I want to see Shakespeare the\ncraftsman at work on any one play, ...on\n44 King Lear 44 Hamlet \" or 44 Mac-\nbeth \" not on 44 King Hambeth\nThose of us who are born preachers,\nactors, painters, poets, dramatists, en-\ngravers, gardeners, builders, only lack\nthe little tip from the old pro 44 how\nto do it \". Now Archer doesn't tell\nus. He tries to tell us, but in order\nto give anyone the tip you have to give\nit in a sentence of six words, or of\nthree, for you have to prove that its\neasy, f know this for I have given\npeople the tip.\nAll the dear good Archer does is to\nshow us how fearfully complicated it all is\nand Archer, just because of this\nsimple nature of his that was bent on\ncomplicating, was held in awe by half\nLondon. 44 What does Archer say \"\nwas then the word, as today 'tis 44 what\ndo Brown and Agate say Lengthy\ntalks about a thing done or how to do\nit, are really of very little importance.\nAnd here we see Archer, a play-writer,\nwasting his and our time for forty odd\nyears on elaborate criticisms as Brown\nand Agate are doing today. Confusing\neveryone, .... helping not at all. You\nmay say thai it requires a certain ge-\nnius to give pupils a clue to secrets in\nsix words: if this be so, then the\nsooner we stop listening to the pedants\nwho give us nothing but a headache\nand turn to the lesser men, the merely\nintelligent ones with a genius for illu-\nminating things, the better for London.\nCan't it be stopped ? cannot an end\nbe put to this elaborate criticism ?\nI wouldn't rob Agate or Brown of a\npenny of the hard gained cash; but I think\na new job has to be found for them,\nand I suggest they purchase a copy of\nWilliam Archer's 44 Play-making \" and\nsee if that will teach them how to\nwrite some jolly good successful plays.\nFor to any but a dramatic critic 44 Play-\nmaking \" is written in a foreign language."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c047", "article_bluemountain": "bmtnaau_1927-04_01#c047", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "80", "page_fin": "80", "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=bmtnaau192704-01.2.26.5", "titre_corps": "VINCENT CRUMMLES. HIS THEATRE AND HIS TIMES arranged by F. J. Harvey Darton", "titre_sommaire": "VINCENT CRUMMLES. HIS THEATRE AND HIS TIMES arranged by F. J. Harvey Darton", "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": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.46", "debut_caractere": 2815, "fin_caractere_exclue": 4032, "texte": "VINCENT CRUMMLES. HIS\nTHEATRE AND HIS TIMES:\narranged by F. J. Harvey Darton.\nWells Gardner, Darton & Co. Price\n£> 2.2.0 net.\nFIRST of all a number of illustrations,\nnine in colour, by 44 Phiz\", Fred\nBarnard and others, and some repro-\nductions of a rare playhouse [or two,\nmake this book a delight to keep dipping\ninto; .... and until you plunge you\noften dip.\nThen you read those chapters by\nDickens which present Crummies to\nyou, and you've plunged.\nThen you come out and enjoy Mr.\nDarton's commentary, every word of\nit, as you dry in the sun.\nThis is a book, a sound book, to\ngive to a boy : such a present is worth\nsix lost months of education at Eton.\nNot the least curious thing in the\nbook is the fact that Onwhyn's extra\nillustration showing Crummies is prac-\ntically a portrait of our renowned\nEnglish dramatic critic James Agate;\nI cannot therefore agree with the no\nless celebrated dramatic critic Mr.\nSidney Dark that 44 Mr. Crummies\nexisted until the war\nThere is another picture in the book\nof topical interest, for it shows us\n44 An audience at Sadler's Wells \", in\nthe early part of the nineteenth cen-\ntury, and this depicts for us what Miss\nBaylis wishes to revive. One would\nnever have thought it."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c048", "article_bluemountain": "bmtnaau_1927-04_01#c048", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "80", "page_fin": "80", "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=bmtnaau192704-01.2.26.6", "titre_corps": "THE LETTERS OF MARIE ANTOINETTE, FERSEN AND BARNON", "titre_sommaire": "THE LETTERS OF MARIE ANTOINETTE, FERSEN AND BARNON", "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": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.46", "debut_caractere": 4034, "fin_caractere_exclue": 4769, "texte": "THE LETTERS OF MARIE AN-\nTOINETTE, FERSENAND BAR-\nNON, Edited by O. G. de Heiden-\nstam. John Lane. Price 12/6.\nI cannot find these documents interes-\nting, nor am I interested in Marie\nAntoinette as she is set dovn in these\npages.\nShe strikes me as a pretentious lady,\nand not particularly straightforward.\nOne realizes what it was that drove\nthe French people to destroy her.\nOne's sympathies for her are driven\naway by her unceasing meddling.\nAs with her amateur roles, so with\nher amateur stateswomanship; they were\n44 royally ill played \".\nIn 1789 this Queen had supported\nthe pretensions of the hairdresser Leonard\nto the directorship of the Theatre des\nTuileries, and the best he could\ndo was to exploit an Italian company\nthere."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c049", "article_bluemountain": "bmtnaau_1927-04_01#c049", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "80", "page_fin": "80", "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=bmtnaau192704-01.2.26.7", "titre_corps": "A PLAYGOERS WANDERINGS by H.M. Walbrook", "titre_sommaire": "A PLAYGOERS WANDERINGS by H.M. Walbrook", "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": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.46", "debut_caractere": 4771, "fin_caractere_exclue": 6609, "texte": "A PLAYGOERS WANDERINGS\nby H. M. Walbrook• Leonard Par-\nsons. Price 10/6.\nIT is not that too many books of\nTheatrical memoirs are appearing;\nit is only that the books are exagge-\nratedly large, too expensive, and unne-\ncessarily fine for the purpose: by\nthat I mean work purposes.\nBooks of this kind could easily be\nissued at five shillings and be thinner,\nsmall type used, and plainer covers.\nFor if not for u5,... for the workers\non the stage [or the historians..., for\nwhom are these books ?\nYou tell me that Old Playgoers are\nthe readers and are ready to pay what\na stall in a Theatre cost in the old days.\nBut tell me something more:\nwould these playgoers object to buy\nthese kind of books if plainer, more\nlike a work book and less like a fancy\nnovel ?\nBut this is wandering from Mr. Wal-\nbrook and his good book, worth quite\nten and sixpence if only for the char-\nmingly written chapter on the old Prin-\ncess's Theatre and two other desolate\nplaces where once was so much hap-\npiness.... but I am anticipating the end\nof the twentieth century. I am writing\nfor the friends of my great grandsons,\nwho will doubtless be once again\n44 sentimentalists \".\nThey will like Mr. Walbrook s book\nand will search for it in the Charing\nCross Road, will find it at a shop\nwhich will have the name Dobell written\non a board above the window.\nBut it is not alone for one chapter\nthat you'll bang ycur ten and sixpence.\nThe twenty nine chapters are all good.\nMr. Walbrook is the stuff a good\nplaygoer was made of once, and will\nbe made of again and again. Of its\nkind this book is quite one of the best\nthat has appeared for many a day.\nBy the way, I think on page 130\nthe author means 44 Danish not44 Nor-\nwegian \" Dramatist; and on page 51\nit was the crash of glass from a window\nleft open, and all the crockery, not\nmerely the fall of one plate."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c050", "article_bluemountain": "bmtnaau_1927-04_01#c050", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "81", "page_fin": "81", "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=bmtnaau192704-01.2.26.8", "titre_corps": "LETTERS CONCERNING THE ENGLISH NATION by Voltaire", "titre_sommaire": "LETTERS CONCERNING THE ENGLISH NATION by Voltaire", "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": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 950, "texte": "LETTERS CONCERNING THE\nENGLISH NATION by Voltaire.\nPeter Davies. Price 15/ net. (only\n750 copies for sale).\nWITH an able Introduction by Mr.\nCharles Whibley, this reprint of\nthe letters is once more very welcome :\nand surely never before have they\nbeen so beautifully printed or on such\ndelicious paper or better bound.\nMr. Peter Davies indeed seems to\nknow a good deal about book-making.\nMr. Whibley in his short introduc-\ntion writes of Voltaire taking 44 a certain\npride in making Shakespeare known in\nFrance \" ; but, if I remember aright, I\nbelieve that it was another Frenchman\nwho did this. I somehow recollect\nMr. Swinburne telling me in his high\nvoice as he sat patting his knees that\nhe had just discovered that another\nand not Voltaire had made Shakespeare\nknown to France.\nBut no one need bother about what\nVoltaire though of Shakespeare or any-\nthing else because it is only the way\nhe says things that is so enchanting,\nnot what he says."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c051", "article_bluemountain": "bmtnaau_1927-04_01#c051", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "81", "page_fin": "81", "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=bmtnaau192704-01.2.26.9", "titre_corps": "SHOOT! by Luigi Pirandello", "titre_sommaire": "SHOOT! by Luigi Pirandello", "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": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.47", "debut_caractere": 952, "fin_caractere_exclue": 1594, "texte": "SHOOT! by Luigi Pirandello. Chatto\n& Windus. Price 7/6.\nTHIS novel by the famous Italian\nwriter is very readable, but it has\nthe confused and confusing elements in\nit which I ior one dislike intensely.\nThe author is this time lucky in his\ntranslator who is none other than\nMr. C, K. Scott Moncrieff.\nThat the book is fuij of intelligent\npassages need not be doubted, and for\nthese it is wrell worth reading; but it\nis too full of unrest, an unrest which\nseems even a little affected : it is agi-\ntated where it might easily (no, not\neasily but assuredly) have been calmly\nplanned, calmly done or put aside :\nthat is what I feel.\nWell then...."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c052", "article_bluemountain": "bmtnaau_1927-04_01#c052", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "81", "page_fin": "81", "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=bmtnaau192704-01.2.26.10", "titre_corps": "MINIATURES AND SILHOUETTES by Max Von Boehn", "titre_sommaire": "MINIATURES AND SILHOUETTES by Max Von Boehn", "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": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.47", "debut_caractere": 1596, "fin_caractere_exclue": 3301, "texte": "MINIATURES AND SILHOUET-\nTES hy Max Von Boehn. Dent &\nSons. Price 10/6 net.\nFIRST of all a very cheap book.\nWell written, with forty coloured\nplates and about two hundred black\nand white illustrations ; entertaining and\nmost informing ; it seems to me to be\naltogether an admirable piece of book\nwork in every way.\nThe only fault I can find is that\nthe line blocks which purpose to give\nus reduced representation of the silhou-\nettes are often blotchy. Goethe's nose\nand wig and tail-coat on page 185\nare spoiled : on pages 186, 187, 188,\n189 the outlines of Goethe and his\nsister and the Frau von Stein are also\nquite spoiled, and the duchess of Weimar\non page 192 apparently has sticking\nplaster on her nose.\nIt is very careless of the block-maker\nor the printer or someone, and yet it\ndoesn't spoil the book.\nFor the student of the Theatre there\nis a good deal in this volume to interest\nhim, especially the portraits of Mile\nDuchesnois, Mile Lange, Theresa Peche\nand Pr^ville.\nAnd what enchanting young ladies\nwere the Sisters Rushout, how sweet\nthe Duchess of Devonshire as Bone\nrepresents her; how adorable almost\neveryone represented by that genius\nIsabey.\nThe author tells us that the art of\nminiature painting has never been ap-\nproved by the critics which is so\nright. Is the art of the puppet approved\nof by the critics ? No: the critic has\nhis life to care for ; he too wishes to\nprosper and be happy. He must praise\nthe big canvas and the big actor: he\nwinks and does it. He winks be-\ncause he knows that little puppets and\nlittle miniatures stand in no need of\npraise and will always enchant all those\nwith wit to discover them for them-\nselves.\nI wish I had some of these lovely\nminiatures."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c053", "article_bluemountain": "bmtnaau_1927-04_01#c053", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "81", "page_fin": "81", "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=bmtnaau192704-01.2.26.11", "titre_corps": "SIDEWALK STUDIES by Austin DobsonTHE POEMS AND PROPHECIES OF WILLIAM BLAKE", "titre_sommaire": "SIDEWALK STUDIES by Austin DobsonTHE POEMS AND PROPHECIES OF WILLIAM BLAKE", "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": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.47", "debut_caractere": 3303, "fin_caractere_exclue": 4891, "texte": "SIDEWALK STUDIES by Austin\nDobson. Oxford University Press.\nTHE POEMS AND PROPPIE-\nSIES OF WILLIAM BLAKE.\nEveryman Series. Dent & Sons.\nPrice 2/— net.\nTHE \" World Classics\" is a series\nwhich grows on one. The volumes\nare real pocket with but one defect;\n....the ridiculous design, in gold too,\nwhich serves to titivate the back. A\nworse design could have been found,\na more commonplace unnoticeable pat-\ntern could have been had quite easily.\nSo why this preposterously funny thing\nto disfigure these volumes ?\nDobson's 44 Studies \" are perfect\nthings in their way, and were already\nspoken of in the last number of 141 he\nMask \" : and as many treat of Thea-\ntricals every theatre lover should possess\nthem. But why wont the Oxford\nUniversity Press tell us the price of\nthese volumes as clearly as the Dents\ndo with their volumes of the Everyman\nSeries ?\nThis Volume of Blake's poems\nshould prove to be one of the most\npopular volumes of that celebrated series.\nIt is a remarkable two shillings' worth.\nLet me warn would-be purchasers to\nsearch carefully for the eighteen repro-\nductions of 44 The Gates of Paradise \" ;\nfor, if you glance too rapidly through\nthe volume, these will not immediately\nbe found by you. The eighteen are\nall placed together, and they are sur-\nprisingly well reproduced.\nI know Blake's designs fairly well,\nbut many of these platfs are new to\nme, not having appeared in any of the\nGilchrist books or in the Oxford Press\nedition or anywhere else.\nAn interesting introduction by Mr.\nPlowman, together with a bibliogra-\nphical list, adds value to the little\nvolume."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c054", "article_bluemountain": "bmtnaau_1927-04_01#c054", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "81", "page_fin": "81", "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=bmtnaau192704-01.2.26.12", "titre_corps": "PASTICHE-A Music Room Book; by Yvonne Cloud and Edmund X. Kapp", "titre_sommaire": "PASTICHE-A Music Room Book; by Yvonne Cloud and Edmund X. Kapp", "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": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.47", "debut_caractere": 4893, "fin_caractere_exclue": 5663, "texte": "PASTICHE A Music Room Bookl\nby Yvonne Cloud and Edmund X.\nKapp. Faber & Gwyer. Price\n42/ net.\n44 * g 'HIS is \" as the publishers state,\nA 44 a book for music lovers\nHere are records in pen and pencil of\nthings and persons musical. We are given\nportraits or portrait caricatures of Dol-\nmetsch, Coats, Busoni, Sir Henry Wood,\nRavel and others. Accompanying these\nruns a pretty brook-like burble of text,\noften broadening to a stream, never\nswamping us or deafening us ; pla-\ncid and nicely it goes on.\nBut I for one am convinced that\nboth the draughtsman and the writer\ncan do more than they have done here.\nThey do enough to show me that they\nboth have sturdy intelligence, which is\nthe rarest of things. These two young\nartists seems to me to have a future\nbefore them."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c055", "article_bluemountain": "bmtnaau_1927-04_01#c055", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "81", "page_fin": "82", "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=bmtnaau192704-01.2.26.13", "titre_corps": "CUES AND CURTAIN CALLS by H. Chance Newton", "titre_sommaire": "CUES AND CURTAIN CALLS by H. Chance Newton", "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": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.47", "debut_caractere": 5665, "fin_caractere_exclue": 6220, "texte": "CUES AND CURTAIN CALLS\nby H. Chance Newton. John Lane.\nPrice 12/6 net.\nTHESE are records of the English\nStage from 1869 until today.\nMr. H. Chance Newton, the recorder,\nis a name little known to the public,\nbut he is known to all the readers\nof 44 The Referee '* as Car ados.\nThis Car ados is the only part Mr.\nNewton has played with overwhelming\nsuccess ; for though he was an actor\nof distinction in his youth, he decided\nin 1877 to beat all other actors hollow\nby playing one role 18,250 times\nthis role of Car ados.\nWhile performing this (he literally"}, {"page_pdf": 48, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 4183, "texte": "created the part), he managed to be\nof great service to the actors he knew\npersonally such as Irving, Tree, Wilson\nBarrett and a dozen or so less well\nknown men. He was a good old friend\nto these: always reliable, helpful and\nkindly.\nKnowing them so well and for so\nlong, it is a real delight to hear him\ntalking about them in his clever book\nof gossip.\nThis able old man for he is now\nseventy-three years of age manages\nto get through this rather long work\napparently without any effort and with\nbut two cr three errors. His worst\nerror is after all merely this, that\nhe omits to mention certain men and\nwomen talents or celebrities.\nHs failed to see Salvini though Sal-\nvini was acting in London in 1875,\nin 1876, and again in 1884. Neither\nare Madame R6jane, Signora Duse,\nM. Coqueiin, or Miss Isadora Duncan\nmentioned. Nor are Mr. Shaw, Sir\nGerald du Maurier, Mr. St. John\nErvine, Mr Masefield or Miss Sybil\nThorndike.\nBut after all Car ados may have been\nindifferent to those persons who Mr.\nChance Newton did not know perso-\nnally ; and indeed the personal ele-\nment iooms largely in this book, .... ty-\npical of the immense importance the\npersonal element plays in the English\nTheatrical world.\nSo we hear a great deal about\n44 good old Herbert that being Sir\nHerbert Tree; 44 good old Barry Sul-\nlivan 44 good old Creswick \" and\nothers who were assuredly as good,\nand old only in the familiar sense.\nWe rather like to realize how often\nthese excellent good fellows thought a\nthing 4 4 d—d good 44 d—d \" that\nor 44 d—d \" the other because it is\nvery dashing.\nWe aie not a little interested to\nlearn that Mrs. Kendal is a Jewess;\nOld Ben Webster, grandfather or great-\ngrandfather of 44 the artistic \" Mr. Ben\nWebster of today, a Jew, and that\nBelasco, Augustus Harris, James Fer-\nnandes and a dozen others whom we\nhad always taken to be highbrow Chri-\nstians, were of the same persuasion.\nWe relish the definite statement\nnailed to the mast that 44 undoubtedly\nof all the actors of the past, whom\nIrving had never seen, the Kean (ie\nEdmund Kean) was Irving's idol\nOne is relieved to be assured that\nit wasn't the gentlemanly Macready, or\nthe smart David Garrick, but was none\nother than the brandy-drinking rascal\nKean. Not that Irving particularly\nadored his idol for his blemishes, but\nthat, knowing him a man of genius he\nsnapped his fingers at the rest.\nThere is an interesting conversation\nwith Tree recorded, in which Mr.\nNewton urges the actor not to play Marc\nAntony in 44 Julius Caesar \" ; and how\nTree began rehearsing Cassius. In the\nend he threw tjiat part over and re-\nverted to Marc Antony saying to Mr.\nNewton 44 in his most apologetic man-\nner \", 44 I had to go back to Antony\nas I find that an actor manager is always\nexpected by the public to play that\npart\".\nA few years ago, adds Mr. Newton,\nHenry Ainley said the same thing to\nhim : 44 I want to play Brutus .... but\nI find that an actor manager is always\nexpected to cast himself for Marc\nAntony\nThis doing what is 44 expected\"\nstrikes me as a peculiarly weak argu-\nment and should serve as a warning\nto those of us who are today rather\nsympathetic towards that old system of\nactor-manager, showing us that there are\nfatal defects in the system.\nI believe Mr. Newton errs when he\ntells us that 44 it is not generally known\nthat Irving \" first 44 met Ellen Terry\n(in a play acting sense) at the Queen's \"\nwhen they played in the 44 Taming of\nthe Shrew \" ; and also when he retells\nthe anecdotes about 44 Fuss!e \", Irving's\ndog, and says he was lost at Southamp-\nton and turned up at No. I Stratton\nStreet, London.\nThese facts were recorded some\nyears ago by Miss Terry in her Bio-\ngraphy, though the place Fussie returned\nto was Grafton Street not Stratton\nStreet, for it was in 1888, according\nto Miss Terry (in 1887 according to\nMr. Brereton) and Irving had not moved\nfrom his house to his flat.\nBut these are after all trifling errors\nand will disturb no one but the histo-\nrian ; and what are the scribes and\nreporters made for but to do that.\nAfter reading the whole book one\ngets the impression that without Mr.\nChance Newton the English Stage\nmight have been a very different place\nfrom what it is."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c056", "article_bluemountain": "bmtnaau_1927-04_01#c056", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "82", "page_fin": "82", "image_debut": 48, "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=bmtnaau192704-01.2.26.14", "titre_corps": "RELATION IN ART by Vernon Blake", "titre_sommaire": "RELATION IN ART by Vernon Blake", "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": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.48", "debut_caractere": 4185, "fin_caractere_exclue": 5492, "texte": "RELATION IN ART by Vernon\nBlake. Oxford University Press.\nMR. Vernon Blake \" after twenty-\nfive years of almost constant ab-\nsense\" comes to London with this\ndifficult book, rendered difficult perhaps\nby a certain lack of understanding: for\nwho is there who, perceiving our need,\nwill give us stones when it is bread\nfor which our eyes are appealing.\nPerhaps it was rather unfair of us\nto leave things to a vague appealing\nlook: it was rather unfair of us not\nto have told such a man twenty years\nearlier what it was we wanted. For,\nhad he known, I feel he could have\ndelivered the goods.\nObviously we forgot to tell Mr.\nBlake ; and so, while we haven't to\nblame him now for not having read\nour looks, we fear that others will not\nbe so considerate, and they will find\nhim tedious and say so, and there an\nend. They will possibly recognize\nmuch of the old studio talk of the last\nthirty years in this very long book of\nhis, and will be sympathetic to this\nclever talker who wants really to thrash\nthe matter out even if everyone leaves\nbefore he has finished talking: but\nthen they will say in defence 44 he\nreally didn't make it any clearer to us,\nand what is more he wouldn't stop\ntalking \".\nThe book is nicely printed by Mac-\nClose and Co, The University Press,\nGlasgow, for the University Press,\nOxford."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c057", "article_bluemountain": "bmtnaau_1927-04_01#c057", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "82", "page_fin": "82", "image_debut": 48, "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=bmtnaau192704-01.2.26.15", "titre_corps": "WILLIAM BLAKE. 1757-1827 by John Henry Clarke", "titre_sommaire": "WILLIAM BLAKE. 1757-1827 by John Henry Clarke", "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": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.48", "debut_caractere": 5494, "fin_caractere_exclue": 6107, "texte": "WILLIAM BLAKE. 1757-1827\non the Lord's Prayer, by John Henry\nClarke M. D. The Hermes Press.\nPrice 7/6.\nVERY well worth getting because\nthe author has gone to great pains\nto save you, the reader, pains. There\nare some writers who, as they prepare\na book, think of nothing but their dear\nselves. These are bound to give us\npain; but Mr. Clarke is one of the\nother kind ;—he is all the time trying\nto save us trouble.\nThis he does by telling us to take\nit easy—not to struggle—not to try to\nunderstand Blake's vision since to un-\nderstand Blake is as easy as swimming\nif you will go easy with the water and\ntrust it."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c058", "article_bluemountain": "bmtnaau_1927-04_01#c058", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "82", "page_fin": "83", "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=bmtnaau192704-01.2.26.16", "titre_corps": "THE MEMOIRS OF CARLO GOLDONI written by himself", "titre_sommaire": "THE MEMOIRS OF CARLO GOLDONI written by himself", "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": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.48", "debut_caractere": 6109, "fin_caractere_exclue": 6552, "texte": "THE MEMOIRS OF CARLO GOL-\nDONI, written by himself; Translated\nfrom the original French by John\nBlack. Alfred A. Knopf, London ;\nPrice 10/6 net.\nMR William A. Drake has written\nan introduction to this volume\nand said all that I would like to have\nsaid here about Goldoni. Mr Drake\nhas stolen a march on me;—and be-\nsides, until I read his introduction, I\nhadn't thought of the things he thinks\nof and puts down.\nThe translation by Mr. Black is"}, {"page_pdf": 49, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 1409, "texte": "dated 1814 and it might be a good\ndeal better. But it is good enough for\nthe secondary purpose of the book,\nwhich is to show us something of what\nhappened in the theatres of Italy be-\ntween 1732 and 1762.\nIt is to be read carefully by any\nserious stage-manager, for the writer\nhas a good many valuable hints to\nhand over to him.\nThe book has not the brilliance of\nCarlo Gozzi's Memoirs. One receives\nno impression of that Venice awaiting\nthe canon of Bonapaite to wake it\nfrom its immense dream : a dream like\na vast tapestry into which one can\ndrift in a gondola and find the very\nair sweet almost to stickiness.\nWith Goldoni we are given a point\nA—his lodging : a second point B—\nhis theatre ; and we are made to draw\na straight line through calle and canal\nfrom A to B, and to rush breathlessly\nafter this dapper little shopkeeper as\nhe plies his trade twixt the two given\npoints.\nGoldoni once said he would write\nsixteen plays during one year for the\nTheatre to which he acted as supplier\nof plays. Fie delivered the sixteen,—\nhe was an exemplary theatrical person:\nhis Memoirs make this clear. He was\na clever, able little being—but give me\nGozzi as representative of Italy.\nGoldoni might have sprung from\nsome Garden City in England or from\nWindlefeidt near Mullhausen.\nActually I take him to be a Swiss;—\nhe hails from Basle so far as I am\nconcerned; he is so utterly in order\nand to so little purpose."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c059", "article_bluemountain": "bmtnaau_1927-04_01#c059", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "83", "page_fin": "83", "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=bmtnaau192704-01.2.26.17", "titre_corps": "A HISTORY OF LATE EIGHTEENTH CENTURY DRAMA 1700 to 1750, 1750-1800", "titre_sommaire": "A HISTORY OF LATE EIGHTEENTH CENTURY DRAMA 1700 to 1750, 1750-1800", "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": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.49", "debut_caractere": 1411, "fin_caractere_exclue": 2486, "texte": "A HISTORY OF LATE EIGH-\nTEENTH CENTURY DRAMA\n1700 to 1750, 1750-1800 by\nAllardyce Nicoll. Two Volumes. Cam-\nbridge University Press. Price 16/-\neach.\nWHEN a new book of Professor\nNicoll's is announced you can\nalways count on its being indispensable\nto you.\nHere is the trained Historian at his\nwork: here he astounds you with the\nsame rapidity with which he collects\nall the known facts and sorts them\nout; and if you are lucky enough to\nbe able to add dates and other facts\nto the huge collection all the better;—\nbut it is not often you can add any-\nthing to the Nicoll heap.\nAt the end of the first volume the\nauthor gives us a Handlist of plays,\n1700 to 1750, which runs into a hun-\ndied and seven pages. It is truly\nwonderful. At the end of the second\nvolume he gives a Handlist of Plays»\n1750 to 1800, which runs into a\nhundred and thirty odd pages.\nBy the way, I would be inclined to\nquestion Professor Nicolis statement\nthat \" the fashion for private theatres\nalmost certainly came from France\nand to say that, if it came via France,\nthe fashion was started in Italy."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c060", "article_bluemountain": "bmtnaau_1927-04_01#c060", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "83", "page_fin": "83", "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=bmtnaau192704-01.2.26.18", "titre_corps": "GILBERT AND SULLIVAN by A.H. Godwin", "titre_sommaire": "GILBERT AND SULLIVAN by A.H. Godwin", "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": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.49", "debut_caractere": 2488, "fin_caractere_exclue": 4458, "texte": "GILBERT AND SULLIVAN by\nA. H. Godwin. J. M. Dent & Sons.\nPrice 6/- net.\nI witnessed the performance of seven\nof the Gilbert and Sullivan operettas\nduring their first runs at Theatres,\nOp£ra-Comiques and Savoys.\nHow I enjoyed them ! It was the\ntunes, the jingle and the singers—\nespecially Grossmith—that caught and\nheld me. The words were lost on me.\nNow I find it is the words which\nI go searching for.\nHow good they are. I believe the\nactors today speak them far better than\nthey did in my day. Then they\nplopped them out of their chubby\ncheeks, smiling a conceited kind of\nsmile about nothing—half singing these\nincisive sparkling phrases—or those\nabout the heart.\nI should very much like to see a\nfirst-class English company of 1927 in\n\" Patience \". Next to that I get con-\nsiderable pleasure reading this able book\nby Mr. Godwin.\nIt was so sunny in the London of\nthose days, and not to sing would have\nbeen an insult to Queen Victoria, that\nlady who kept all things and people\nin their right places. Seldom was a\nbutcher found editing a paper then\n—because halfpenny papers had not\nbeen invented. Butchers have managed\ntheatres, but not in Queen. Victoria's\nday :—they were one and all too busy\nchopping up meat for the Royal Family.\nThose today who doubt this never knew\nLondon in those days, no Butcher's\nshop being complete unless it had\nthe Royal Arms over its portals with\n\" Purveyor to the Royal Family \" in\nfine gold letters.\nAnd on the gold the spring sun of\nLondon would twinkle and the carriage\nwheels would go round flashing, and\nthe horses* hoofs trampled musically,\nand Sullivan heard it and Gilbert saw\nthe point.—London then Was the world.\nWhy bother what the thinkers in Ame-\nrica were thinking, or the other pro-\nfound nobodies were saying. London\nwas the world,—well then :—and had\nit not been so no Gilbert, no Sullivan\nwould have collaborated together for\nyou and me.\nMake London the world again for\nus artists, and by jingo we'll live up\nto it."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c061", "article_bluemountain": "bmtnaau_1927-04_01#c061", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "83", "page_fin": "83", "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=bmtnaau192704-01.2.26.19", "titre_corps": "ESSAYS ON OLD LONDON by Sydney PerkeCITY STREET NAMES by Louis Zettersten", "titre_sommaire": "ESSAYS ON OLD LONDON by Sydney PerkeCITY STREET NAMES by Louis Zettersten", "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": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.49", "debut_caractere": 4460, "fin_caractere_exclue": 5635, "texte": "ESSAYS ON OLD LONDON by\nSydney Perks. Cambridge University\nPress. Price 12/6 net.\nCITY STREET NAMES by Louis\nZettersten. Selwyn & Blount. Price\n3/6 net.\nMR. Zettersten covers a lot of\nground in his handbook, whereas\nMr. Perks touches here and there in a\nscholarly way,—the Guild Hall, great\nfire of 1666, and the subsequent schemes\nof restoration are the subjects of these\nhis brief essays.\nMr. Zettersten was a business man\nin the city, and if he had an hour for\nlunch gave fifteen minutes to food for\nhimself and forty-five minutes to col-\nlecting food for us, which food he\nserves up for us in this little book.\nHis idea was to see a new ally,\nstreet, court or institution each day,\nand each evening he would look up\nall about the said institution, court,\nstreet or ally.\nMr. Perks being City Surveyor to\nthe Corporation of the City of London\nis right there on the spot, and has\n\" been able to consult records not\nusually available to the general public \",\nand the result he gives us in his hand-\nsome volume.\nBoth authors refer their readers to\nHorwood's Plan of London which was\nrecently reprinted in its entirety in\n\" The Mask \" So The Mask will\nprove useful once more."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c062", "article_bluemountain": "bmtnaau_1927-04_01#c062", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "83", "page_fin": "84", "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=bmtnaau192704-01.2.26.20", "titre_corps": "BERNARD SHAW by Harold Skimpole", "titre_sommaire": "BERNARD SHAW by Harold Skimpole", "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": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.49", "debut_caractere": 5637, "fin_caractere_exclue": 6419, "texte": "BERNARD SNA W MAN\nAND HIS WORK: Harold\nSkimpole B. A. _ George Allen &\nUnwin Ltd. Price Si- net.\nA celebrity is often unfortunate in his\nbiographers, who more often than\nnot misrepresent the man and his work\nwhile doing their level best to utter\nthe truth.\nMr. Shaw is more than lucky iii\nhaving as biographers doughty sappers\nwho shovel and shove away like any-\nthing.\nLet them but stick at it and in time\nthe snow will all be cleared away and\nthe suburban villa will look its best.\nMr. Skimpole and his publishers have\ndone a remarkable thing in producing\nthe book for so small a sum ; but I\nan not so sure that this is not one of\nthe books which ought to have cost\ntwenty-one shillings or even two guineas.\nIt is written as its subject deserves\nand the several comparisons of Mr."}, {"page_pdf": 50, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 195, "texte": "Shaw with Mr. Chesterton are very\nright and proper.\nThere is very liitle I can find fault\nwith in the little volume, which should\nprove a welcome addition to many li-\nbraries of southern England."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c063", "article_bluemountain": "bmtnaau_1927-04_01#c063", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "84", "page_fin": "84", "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=bmtnaau192704-01.2.26.21", "titre_corps": "RIP VAN WINKLE GOES TO THE PLAY. Brander Matthews", "titre_sommaire": "RIP VAN WINKLE GOES TO THE PLAY. Brander Matthews", "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": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.50", "debut_caractere": 197, "fin_caractere_exclue": 2625, "texte": "RIP VAN WINKLE GOES TO\nTHE PLAY. Brander Matthews.\nCharles Scribner's Sons. Price 10/6 net.\nPROFESSOR Brander Matthews is\nnow seventy-four years of age and\nseems to have haunted the playhouse\nlonger than even our own 44 Car ados\".\n(Mr Chance Newton) has done.\nHe has been 44 for sixty-four years\nan incessant and indefatigable playgoer\".\nBorn in 1852, Mr. Matthews took\nhis first dip in the Stygian pool at the\nage of eight when he saw Boucicault's\nstage version of 44 The Heart of Mid-\nlothian \" ; and as early as 1869 he\nbegan writing about Theatres, yet is as\nyoung as he was then, and is 44 con-\nvinced that the methods of today are\nbetter than those of yesterday \".\nThis is one of the best books he has\nwritten.\nIt is a collection of short readable\nessays on things Theatrical which were\nwritten in 1913, 1917, 1920, 1922,\n1923, and 1924. So that the last\nwas written when he was in his se-\nventy-second year, and may we all do\nas well in our sixty-second.\nThat he gives us nothing written in\n1926 is only because the hearty old\ngentleman is collecting those writings\nnow, and probably intends to let us\nhave them in 1 929 when he will have\nsome foot notes to add.\nMost of his 44 old fashioned\" no-\nnotions are right notions. He tells us\nwhere they come from ; he quotes Ristori\nor Jepherscn or Rachel or some other\nauthority. He is proud to do so. Would\nthat he were equally proud to quote\nthe authorities when he comes out\nwith one or two 44 modern\" notions.\nThese he commends, and takes the\ncredit for them, which is a somewhat\ntricky and reprehensible thing to do.\nHe is at times a little long-winded,\nas, for example, at the beginning of\nthe essay on 44 The Question of the\nSoliloquy \" where he takes two pages\nto say when it justifies itself and when\nit doesn't.\nHe could have done it in six lines.\nHe writes very tolerantly of modern\nacting, for he keeps himself most care-\nfully informed on modern developments.\nI won't say that I should have\nenjoyed eighty or a hundred pages more\nabout the one or two great American\nactors and actresses so little known to\nus, ...Jepherson and Clara Morris, for\nexample, in place of the same number\nof pages devoted to odd scraps relating\nto thirty or forty Europeans about whom\nwe probably know rather better than\ndoes the good Professor.\nStill, we cannot find fault with this\nlast little book by the genial American\n44 guide, philosopher and friend \" of the\nlate William Archer."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c064", "article_bluemountain": "bmtnaau_1927-04_01#c064", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "84", "page_fin": "84", "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=bmtnaau192704-01.2.27", "titre_corps": "MAGAZINES", "titre_sommaire": "MAGAZINES", "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": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.50", "debut_caractere": 2627, "fin_caractere_exclue": 4432, "texte": "MAGAZINES.\n\nTHE ARCHITECTS' JOURNAL.\nMonthly. Architectural Press. London.\nIN The Architects' journal for March\n16th there is an interesting article\nby Mr. J. F. Mcßae on the new\nMunicipal Opera-house at Marseilles.\nThe old Opera-house was destroyed\nby fire in 1919 and the new one is\nnow being built by M. M. Castel\nEbrard and Raymond. Twelve pho-\ntographs of the building and its details\nand four reproductions of plans and\nsections help us very generously to see\nwhat it is Mr. Mcßae is describing,\nand the Architects' Journal is certainly\nto be congratulated by us on this : for\nwe too often look in vain in the illu-\nstrated architectural magazines for re-\ncords of what is being built in the\nway of Theatres.\nAnd if we would experiment a little\nmore in England, and if theatres were\nbuilt for the Public, the Drama and\nthe Actors, instead of for some group\nof profiteers who already have too\nmuch money to know what to do with\nit all, we should begin to push along\nat home, and then no doubt our fine\nmagazines would avail themselves of\nthe opportunity and issue articles well\nillustrated which would cause everyone\nto say 44L00k—that's a lovely theatre\".\nMeantime our Contemporaries might\nshow us more often what is being done\nby French, German and American ar-\nchitects to render their playhouses livelier.\n\nTHE DRAMA (Monthly) edited by\nTheodore Ballou Hinckley, 58 E.\nVan Buren St. Chicago, U. S. A.\nONE often finds there excellent ar-\nticles by Mr. Barrett H. Clark ;\nand besides this it is more serious than\nsome of the other better known thea-\ntrical monthlies and, it seems to us,\nprefers to be rather more exact than\nflashily effective.\nWhat new Theatre Monthlies must\nguard against is the flashy showing off\nof material ill-digested and over pic-\ntured without any reason for its pictures."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c065", "article_bluemountain": "bmtnaau_1927-04_01#c065", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "84", "page_fin": "84", "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=bmtnaau192704-01.2.27.1", "titre_corps": "THE ARCHITECTS' JOURNAL", "titre_sommaire": "THE ARCHITECTS' JOURNAL", "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": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.50", "debut_caractere": 2639, "fin_caractere_exclue": 3941, "texte": "THE ARCHITECTS' JOURNAL.\nMonthly. Architectural Press. London.\nIN The Architects' journal for March\n16th there is an interesting article\nby Mr. J. F. Mcßae on the new\nMunicipal Opera-house at Marseilles.\nThe old Opera-house was destroyed\nby fire in 1919 and the new one is\nnow being built by M. M. Castel\nEbrard and Raymond. Twelve pho-\ntographs of the building and its details\nand four reproductions of plans and\nsections help us very generously to see\nwhat it is Mr. Mcßae is describing,\nand the Architects' Journal is certainly\nto be congratulated by us on this : for\nwe too often look in vain in the illu-\nstrated architectural magazines for re-\ncords of what is being built in the\nway of Theatres.\nAnd if we would experiment a little\nmore in England, and if theatres were\nbuilt for the Public, the Drama and\nthe Actors, instead of for some group\nof profiteers who already have too\nmuch money to know what to do with\nit all, we should begin to push along\nat home, and then no doubt our fine\nmagazines would avail themselves of\nthe opportunity and issue articles well\nillustrated which would cause everyone\nto say 44L00k—that's a lovely theatre\".\nMeantime our Contemporaries might\nshow us more often what is being done\nby French, German and American ar-\nchitects to render their playhouses livelier."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c066", "article_bluemountain": "bmtnaau_1927-04_01#c066", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "84", "page_fin": "84", "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=bmtnaau192704-01.2.27.2", "titre_corps": "THE DRAMA", "titre_sommaire": "THE DRAMA", "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": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.50", "debut_caractere": 3943, "fin_caractere_exclue": 4432, "texte": "THE DRAMA (Monthly) edited by\nTheodore Ballou Hinckley, 58 E.\nVan Buren St. Chicago, U. S. A.\nONE often finds there excellent ar-\nticles by Mr. Barrett H. Clark ;\nand besides this it is more serious than\nsome of the other better known thea-\ntrical monthlies and, it seems to us,\nprefers to be rather more exact than\nflashily effective.\nWhat new Theatre Monthlies must\nguard against is the flashy showing off\nof material ill-digested and over pic-\ntured without any reason for its pictures."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c067", "article_bluemountain": "bmtnaau_1927-04_01#c067", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "84", "page_fin": "85", "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=bmtnaau192704-01.2.28", "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": 50, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.50", "debut_caractere": 4434, "fin_caractere_exclue": 5645, "texte": "EDITORIAL NOTES.\n\n200 FRENCHMEN AND\nSELWVN OF AMERICA SAY\nGERMAN GOODS ARE BEST.\nFROM THE CONTINENTAL DAILY MAIL.\nO MARCH 24TH I 9 27* 0\n44 IF Mr Edgar Selwyn, the American\nI theatrical magnate, has his way Max\n44 Reinhardt will go to New York and\n44 stay there.\n44 i want to build a theatre for\nhim Mr Selwyn told me, 41 A Rein-\nhardt theatre worthy of the man \".\n44 But there are others who want him\ntoo. I was at a luncheon party given\nin his honour in Paris the other day\nwhen 200 Frenchmen distinguished in\nall the arts invited him to give a season\nof his plays in Paris next June with a\nGerman company and assured him of\na great welcome.\n44 They all spoke in French. Rein-\nhardt replied in German and I did not\nunderstand a word of it till an inter-\npreter helped me out .\nMr Selwyn should pop over to\nBerlin if he wants to see how Germany\nand the Germans in Germany built\nProfessor Reinhardt a theatre \" worthy\nof the man\nThe Grosses Schuaspielhaus was the\ntheatre: previous to that he had the\nKleines Theater which was quite worthy\nof him: then the Deutches Theater\nand then the Kammerspiel. He has\nnot been without theatres and still has\na few in Germany and Austria.\nThe notion that the Germans do not"}, {"page_pdf": 51, "page_imprimee": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 6707, "texte": "honour their foremost producer is quite\nfantastic and to be attributed to the\nwrong kind of brain wave.\nAnd the other notion (illustrated too)\nof two hundred Frenchmen seated at\ntable—in Paris—and all solemnly rai-\nsing their glasses of rich Burgundy to\nthe toast \" Professor Reinhardt whom\nwe all honour and admire \" has pos-\nsibly its funny side, even if some of\nus cannot but see the tragic horror of\nsuch a situation.\nThe tragedy is that Paris is so de-\nstitute, not of talent but of courage to\nsupport home industries : so fearful to\nback its own bob-tailed nag.\nRather like London was and, let us\nhope, is no longer going to be: for\nwe note that people from the highest\nto the lowest are growing not a little\ncross at the continued attempt to dump\nill foreign goods into our little Blighty.\n\nA PALTRY AT TA C K\no AND A WARNING. o\nTHAT modest retiring play-writer\nand dramatic critic, Mr. St. John\nErvine, had a last fling at the well-\nmeaning scene designers last month on\ntaking leave of the Morning Post which\nhe has always enlivened with his dash-\ning Ulster ways.\nMr. St. John Ervine said that these\nsame scene designers were \" arrogant\nfellows, \" who actually consider them-\nselves to be equal in authority to dra-\nmatists and actors \", and yet \" they\nforget, these arrogant ones, that the\nauthor and actor can dispense altoge-\nther with the artist but that the artist\ncannot dispense with them .\nWe would warn Mr. St. John Er-\nvine to take care.\nThe artists have done him no harm;\non the contrary, they help his plays\nevery time ; but it only needs a word\nfrom the source of all this evil—from\nMr. Gordon Craig—(for \" he is re-\nsponsible through his disciples for much\nthat is dreadful \") for the vanguard of\nthe scenic movement to advance to\nreally deadly purpose.\nMr. Craig has never yet advocated the\nindependence of the scenic design ; but\nshould he say the word—should he\ntell his followers how to do that trick\nof \" dispensing with play writer and\nactor \" (and we don't doubt that he\ncould show them that trick in a twink-\nling) Mr. St. John Ervine might come\nto be sorry he had thrown that parti-\ncular challenge in the faces of this particu-\nlar, unoffending, generally helpful group.\nIt is a pity that Mr. St. John Er-\nvine was so wrath with Mr; Aubrey\nHammond, the mildest of men; and\nMr. Ashley Dukes, the most open minded\ndramatist in England. Yet he admits that\n44 all our scenery is far better done than\nit was \" when he began play-going.\nThen what has he to\nHe grumbles that all is so vivid ;\nthat he has 44 to protect his eyes from\nsome of the glare and glitter\nWe remember when the dramatic\ncritic was always complaining that the\nstage was so dark he could see nothing.\nBut these London Dramatic Critics\nare a farce.—Wonderful brainy men,\nthey are now and again, like the rest of\nus, obsessed with their own importance.\nIf the actor is to be less than the\ndramatist, and scenic men still less, let\nthe dramatic critic fade away entirely#\nLet him be friends with one man only—\nhis companion in misfortune, ....tie\nstage manager.\nWe revere the dramatic critic with\nthe stage-manager. To us they are all\nimportant; but only when subdued,—\nunseen and unheard by the public.\nLet the one produce the play and\nget no praise, and let the other report\nwhat he saw, and avoid telling us all\nabout himself and his eyes and his\nidea 3 and what he deplores—for it\ndoesn't matter. There are three or four\ndramatic critics who are swollen out to\nan unseemly size with their appalling\nself importance, and it doesn t look\nwell least of all on the Sabbath, j\nWe have said that, if he wishes,\nMr. Craig can give his followers the\ncue HOW to produce a drama without\nauthor or actors.\nWe think everyone will agree with\nus that he has been provoked sufficiently\nto justify him doing that. Mr. St. John\nErvine has never ceased speaking ill of\nMr. Craig's work: Mr. Agate too ; Mr.\n• -\nIvor Brown follows suit, ana so on.\nA paltry business—which we have\nfollowed month by month for several\nyears. \"We can recall nothing more\ndiscreditable in the annals of the stage\nthan the annual attacks made on the\nwork of this artist who is held so\nhighly by his fellows in every Euro-\npean land and by some of the best\ncritics in Europe and America.\nWhy these particularly nasty attacks\nshould come from Ervine, Agate and\nCo, who are supposedly Britishers, no\nright-thinking man can say. That they\nare malicious one would not assert,—but\nthey are contemptible and there an end.\n\nOUR FRONTISPIECE:\nTHE OLD QUEEN'S THEATRE.\nIN the present number of The Mask\nyou will find an interesting book,\n4t A Playgoer's Wanderings reviewed.\nThe author, Mr. Walbrook, devotes a\nchapter to three old London Theatres\nnow passing away. He does not give\nus photographs of these so we have had\none made specially for readers of 44 Thz\nMask\" of that one which pleases us\nbest; the old Queen's Theatre made\nfamous by the names of Henry Irving,\nSalvini, J. L. Toole, Lionel Brough,\nCharles Wyndham, Sam Emery, Ellen\nTerry, Henrietta Hodson and a num-\nber of other excellent English actors.\nSome of us pass the doors of this\nTheatre daily and are unaware that its\narchitect was Charles j. Phipps, and\nthat Albert Moore R. A. painted the\nfrieze over the proscenium.\nIt was built as a speculation by Mr.\nLionel Lawson of The Daily Tele-\ngraph. -\nMr. Chance Newton tehs us very\ninteresting things in his book 44 Cues\nand Curtain Calls\" about Irving and\nthis theatre.\nIt was at this Theatre in 1875 that\nSalvini appeared tor ine second time\nin London as Othello.\nIt was this Theatre which Mr. Henry\nLabouchere managed! for a tsme, it being\nconsidered a very fine theatre in ad-\nvance of the times in many ways.\n\" It had a comfortable auditorium and\nan up-to-date system of stage machi-\nnery \" writes Mr. Erroll Sherson in\nhis admirable book \" London's Lost\nTheatres of the 19th century\".\n\nTHE RO YALCOB\nTHEATRE, LONDON.\nO A NOTE ON PLATE 10. O\nTHE illustration showing the Royal\nCobourg Theatre, Lambeth, as just\nopened, May 11th 1816 (Plate 10)\nis from an engraving by Stow of the\ndrawing by Schnebbelie, R. B. the\ntopographical artist, published by Kobert\nWilkinson at No. 125 Fenchurch street,\nLondon on January Ist 1819.\nThe Theatre was designed by the\ncarpenter-architect of Liege, Rudolph\nCabanel (1762-1839). In 1833 it\nchanged its name and was called the\nVictoria Theatre and is now known as\n44 the old Vic .\nThe figure in the foreground, its\nback turned to us, is supposed by some\nto represent William Blake.\n\njirinrFiri-rrik K e R ,\nWE regret to hear of the death of\nMr. Joseph Harker, aged 71 ;\nwho, though out of sympathy with the\nNew Movement in the Theatre, was\na kindly personality and a thoroughly\nsound maker of sceneries."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c069", "article_bluemountain": "bmtnaau_1927-04_01#c069", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "84", "page_fin": "85", "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=bmtnaau192704-01.2.28.2", "titre_corps": "200 FRENCHMEN AND SELWVN OF AMERICA SAY GERMAN GOODS ARE BEST", "titre_sommaire": "200 FRENCHMEN AND SELWVN OF AMERICA SAY GERMAN GOODS ARE BEST", "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": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.50", "debut_caractere": 4452, "fin_caractere_exclue": 5645, "texte": "200 FRENCHMEN AND\nSELWVN OF AMERICA SAY\nGERMAN GOODS ARE BEST.\nFROM THE CONTINENTAL DAILY MAIL.\nO MARCH 24TH I 9 27* 0\n44 IF Mr Edgar Selwyn, the American\nI theatrical magnate, has his way Max\n44 Reinhardt will go to New York and\n44 stay there.\n44 i want to build a theatre for\nhim Mr Selwyn told me, 41 A Rein-\nhardt theatre worthy of the man \".\n44 But there are others who want him\ntoo. I was at a luncheon party given\nin his honour in Paris the other day\nwhen 200 Frenchmen distinguished in\nall the arts invited him to give a season\nof his plays in Paris next June with a\nGerman company and assured him of\na great welcome.\n44 They all spoke in French. Rein-\nhardt replied in German and I did not\nunderstand a word of it till an inter-\npreter helped me out .\nMr Selwyn should pop over to\nBerlin if he wants to see how Germany\nand the Germans in Germany built\nProfessor Reinhardt a theatre \" worthy\nof the man\nThe Grosses Schuaspielhaus was the\ntheatre: previous to that he had the\nKleines Theater which was quite worthy\nof him: then the Deutches Theater\nand then the Kammerspiel. He has\nnot been without theatres and still has\na few in Germany and Austria.\nThe notion that the Germans do not"}, {"page_pdf": 51, "page_imprimee": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 796, "texte": "honour their foremost producer is quite\nfantastic and to be attributed to the\nwrong kind of brain wave.\nAnd the other notion (illustrated too)\nof two hundred Frenchmen seated at\ntable—in Paris—and all solemnly rai-\nsing their glasses of rich Burgundy to\nthe toast \" Professor Reinhardt whom\nwe all honour and admire \" has pos-\nsibly its funny side, even if some of\nus cannot but see the tragic horror of\nsuch a situation.\nThe tragedy is that Paris is so de-\nstitute, not of talent but of courage to\nsupport home industries : so fearful to\nback its own bob-tailed nag.\nRather like London was and, let us\nhope, is no longer going to be: for\nwe note that people from the highest\nto the lowest are growing not a little\ncross at the continued attempt to dump\nill foreign goods into our little Blighty."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c070", "article_bluemountain": "bmtnaau_1927-04_01#c070", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "85", "page_fin": "85", "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=bmtnaau192704-01.2.28.3", "titre_corps": "A PALTRY ATTACK", "titre_sommaire": "A PALTRY ATTACK", "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": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.51", "debut_caractere": 798, "fin_caractere_exclue": 4472, "texte": "A PALTRY AT TA C K\no AND A WARNING. o\nTHAT modest retiring play-writer\nand dramatic critic, Mr. St. John\nErvine, had a last fling at the well-\nmeaning scene designers last month on\ntaking leave of the Morning Post which\nhe has always enlivened with his dash-\ning Ulster ways.\nMr. St. John Ervine said that these\nsame scene designers were \" arrogant\nfellows, \" who actually consider them-\nselves to be equal in authority to dra-\nmatists and actors \", and yet \" they\nforget, these arrogant ones, that the\nauthor and actor can dispense altoge-\nther with the artist but that the artist\ncannot dispense with them .\nWe would warn Mr. St. John Er-\nvine to take care.\nThe artists have done him no harm;\non the contrary, they help his plays\nevery time ; but it only needs a word\nfrom the source of all this evil—from\nMr. Gordon Craig—(for \" he is re-\nsponsible through his disciples for much\nthat is dreadful \") for the vanguard of\nthe scenic movement to advance to\nreally deadly purpose.\nMr. Craig has never yet advocated the\nindependence of the scenic design ; but\nshould he say the word—should he\ntell his followers how to do that trick\nof \" dispensing with play writer and\nactor \" (and we don't doubt that he\ncould show them that trick in a twink-\nling) Mr. St. John Ervine might come\nto be sorry he had thrown that parti-\ncular challenge in the faces of this particu-\nlar, unoffending, generally helpful group.\nIt is a pity that Mr. St. John Er-\nvine was so wrath with Mr; Aubrey\nHammond, the mildest of men; and\nMr. Ashley Dukes, the most open minded\ndramatist in England. Yet he admits that\n44 all our scenery is far better done than\nit was \" when he began play-going.\nThen what has he to\nHe grumbles that all is so vivid ;\nthat he has 44 to protect his eyes from\nsome of the glare and glitter\nWe remember when the dramatic\ncritic was always complaining that the\nstage was so dark he could see nothing.\nBut these London Dramatic Critics\nare a farce.—Wonderful brainy men,\nthey are now and again, like the rest of\nus, obsessed with their own importance.\nIf the actor is to be less than the\ndramatist, and scenic men still less, let\nthe dramatic critic fade away entirely#\nLet him be friends with one man only—\nhis companion in misfortune, ....tie\nstage manager.\nWe revere the dramatic critic with\nthe stage-manager. To us they are all\nimportant; but only when subdued,—\nunseen and unheard by the public.\nLet the one produce the play and\nget no praise, and let the other report\nwhat he saw, and avoid telling us all\nabout himself and his eyes and his\nidea 3 and what he deplores—for it\ndoesn't matter. There are three or four\ndramatic critics who are swollen out to\nan unseemly size with their appalling\nself importance, and it doesn t look\nwell least of all on the Sabbath, j\nWe have said that, if he wishes,\nMr. Craig can give his followers the\ncue HOW to produce a drama without\nauthor or actors.\nWe think everyone will agree with\nus that he has been provoked sufficiently\nto justify him doing that. Mr. St. John\nErvine has never ceased speaking ill of\nMr. Craig's work: Mr. Agate too ; Mr.\n• -\nIvor Brown follows suit, ana so on.\nA paltry business—which we have\nfollowed month by month for several\nyears. \"We can recall nothing more\ndiscreditable in the annals of the stage\nthan the annual attacks made on the\nwork of this artist who is held so\nhighly by his fellows in every Euro-\npean land and by some of the best\ncritics in Europe and America.\nWhy these particularly nasty attacks\nshould come from Ervine, Agate and\nCo, who are supposedly Britishers, no\nright-thinking man can say. That they\nare malicious one would not assert,—but\nthey are contemptible and there an end."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c071", "article_bluemountain": "bmtnaau_1927-04_01#c071", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "85", "page_fin": "85", "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=bmtnaau192704-01.2.28.4", "titre_corps": "OUR FRONTISPIECE : THE OLD QUEEN'S THEATRE", "titre_sommaire": "OUR FRONTISPIECE : THE OLD QUEEN'S THEATRE", "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": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.51", "debut_caractere": 4474, "fin_caractere_exclue": 5855, "texte": "OUR FRONTISPIECE:\nTHE OLD QUEEN'S THEATRE.\nIN the present number of The Mask\nyou will find an interesting book,\n4t A Playgoer's Wanderings reviewed.\nThe author, Mr. Walbrook, devotes a\nchapter to three old London Theatres\nnow passing away. He does not give\nus photographs of these so we have had\none made specially for readers of 44 Thz\nMask\" of that one which pleases us\nbest; the old Queen's Theatre made\nfamous by the names of Henry Irving,\nSalvini, J. L. Toole, Lionel Brough,\nCharles Wyndham, Sam Emery, Ellen\nTerry, Henrietta Hodson and a num-\nber of other excellent English actors.\nSome of us pass the doors of this\nTheatre daily and are unaware that its\narchitect was Charles j. Phipps, and\nthat Albert Moore R. A. painted the\nfrieze over the proscenium.\nIt was built as a speculation by Mr.\nLionel Lawson of The Daily Tele-\ngraph. -\nMr. Chance Newton tehs us very\ninteresting things in his book 44 Cues\nand Curtain Calls\" about Irving and\nthis theatre.\nIt was at this Theatre in 1875 that\nSalvini appeared tor ine second time\nin London as Othello.\nIt was this Theatre which Mr. Henry\nLabouchere managed! for a tsme, it being\nconsidered a very fine theatre in ad-\nvance of the times in many ways.\n\" It had a comfortable auditorium and\nan up-to-date system of stage machi-\nnery \" writes Mr. Erroll Sherson in\nhis admirable book \" London's Lost\nTheatres of the 19th century\"."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c072", "article_bluemountain": "bmtnaau_1927-04_01#c072", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "85", "page_fin": "85", "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=bmtnaau192704-01.2.28.5", "titre_corps": "THE ROYAL COBURG THEATRE, LONDON", "titre_sommaire": "THE ROYAL COBURG THEATRE, LONDON", "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": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.51", "debut_caractere": 5857, "fin_caractere_exclue": 6485, "texte": "THE RO YALCOB\nTHEATRE, LONDON.\nO A NOTE ON PLATE 10. O\nTHE illustration showing the Royal\nCobourg Theatre, Lambeth, as just\nopened, May 11th 1816 (Plate 10)\nis from an engraving by Stow of the\ndrawing by Schnebbelie, R. B. the\ntopographical artist, published by Kobert\nWilkinson at No. 125 Fenchurch street,\nLondon on January Ist 1819.\nThe Theatre was designed by the\ncarpenter-architect of Liege, Rudolph\nCabanel (1762-1839). In 1833 it\nchanged its name and was called the\nVictoria Theatre and is now known as\n44 the old Vic .\nThe figure in the foreground, its\nback turned to us, is supposed by some\nto represent William Blake."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c073", "article_bluemountain": "bmtnaau_1927-04_01#c073", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "85", "page_fin": "85", "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=bmtnaau192704-01.2.28.6", "titre_corps": "JOSEPH HARKER", "titre_sommaire": "JOSEPH HARKER", "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": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.51", "debut_caractere": 6487, "fin_caractere_exclue": 6707, "texte": "jirinrFiri-rrik K e R ,\nWE regret to hear of the death of\nMr. Joseph Harker, aged 71 ;\nwho, though out of sympathy with the\nNew Movement in the Theatre, was\na kindly personality and a thoroughly\nsound maker of sceneries."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c074", "article_bluemountain": "bmtnaau_1927-04_01#c074", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "86", "page_fin": "86", "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=bmtnaau192704-01.2.29", "titre_corps": "SOME NOTES ON OLD FLORENTINE THEATRES : WITH REFERENCE TO THE ACCOMPANYING CITY PLAN", "titre_sommaire": "SOME NOTES ON OLD FLORENTINE THEATRES : WITH REFERENCE TO THE ACCOMPANYING CITY PLAN", "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": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.52", "debut_caractere": 0, "fin_caractere_exclue": 3771, "texte": "SOME NOTES ON OLD\nFLORENTINE THEATRES.\nWITH REFERENCE TO THE ACCOMPANYING CITY PLAN.\nTN the four corners of this plan are four\nscrolls held by cupids, these scrolls\ngive the number of churches, monasta-\nries, schools, and theatres to be found\nin the four quarters of Florence in the\nyear 1783. No theatre is included in the\nscroll which refers to the SOUTH SIDE of\nthe Arno, although there was the famous\nAnfiteatro in the gardens of the Pitti\nPalace ; this can be found without dif-\nficulty.\nN. B. The Teatro and Arena Gol-\ndoni were both built later, in 1817 and\n1818 and these came to be situated, the\nfirst in the Via St. Maria, the word\nSanta marking the exact spot, and the\nsecond in the Via della Fornace, the en-\ntrance being above the word Via\nTHE THEATRES ON THE NORTH\nO SIDE OF THE ARNO. o\nIN THE 44 QUARTIERE DI S. CROCE \" (UPPER\nLEFT HAND CORNER).\n(1) The Teatro Coletti, is to be found\nbelow the church of S. Croce and sur-\nrounded by the Via Santa Maria, Via\ndelle Colombe, Via Pietra Piana, and Via\ndel Giardino. Built in 1740. the entrance\nbeing from the Via del Giardino, it was\nsometimes called the Teatro di Via del\nGiardino.\nIt was reconstructed in 1760, when\nit became known as the Teatro dei Ri-\nsoluti, or the Teatro di Via Santa Maria,\nthe entrance being now from that street.\nAbout the year 1828, it became known\nas the Teatro Alneri when it was rebuilt\nby Vittorio Bellini,\n(2) Teatro dei C a dentin which is not\nmarked, but was situated in the Corso\ndei Tin tori, on the exact spot where an\nerror in the old cliche has chanced to\ncome. This existed in 1692.\n44 QUARTIERE DI SAN GIOVANNI \" (LOWER\nLEFT HAND CORNER).\nHere were 3 theatres.\n(0 Teatro Cocomero, (situated just\nbelow the letters F O of the word Fon-\ndamenti in the Piazza del Duomo).\nThe theatre was built in 1650.\n111 1651 it took the name of Acca-\ndemia degli Imtnobili.\nIn /652 there was a split in the Ac-\ncademy, and the Immobili moved to the\nVia della Pergola ; those that stayed on\nbecame the Accademia degli Infuocati.\nIt was restored in 1725 and 1754.\nIn 1859 it became Teatro Niccolini,\nthe name it is still known by.\n(2) Teatro della Pergola, (situated to\nthe left of the Duomo, surrounded by the\nVia della Pergola, Via di Pinti, Via\nS. Egidio and the Via Nuova). Built\nfor the Accademia degli Immobili by\nFerdinando TaccA in 1652.\nIn 1689 it was restored and painted\nby A. D. Gabbiani.\nIn 1755 it was reconstructed by Giu-\nlio Mannajioni; it was restored again in\n1789 and in 1828 reconstructed. Since\nthen it has been several times restored\nand changed.\n(3) Teatro Niiovo (situated just below\nthe letters M E of the word Fondamenti\nin the Piazza del Duomo).\nBuilt in 1779 for the Accademia de-\ngli Intrepidi, it was known as the Teatro\ndella Palla a corda ; it was destroyed\nabout the year 1913.\n4* QUARTIERE DI S. MARIA NOVELLA \"\n(LOWER RIGHT HAND CORNER).\n(1) Teatro della Piazza Vecchia, (si-\ntuated at the North of the Piazza Vec-\nchia between the churches of S. Maria\nNovella and S. Lorenzo). Built in 1762\nfor the Accademia degli Arrischiati, it\nwas the smallest Theatre in Florence.\nRestored in 1796 and again in 1839,\nit made way for the Hotel Baglioni so-\nmetime about 1885.\n(2) Teatro di Borgo Ognisanti, si-\ntuated in the road of that name, (just\nbelow the letter N of the word ARNO).\nBuilt in 1778. by G. Parletti the ar-\nchitect for the Accademia Soileciti, it\nwas often restored, the last time being\nin 1866. It came to be known as Teatro\nRossini and was destroyed in 1888.\nThe scroll of this quarter tells us\nthat there is a third theatre to be ac-\ncounted for : we have hunted but cannot\nfind it.\nAny enthusiastic student who disco-\nvers it will have a copy of the map sent\ngratis (mounted) if he will inform us of\nhis discovery and if it prove correct."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c076", "article_bluemountain": "bmtnaau_1927-04_01#c076", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "86", "page_fin": "86", "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=bmtnaau192704-01.2.30", "titre_corps": "THE MODERN PAINTER AS VIEWED BY MR. THOMAS CRAVEN. U.S.A", "titre_sommaire": "THE MODERN PAINTER AS VIEWED BY MR. THOMAS CRAVEN. U.S.A", "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": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.52", "debut_caractere": 3773, "fin_caractere_exclue": 5175, "texte": "THE MODERN PAINTER\nAS VIEWED BY\nMR. THOMAS CRAVEN. U. S. A.\n\"Y\\ 7HEN Mr. Thomas Craven sat himself\n* down to solve the question *4 Have\npainters minds ? ,} he sat himself down to\nno purpose.\nIt seems a shame that he should have\nsat down at all: or have hit upon such\nan assinine question to resolve.\nGlued to his seat, the great mind of\nMr. Tom Craven revealed itself: no\ndoubts in Tom's mind a flat 'No' fol-\nlowed by three or four No, 110, no's.\n14 The modern painter is an inferior\nbeing \" ; (Go it* Tom ! (< He is dum and\ndull and conceited \" ; (Tom's going it\nall tight!) 44 bleats like a sheep about\nbis soul \" ; 41 of all the workers in the\narts is he the least alive \" (Got him there,\nwhat ?). 44 The general public has no con-\nception of the feebleness, stupidity and\nignorance of the painter \" ; (We like that\nrather that stupidity AND ignorance).\n44 He is inarticulate and proud of it \".\nWe don't say Tom is ; Tom says the\npainter is. What the Painter will say to\nTom the next time he catches sight of\nhim will probably be sufflcienty articulate\neven for the sensitive ear of Tom.\n44 The painter, dolt that he is, either\ndoes noi read or does not understand \".\nTom should count himself lucky if the\npainter doesn't read this article of his.\nAnd all this and* much more besides\nappeared in 44 The American Mercury \"\nMarch 1927.\nWe commend Thomas Craven to the\ntender mercies of Augustus John."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c078", "article_bluemountain": "bmtnaau_1927-04_01#c078", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "86", "page_fin": "86", "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=bmtnaau192704-01.2.31", "titre_corps": "THREE VIEWS ON WOMEN AND THE DRAMA", "titre_sommaire": "THREE VIEWS ON WOMEN AND THE DRAMA", "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": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.52", "debut_caractere": 5177, "fin_caractere_exclue": 6424, "texte": "THREE VIEWS ON WOMEN AND\nTHE DRAMA.\nWE are half way through a transition\nperiod, the transition being from\nthe Masculine to the Feminine. The\ngreat days of drama were strictly mascu-\nline. Tragedy is a sign of a manly peo-\nple : comedy is a sign of a womanly\npeople. The keynote of the feminine age\nto which we are coming is a sort of\nhysterical refinement. The tune in the\ntheatre is being called by women —.\nwhose taste is for light stuff rather than\nfor solid material\nMr. St. John Ervine : in a speech\nat a Dinner of the Authors' Club.\nTHE legitimate stage does have to ca-\nter for the women, for men don't\ngo, except to support their wives. And\nwhile women love the sentimental play\nthey love to weep gently they do\nnot like full-blooded tragedy. They like\nplays that appeal to the heart, but they\nmust not be too real.\n44 But the men ? why they choose the\nmusic-halls and revues ! \"\nMiss Sybil Thorndike.\nIT is the women who are wanting in a\nsense of the comic. While men face\nthe horrors of real life with a laugh, but\ndon't want to see them oti the\nface them seriously, and quite like to\nsee them enacted on the stage.\nMrs. H. IV. NeVinson,\nWE invite comments from our rea-\nders. and shall later have a word\nor so on the subject ourselves."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c080", "article_bluemountain": "bmtnaau_1927-04_01#c080", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "86", "page_fin": "86", "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=bmtnaau192704-01.2.32", "titre_corps": "KEEPING YOUNG", "titre_sommaire": "KEEPING YOUNG", "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": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.52", "debut_caractere": 6426, "fin_caractere_exclue": 6687, "texte": "KEEPING YOUNG\nDAME Madge Kendal, writing the\nother day to a London journal in\nanswer to the query7 as to who was the\ngreatest Englishman, says : 44 In myjudge-\nment, the greatest Englishman, after\nShakespeare, was Lord Byron \" And\ngood for Madge Kendal, say we."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c082", "article_bluemountain": "bmtnaau_1927-04_01#c082", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "86", "page_fin": "86", "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=bmtnaau192704-01.2.33", "titre_corps": "MR CYRIL MAUDE AND LITTLE THEATRES", "titre_sommaire": "MR CYRIL MAUDE AND LITTLE THEATRES", "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": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.52", "debut_caractere": 6689, "fin_caractere_exclue": 7154, "texte": "MR CYRIL MAUDE\nAND LITTLE THEATRES.\nMR. Cyril Maude, interviewed by a\nLondon journal, said all sorts ol\ngood things recently for the Little Thea-\ntres of America, and spoke happily about\nthe movement in England.\nBy the way, his interesting book on\n44 The Haymarket Theatre \" is a valuable\nlittle work of reference. Published as\nlong ago as 1903, by Grant Richards, it\nis none the less the book 011 the subject\nfor you to get if you are studying the\nBritish Theatre."}]}, {"article_id": "bm-bmtnaau-1927-04-01-c084", "article_bluemountain": "bmtnaau_1927-04_01#c084", "volume": "bmtnaau_1927-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "87", "page_fin": "87", "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=bmtnaau192704-01.2.34", "titre_corps": "PLAN OF THE CITY OF FIRENZE, 1783", "titre_sommaire": "PLAN OF THE CITY OF FIRENZE, 1783", "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": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.53", "debut_caractere": 15, "fin_caractere_exclue": 123, "texte": "PLAN OF THE CITY OF FIRENZE, 1783.\nDesigned, and engraved by Francesco Magnelli and Cosimo Zocchi.\nPlate II."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.1", "texte": "_ !■ m _• <rap MPMMM m* «g» «_ _»\njr JH[ ™ Iffir T& /BT A l@r\nlllltla A ( 1 1\n| -I V I H |\\/l /\\ W 1^\nI I 1 I , IVI /-\\ k j |\\\n™ • -Mr •- • r A ¥ M. A. M* A Mbt.\nVOLUME TWELVE BIS\nNUMBER TWO\nAPRIL - MAY - JUNE\n19 2 7\n.\nANNUAL SUBSCRIPTION EDITION DE LUXE\nTEN SHILLINGS TWENTY SHILLINGS\n(POST FREE) (POST FREE)\nTWO & A HALF DOLLARS FIVE DOLLARS\nFOR AMERICA FOR AMERICA\nADDRESS: BOX 444. FLORENCE. ITALY.\n\nTHE WHOLE IS GREATER THAN ITS\nPART: Eleonora Duse and the Commedia\ndell'Arte : by Gordon Craig.\nA TRANSLATION OF AN ITALIAN\nBALLET, 44 Shakespeare, or a Midsummer\nNight's Dream, first performed in Genova 1855»\nSOME SCENIC DIRECTIONS, with Two\nDiagrams, by a Seventeenth Century Italian\nArchitect and Scenographer.\nADVERTISING AT THE HEART'S\nEXPENSE: or ; Romantic Lovers, Lord\nBerners and Mr. Richard CapelL\nA DESIGN FOR A THEATRE for 44 The\nIdeal City Giorgio Vasari ii Giovane, 1598.\nTHE CENSOR AND POOR lAGO, with\na note or two on Messrs Comstock and Ber-\nnard Shaw, who both loved the Censor.\nA WARNING TO ARTISTS, contributed\nfrom practical experience, by 44 Diddled\nARTICLES AND REVIEWS on The Chi-\nnese Theatre, the 44 Movieson Actresses,\nand Theatre Architecture, on Pioneers and many\nother entertaining subjects."}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.2", "texte": "THE MASK. APRIL 1927\nNOTICE TO CONTRIBUTORS. The Editor is always glad to consider articles and illustrations from\nexperts in theatre history and art, 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.\nTHEATRE BOOKS. 1902-1927 J. S Page 47\nTHE WHOLE IS GREATER THAN ITS PART . . Gordon Craig . . 49\nAN ITALIAN BALLET. SHAKESPEARE, or A Mid-\nsummer Night's Dream From the Italian of Giovanni Casati . 54\nSOME SCENIC DIRECT lONS ...... Giulio Troili da Spinlamberto, known as\nParadosso . . . . ,59\nADVERTISING AT THE HEART'S EXPENSE . . John Brownsmith 64\nA SIXTEENTH CENTURY DESIGN FOR A THEATRE; J. S 66\nTHE CENSOR AND POOR lAGO X. Y. Z. . . . ! . .67\nPICTURE BOOKS . . Felix Urban .... 69\nFIVE BOOKS . ' . . Yoo-No-Hoo 71\n\" ONLY\" A Note . . c. G. Smith 73\nA WARNING TO ARTISTS « Diddled \" 74\nON ACTORS ......... Edmund de Goncourt . . . .75\nSTENDHAL IN MILANO, with a Note by . . . C. G. E. ..... 76\nLITERARY AMERICA\nNOTES ON OLD FLORENTINE THEATRES . . J. S. . . , . ! .86\nBOOK AND MAGAZINE REVIEWS. SHORT EXTRACTS. EDITORIAL NOTES.\n\nILLUSTRATIONS.\nTHE OLD QUEEN'S THEATRE, LONDON . . . From a Photo . . Plate 6, Face 47\nA DESIGN FOR A STAGE SCENE , . . Gordon Craig . w 7, n 58\nA DESIGN FOR A THEATRE . Giorgio Vasari il Giovane n 8, n 66\nMLLE GEORGES AS MEROPE ...... . . n 9, precede 67\nTHE ROYAL COBOURG THEATRE, LONDON . \" ]O, Face 74\nA PLAN OF FIRENZE, 1783. , . . • • Francesco Magnelli &\nCosimo Zocchi 11 11, n 86\nPALAZZO VOLKOFF, VENEZIA 49\nTWO SCENIC DIAGRAMS . . . . . . Paradossi 60, 62\nHead and Tail Pieces from old and modern Designs."}, {"page_pdf": 4, "page_imprimee": "[46]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.4", "texte": "THE OLD QUEEN'S THEATRE, LONG ACRE, LONDON.\n(For further description see Editorial Notes).\n\nTHE MASK"}, {"page_pdf": 5, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.5", "texte": "THE MASK\nf)T%.\n19 0 8 19 2 7\n\nTHEATRE BOOKS\n1902-1927\n\nCOMPARED with the output of Books on the Theatre of twenty-\nfive years ago the output today must be about eight or ten\ntimes as great. We would even say it is more. We recall\nthe year 1902. We remember the kind of reply sent by London\npublishers to authors who submitted books on the Theatre. \"My\ndear Sir \" the publisher would write : \" books on the Theatre are a\ndrug in the market.\nSo it is an encouraging sign to note how many are the volumes\npouring out of the English presses today.\nAnd not only are they many. They are good.\nWe think there never was a period in the history of the English\nStage when so many valuable books appeared.\nThe public mind has been awakened to the fact that there are\nmany things worth while about the stage.\nOnce upon a time, twenty-five years ago for example, this pub-\nlic believed that the only books dealing with the theatre which could\nbe of any interest were volumes of reminiscences by popular actors\n3r actresses.\nThose who have helped to dispel this illusion in the public mind\nlave helped to do a very good thing. And the London publishers\nlave been foremost in helping.\nBesides English books, better French, Italian and German books"}, {"page_pdf": 6, "page_imprimee": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.6", "texte": "have appeared, and we must certainly not forget to add much better\nAmerican books.\nWhat we still need, however, is many more technical works. Not\nbooklets for amateurs alone, but serious works on the Architecture of\ntheatres, on Acting, on Scene-making, on Lighting devices and how\nto use them, on Making-up, and on cutting, sewing and generally pre-\nparing Costumes.\nThese headings by no means exhaust the list: there are at least\ntwenty more, and on each subject we need a careful useful work written.\nAfter that the energy given to book-making can cease and be\nturned into other channels, for by that time we shall have enough books\nto help us in our efforts to write, act and produce plavs and operas\nJL J £ i J\nand even comic opera.\n\nJ. S."}, {"page_pdf": 7, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.7", "texte": "THE WHOLE IS GREATER THAN ITS PART\nBY GORDON CRAIG.\n\nPALAZZO VOLKOFF. VENEZIA, IN WHICH ELEONORA DUSE LIVED.\nThe Palazzo Volkoff is the central Building.\n\nTHAT slogan \" The play's the thing\nhas been so misused these last ten\nor so years that we are all growing tired\nof hearing it. The play is, of course,\nthe thing —the whole heart of the playhouse.\nIt did not need a row of frightened\nplaywriters to make the truth clearer to\nus by repeating it over and over like a\nlitany as though in doubt of it themselves.\nIn saying \" the play's the thing \" we\nmean that no one person—no one limb\nof it—is more than an item of the whole.\nNo playwright, no play-writer, no actor,\nno producer, no one person is or can be\nthe thing itself.\nIn admitting this we accept the strange\nand rather unpopular notion of the bles-\nsedness of the impersonal.\nIt, the play, is more than he or she\nthe makers of it.— Good. Yet it is the\nplaywriters in our land who have been\nclaiming recently that it is they who are\nabove all others in the theatre world.\nMr. St. John Ervine is their elected\nspokesman!\nLet it be clearly stated once more\nthat no one is \" above \" or \" beneath\nany other,—that all are a family. The\nhead of that family is the man who is\nalways at home. He rules by reason of\nthat fact.\nSometimes the head of the family is\nthe writer of the play : Moliere, for\nexample : sometimes not : for example,\nG. B. Shaw. Moliere lived the life of\nthe Theatre morning, noon and night.\nShaw pops in and pops out.\nMany a modern play-writer does that—\nbut that does not exclude him from the\nfamily. He becomes one of the sons.\nSometimes an actor lives his whole\nlife in the Theatre ; Irving for example:\nsometimes a stage manager does the Duke\nof Meiningen and Reinhardt are apt exam-\nples. Sometimes an actress—Sarah Bern-\nhardt.\nBut, whoever is the head of this fa-\nmily, unless he think for all and allow all\nto shine to the best of their ability, he\ndoes badly for the Theatre as an insti-\ntution, and the birth of the so-called\nof the Theatre is delayed.\nI use the word Art as we have come\nto use it when writing or speaking of\nMusic and Architecture and in no other\nsense. This Art of the Theatre is not\nyet born, say what we will: but that\nneed not dispirit us. We shall get to it\nin time, but only if we remember that the\nplay is the thing—it, not ourselves.\nTwo books, one on Signora Duse and\none on the Commedia dell'Arte, have\nreached me which illustrate all this.\nThey arrived on the same day, by\nthe same post, and, dealing as they do\nwith the same subject, the stage, are utterly\nat loggerheads one with the other.\nThe writers are Mr. Arthur Symons O\n\n(1) Eleonora Duse, by Arthur Symons. Elkin Matthews\nLtd. Price 12/6."}, {"page_pdf": 8, "page_imprimee": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.8", "texte": "and M. Constantin Miclachevsky 19, and\neach has done his work as well as it\ncould possibly be done.\nThe first has to deal with an imoos-\n* x\nsible person, the second with a practical\ngroup of persons.\nIn calling Signora Duse an impossible\nperson I mean no more than this : that,\nnot being one who realized that a head\nof a family was necessary to every thea-\ntrical group, and cut adrift of the family,\nshe becomes impossible. Her powers were\nimmense : her vision startling and her\nthoughts noble :—but she played this old\ngame of the Theatre according to her\nown erratic rules (for what reason I cannot\nhere enquire into) and so she is to be\ncounted amongst those who delayed the\nbirth of the Art of the Theatre.\nIn calling the actors of the Commedia\ndell'Arte a practical group of persons 1\nmean more than that but 1 mean that first\nof all.\nThey had among them men and\nwomen of genius as great as that possessed\nby Signora Duse, Madame Bernhardt, Sal-\nvini and Irving, Lemaitre and Chaplin ;\nbut they had a still greater thing, and this\nwas the power to recognize that this genius\nof theirs was but an item of the whole;\nand it was this which constituted their\nstrength and which today places them\nabove all other actors of any age.\nIf Duse and Bernhardt were superb\nbouquets of flowers, these actors of the\nCommedia dell'Arte were a whole garden—\nnot revolting against the gardener; growing\non all the time, flowering each season, ever\ngrander outbursts with every blossoming,\nand the roots are still in\nAsk Mr. Symons to write of the\nCommedia dell'Arte and put Mr Micla-\nchevsky to the other task and Mr. Sy-\nmons' book would become very sober\nindeed and Mr. Miclachevsky's would\nnever be written.\nFor there is only one way to write\nabout Duse and that is to make a frantic\nattempt to catch her moods one after the\nother and allow these to rule our pens.\nif we have never spoken to her there\nis perhaps a chance that we shall write\nfairly well : if we have spoken to her the\ngame is up. We are her slaves.\nIt was part and parcel of her career\nto act as beautifully off the stage as on\nit : no actress was ever more sincere on\nand off the stage :—it was this amazing\nsincerity which convinced. Her sincerity\nshe offered at the altar of the God of\nconfusion.\nOn the stage she thought she\nMagda \" and she thought she\nCleopatra \". Off the stage she thought\nshe was some one who was happier than\nanyone else, sadder than anyone else,\nfunnier than anyone else and more sincere\ntoo. Off the stage she thought that her\ngenius for acting alone could save the\nstage : that or dying. It never occurred\nto her that discipline and taking her place\nand giving an example in how to obey\norders would have done more than all\nelse to help the stage.\nWe who write of her want to agree\nwith her. You who read may have your\ndoubts. When 1 read what others write\nof her I have all your doubts. They\nrise all the time as I read these pages by\nMr. Symons.\nHe seems to me to be attempting to\nexcite himself and to excite me about this\nperformer. What I should have preferred\nwould have been a report. Mr. Symons\nasserts in the first three lines of his book\nthat she is 44 the greatest of living actresses \"\nand this is not precise, for the actress\ndied in 1924 and the book is dated 1926.\n\n(I) La Commedia dell'Arte, by Constant Mic. Chez.\nJ. Schiffrin. Aux Editions de la Pieiade. 75 Francs."}, {"page_pdf": 9, "page_imprimee": "51", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.9", "texte": "Besides this, nothing is said which\nconvinces us that she really was the grea-\ntest Italian actress of her time : if you and\nI happen to know this was so, all the\nluckier ; we shall be glad to hear it re-\npeated. But others will not be convinced.\nAnd it then occurs to me how excel-\nlent was the method of Mr. Austin Bre-\nreton the biographer of Henry Irving:\nhis method certainly convinced one.\nThis, as some of you know, is what\nhe did. He reprinted nearly all that had\nbeen written by the critics of the time\nof each of Irving's performances.\nYou may say it bores you to read\nwhat Mr. Clement Scott, Mr. Joseph\nKnight, Mr. William Archer and Mr.\nClarence Newton wrote about Irving's\nRichelieu, Vicar of Wakefield, Mephisto-\npheles and the rest: I can only tell you\nthis ; that after sixty or seventy pages you\nsee the Lyceum Theatre, you see the\nCritics, you see the audience, you see\nIrving, and you see the relationship of\nactor and audience and critic. This ba-\nlanced cool report awakens the imagina-\ntion.\nBut some day we shall have a book\nwhich gives us Duse's record and gives\nit correctly, and it should be very inte-\nresting.\nBut even then it will be but a dis-\njointed item of the History of the Thea-\ntre—and that is the immense pity of it.\nThe story of the Lyceum Theatre\nwill be more : but far more still is the\nstory of the Commedia dell'Arte, for it\nis the record of a theatrical age from 1 500\nto 1 800, the age of the great companies\nof actors when the play, the actors' play,\nWas the thing ; and when, however great\nthe actor might be, he took his place and\nfound at his side fellow actors of a like\nstature.\nIf you know a serious fine actor of\ntoday you will know how he longs to find\nfellows of his own stature. It is all rub-\nbish, this cry that good actors are jealous\nof other good actors ; it is only the not\nquite well-baked actors who feel like that.\nThe serious actor of today is at heart\nexactly like his ancestor of two hundred\nor three hundred years ago : he wants to\nrestore the play to its rightful place and\nobserves with not a little sorrow that it is\nnearly always the pushful play writer who\nwill get in the way. We hear about\nG. B. B. or J. M. S. today, not of\nhis play : the papers teem with his pu-\nblicity which he could quite well avoid\nif he wished to, —if he too really felt as\nall the good actors feel, that \" the play\nis the thing\nHad Signora Duse lived at the meet-\ning of the 16th and 17 th centuries she\nwould have become a member of one of\nthe great companies or families which make\nup the still greater race of theatrical peo-\nple and she would, one supposes, have\nbeen happier.\nThese companies could often boast\nthree performers of superlative merit, -\nsometimes more ; besides these three, there\nwould be six or seven first-class perfor-\nmers. Students who know The Mask\nfrom its commencement in 1908 will re-\nmember the series of articles and transla-\ntions which appeared in 1910-1911, and\nsince then, on the Commedia dell'Arte.\nPrevious to 1910 there had appeared in\nEnglish a few interesting chapters about\nthis Commedia in books, notably Vernon\nLee's chapter in 1881, John Addington\nSymonds's in 1890, Mr. Broadbent's\n\" History of Pantomime \" 1901, and pos-\nsibly best of all the section by Karl\nMantzius the Danish actor in his second\nvolume of his \" History of Theatrical Art\".\nThe Englishman, who naturally prefers\nto read books in his own language, has"}, {"page_pdf": 10, "page_imprimee": "52", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.10", "texte": "not to be left uninformed in regard to\nthese wonderful teams of play-actors which\nappeared in Italy and which spread all\nover Europe, even as far north as England\nand Russia and down south west into\nPortugal.\nNever too often can it be repeated\nthat the Commedia dell Arte means pre-\ncisely \" Professional Comedy \". John\nAddington Symonds points out that \" the\nfull title would be Commedia dell'Arte\nall'lmproviso \" and that it is \" also called\nCommedia a soggetto, Commedia non\nscritta and Commedia improvisa\nFor this work of improvising first-class\ndramas, tragic, comic and farcical, actors\nof genius were demanded—and, as should\nbe the case in response to all sound de-\nmands, were supplied.\nIn our time (and it is as rich as any\nothers) a certain poverty or pretended\npoverty in the spirit of the theatrical pub-\nblics of Italy, France and England, has\nbred the natural response from the actors.\n\"You don't want that?—good then, mum's\nthe w0rd....\" and the actors go to sleep.\nFor what is the use in attempting to\nforce a public to accept what it hasn't\nthe spirit to ask for.\n1 have never had any doubts whatever\nthat companies of \" professional actors \"\ncould be formed all over Europe today\nwho could improvise plays in a first-class\nmanner : but something is against it. The\nwriters, (this has been long pointed out\nin The Mask) if they are not against it,\nare more in favour of supplying the text\nof the plays for the best actors—and the\nactors, if a little weary, are also unwilling\nto offend the writers :—\" it's easier as it\nis \" seems to be the notion. A poor one,\nbut after all it probably pays, and that\nis important with the life still so short and\nthe craft still so devilish long to learn....\nI mean, to learn properly.\nAnd so in these last two centuries the\nactors have slowly lost that strong family\nsense, and, instead of a group of ten\nplayers all as strong as one another, al-\nways playing together, and all obedient to\nthe capo comico or head, we have new\ncompanies being formed once a month,\nand in each one star actor or actress in\ntheir midst, these drifting first to one thea-\ntre, then another ; breaking up, being lost.\nAll is shapeless and unclear to the\npublic.\nTen actors united always, all up to\nthe mark—one for all, all for one, ....\nthat s what the Public wants and the Stage\nneeds. But we don't get that: —we get\n' all for self, none for all '.\nNot that the profession is not still a\nfamily in its way : but it has lost its old\nhook °f the rules by which every family\nhas to abide if it will live.\nAdmitting that Eleonora Duse was\nequal in skill to one of the old family\ngroup of ten, where were the other nine ?\nThe nine were there ; no one noted\nthem ; that is all. They were more or\nless expensive rubbish.\nCould Eleonora Duse improvise?\ncould she perform without any written\nday ? She didn't, but probably she could\nlave done so, if only in that she was an\nItalian 0).\nBut let us not delude ourselves that\nthe mere fact of being in a group and\nabiding by nine out of the twelve rules\nof the family is enough, or the company\nof the Moscow Art Theatre, which is a\ngroup and abides by the nine rules, would\ndo as I say : and there are a few other\ncompanies who are always united, and\nthese too could do this. They don't, for\nthey shirk the last three rules—and if\n\n(I) As a matter of fact the knack of improvisation\nis universal : Englishmen have it as well as Italians."}, {"page_pdf": 11, "page_imprimee": "53", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.11", "texte": "they prefer to be interpreters that is their\naffair.\nBut this book by M. Constantin Mi-\nclachevsky shows us once again that what\nthe actors of today prefer to do is the\nlesser thing, in fact is the least an actor\ncan do. For his book retells the won-\nders of the old school—a school never to\ngrow old yet often so dubbed by the\nyounger stage men and women of the\nday who have no intention of making the\nsupreme effort.\nI shall return to this book another\ntime : it is not one to be reviewed in a\nhurry. .But this I can state without he-\nsitation ; that it is better illustrated than\nany book of its kind except perhaps that\nof Luigi Rasi fb—and only perhaps: for\nthis work contains that astonishing series\nof drawings from the Bibiioteca Corsini in\nRoma, which we in Western Europe have\nnot been able to see till now, unless we\nby chance have visited the Library : it\ncontains a number of the plates from that\nrare book on the dance by G. Lambranzi :\nsome original drawings by Tiepolo from\nthe Collection V. Rosenthal and Richard\nOwen: some twenty other unpublished\ndesigns : and, to cap everything bless me\nif we are given an Index.\nI shall make an Index at once, for\nwithout it 1 shall be unable to see whether\nany of the great family has been ignored :\nand if one is passed over then the house\ncomes rattling down ; for this was a true\nfamily, and this family made the first and\nlast true drama and theatre in Europe ; a\ndrama for the people —for the aristocrats\nand the crowd, not for the intellectuals :\nit appealed with a directness which elec-\ntrified : it came to Hecuba at once. It\nwas brilliant without being original : it\nsurprised without going off the ordinary\nlines : it shook the audiences out of them-\nselves ; it swept through Europe; never\nmeddled in politics ; and in its prime it\ngave birth to Moliere.\nAssuredly the play was and still is\nthe thing.—When are we to have the\nPlay again ?\n\nTHE PART IS LESS THAN THE WHOLE.\nTWO BEERBOHM TREE STORIES.\nONCE upon a time, a then budding, and now a fully-\ngrown young star actress, was engaged by Manager\nTree, who really did a great deal to advance her on her\nstage career. Soon, however, the young novice began to\ntell Tree that she and her parents (whom we all love and\nhonour) insisted on her being billed in larger type than\nshe was getting. Nay, more, the radiantly beautiful girl\nclaimed that she was to be given the 44 and M which is\nso coveted by professionals when their names are adver-\ntised. 44 I want said she, 44 to be announced thus, 4 Sir\nHerbert Tree and Miss (So and So) \" Yes, my dear\nchild retorted the Chief, 44 but why * and * ? Why not\n•but V?\".\nFrom Page 142 u Cues and Curtain Calls\" by Carados,\nAvery Cockney, not to say illiterate but certainly cle-\nver, low comedian whom Tree had thought of en-\ngaging, said to him 44 But, look 4 ere, guv'nor, yer know\n44 I shall expect you to bill the 4 and * before my naime! \"\n44 Alas !my dear friend replied Tree, 44 how can I\ndo so? You know it is 4 hard to give tie 'and where\nthe Art can never be ! \".\nFrom page 142*3 \" Cues and Curtain Calls \" by Carados.\n\n(I) I Conuci Italian!. 3 Volumes."}, {"page_pdf": 12, "page_imprimee": "54", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.12", "texte": "AN ITALIAN BALLET.\nSHAKESPEARE, OR A MIDSUMMER\nNIGHT ' S DREAM\nTRANSLATED FROM THE ITALIAN OF GIOVANNI CASATI.\nTHE MASK presents to its readers an old but original\nBallet in four parts, entitled :\nSHAKESPEARE\nOR: A MIDSUMMER NIGHT'S DREAM\nby Giovanni Casati, translated, presumably for the first time,\ninto the English language.\nThis Ballet, or Ballo as such things are called in Ita-\nlian, was performed in the spring of 1855 at the inaugu-\nration of the Teatro Paganini in Genova, on April 9th.\ni hirty performances of it were given, which is, for\nthe place and time, a fairly long run.\nThe cast is given below. To this we can add the\nnames of the Stage manager, Giuseppe Righetti, Conductor,\nNicolo Uccelli: Prompter, Pietro Giannetti, Scene painters,\nCarlo Fontana, Costantino Dentone and Antonio Leonardi:\nthe Figurista, Cav. Giuseppe Isola : the Machinists, Novaro,\nAnsaldi and Daguino: the attrezzista Rollero : the head\ntailors, Cavvera, B.emi and Poggi: the Berettonaro, Bremi.\nand lastly the wigmaker, Carlo Piazza.\nThis Antonio Leonardi went later to America where\nhe took up his abode. Whether he painted scenes there\nI cannot say. Mr. Hornblow does not mention him in\nhis two volume \" History of the Theatre in America\nDentone was living in 1875 in Via Baibi, Genova.\nThis Teatro Paganini was built in 1853-55 from de-\nsigns by the architect engineer Tommaso Carpineti, the\nfirst stone being laid on June 28th, 1853,\nThe Platea measures 16 metres 70 centimetres by 18\nmetres 20 centimetres. It has five circles of boxes and a\nLoggione or Gallery, and every circle contains twenty-nine\nboxes.\nTogether with the theatre were built two cafes and a\nbilliard room ; a large vestibule and a Ridotto in line with\nthe fourth circle.\nIt was originally illuminated by gas and had a magni-\nficent Lustre with seventy-six jets suspended over the\nplatea.\nIt was named after Nicolo Paganini the violinist, born\nin Genova in 1788, dying at Nice in 1840.\nIt is one of the finest theatres of Genova which city\ncan boast better iheatres than it can theatre-goer 3.\nI derived the subject of this Ballet, not from Shakes-\npeare's drama \"A Midsummer s Night's Dream \" but\nfrom an Opera Comique (0 by Messers Rosier and De Leu-\nven, which bears the same name.\nI ask indulgence that it Was an inevitable necessity\nfor me to give somewhat in detail the present pro-\ngramme. G. Casati.\nCHARACTERS. ACTORS in 1855.\nWILLIAM SHAKESPEARE Lodovico Moniani\nELIZABETH OF ENGLAND Carolina BagnoU-Merit\nMISS OLIVIA, court lady Antonietta Kurz\nFALSTAFF, keeper of the\nroyal park of Richmond Antonio Coppini\nLORD LATIMER Pompeo Merit\nJEREMIAH, host Vassallo Pietro\nTOM, his son Virgilio Calori\nNELLY, his niece Carolina Mengoli- Massini\nSailors Tavern men-servants and maid-\nservants Masquer aders Actors Ac-\ntresses Cavaliers Boatmen Ladies\nCourtiers Gamekeepers, etc.\nThe scene is laid in England. Sixteenth\ncentury.\nThe music of this Ballet is expressly\ncomposed by the Maestro Paolo\nPART ONE.\nTHE Mermaid Inn—-common room ; at the back a\ndoor opening on to the Thames —ln the centre the\nentrance door; to the right another door, which leads\ninto a cabinet; tables, benches, etc. To the sides the\nportraits of Elizabeth and of Shakespeare - At the\nbacks a raised gallery where a most sumptuous table is\nspread.\nMANY sailors are grouped at various ta-\nbles eating, gaming and drinking\nEnter Shakespease, also in a sailor's costume,\nand exchanges handshakes and greetings with\nthe jovial party, improvising some interesting\nlittle tales.\nThe pretty waiting maids of the tavern\nmove about the room, intent on replenishing,\nso soon as empty, the glasses of their guests,\nwho, a little heated by the frequent libations,\nwould like to recompense them with kisses\nand jests, which they provoke and repulse at\none and the same time with feminine co-\nquet try—Shakespeare certainly does not show\nhimself the least enterprising of the company,\nnor the graceful Nelly the least roguish and\nlively of her companions.\nJealousy of Tom, her fiance, which in-\ncreases the good humour of the great poet.\n\n(l) First performed in Paris April 20 1850."}, {"page_pdf": 13, "page_imprimee": "55", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.13", "texte": "Shakespeare promposes a toast in honour\nof queen Elizabeth. All accept with enthus-\niasm—Tom alone refuses with a gesture of\ncontempt, at which Shakespeare, offended,\nchallenges him, after a sharp interchange of\nwords, to a boxing match.\nThis is accepted by the other, who is\nonly too eager to find vent for his ill temper\nbut who is beaten after a short encounter.\nIn the mean time there enter the tavern\nthrongs of maskers decked out in various and\nbizarre fashions, returning from a wonderful\nfete given in honour of Elizabeth, and make\na great deal of noise and riotous fun.\nJeremiah, the host, invites the masquera-\nders to give their orders and to use despatch\nbecause his tavern is engaged for a select\ngathering of artists and gentlemen who are\ngiving a great supper there to the luminary\nof England, to William Shakespeare.\nAt these words the poet recalls to mind\nan invitation which he had forgotten, ascer-\ntains that the meeting place is fixed in that\ntavern, and hastens off to don his own\ncostume.\nThe masqueraders, hurried off by Jeremiah,\ngo out after him—Enter Falstaff, who, as\nhead of the banquet, wishes to see, to taste\nand to approve the preparations and the\nselected wines, repeating then the order al-\nready given.\nAfter this accurate and conscieacious exa-\nmination he ascends into the banquetting gal-\nlery accompanied by all the heads-of-staff\nof friend Jeremiah.\nLightnings, peals of thunder, torrents of\nrain—Enter, by the common door, Elizabeth\nand Olivia, the latter in prey to intense agi-\ntation while Elizabeth on the contrary laughs\nat her fears.\nThe Queen, wishing to be present in\nincognito at the fete which her good people\nof London were giving in her honour, had\nrepaired to it masked, with her faithful Oli-\nvia and two gentlemen of the court; from\nthence she passed on to the theatre where\nthere was being performed \" Macbeth \" by\nShakespeare, of whose genius she is a warm\nadmirer ; but on leaving there, separated from\ntheir cavaliers, followed by some drunken\nsailors, overtaken by the storm, they were\nforced to shelter in that tavern.\nElizabeth, to reassure her trembling com-\npanion, shows her a parchment which she\nalways carries with her, in which the high\nSheriff orders every citizen of London to\nlend assistance and valid aid to the presentor\nof it; but, the storm being over, Olivia im-\nplores her not to linger any longer, confessing\nthat, more than anything else, she fears the\njealousy of her noble cavalier, Lord Latimer,\nwho is waiting that evening at the court circle\nwhere she has to return him the bunch of\nflowers which he presents to her every mor-\nning, receiving it back in the evening ; ....a\nbunch which she wears at her girdle.\nThe two women turn to go out—but in\nthat moment Falstaff enters. On seeing him\nthey hastily replace their masks—Olivia's ter-\nror increases lest Falstaff recognize her ; Eli-\nzabeth laughs and communicates her plans\nto her.\nFalstaff is the general keeper of the\nRoyal Park of Richmond the key of which\nhe always carries with him—he must thus\nreconduct the Queen to her own Palace with-\nout recognizing her.\nFalstaff, seeing two women, sets himself\nto play the fascinator and to act the lover—\nand invites them into Richmond Park, the\nkey of which he offers to them—the two\nwomen accept and ask his arm; but as they\nare about to go out lively music is heard\n....It is the guests who are arriving.\nFalstaff hides the two women in the ca-\nbinet, promising to come and fetch them from\nthere so soon as it shall be certain that his\ncompanions, all occupied with wine and\ngaiety, are not noticing him.\nInto the Sala come the guests, Actors,\nActresses, Dancers, Gentlemen ; among them\nShakespeare and Latimer:—Jeremiah and Tom\nannounce that the repast is served:—the latter\nis embarrassed on recognizing in the great\npoet the sailor with the strong fist.\nThe guests all ascend to the upper floor\nsave Lord Latimer, who remains wrapped in\nhis thoughts, and Shakespeare who questions\nhim on the cause of his melancholy—Lati-\nmer confides to him that he loves and is jea-\nlous.—Shakespeare laughs at both the love\nand jealousy, calls all women fickle, and in-\nvites him to drown his sorrow in wine—\nLatimer refuses—Shakespeare, called by his\nfriends, mounts to the upper floor where the\ngaiety is already at its height.\nA little before this Falstaff will have en-\ntered and will have hidden himself in one"}, {"page_pdf": 14, "page_imprimee": "56", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.14", "texte": "of the adjoining rooms—When Shakespeare\nhas gone out he believes that there is no\nlonger anyone in the ground-floor room, and,\nwithout seeing Latimer, hastens to liberate\nthe two women.\nOlivia, on perceiving her lover, utters a\ncry and throws down a little bunch of flowers\nFalstaff, believing it is a gift intended for\nhim, picks it up with transport and lays it\naway against his heart—Olivia staggers and\nfalls back on a chair—All surround her—\nLatimer is seized by a suspicion which he\nsoon drives away.\nAt that moment Shakespeare enters, half\ndrunk, following Nelly. He sees the two\nmasks and wishes at all costs to present them\nto his friends—Falstaff replies that those two\nladies were about to withdraw in his com-\npany—Shakespeare retorts that no one should\ngo out from there that night.\nElizabeth with the imperious gesture of\nthe Queen orders him to clear the way for\nher—Shakespeare in reply locks the door,\nremoves the key, and, drawing his sword,\ndeclares himself ready to oppose the exit\nwith force ; he then enjoins upon Falstaff to\nreturn to the banquet: on Nelly to conduct\nOlivia to her rooms as she stands in need of\nher assistance: on Elizabeth to remain there\nwith him.\nAll obey. Latimer goes out with Fals-\ntaff—The Queen casts a menacing glance on\nthe audacious fellow who dares to impose his\nwill upon her, but, seeing the alteration of his\nlineaments, feels in her heart a profound com-\npassion for that genius which is so miserably\nbeing lost unless a friendly and protective\nhand succeed in saying it—and remains with\nhim almost to carry out a project of her\nown.\nShakespeare, left alone with her, implores\nher to remove the mask—but in vain.\nShe reproves him for so degrading the\ngenius bestowed upon him by God talks to\nhim of the future, of glory, of the theatre, of\nart.—But Shakespeare replies that, betrayed\nby love, by glory, by art, he neither believes\nnor hopes any longer save in one sole com-\nfort, ...in the bottle which he clasps tightly and\nfrom which he gulps down large draughts.\nElizabeth orders him to leave her—Shakes-\npeare promises on condition that she re-\nmove her mask —The Queen refuses—and\nthe great poet, whose reason is clouded by\nthe fumes of wine, staggers, sways, and falls\ndrunk upon a chair.\nElizabeth, having removed her mask, con-\ntemplates him with a sense of noble and\ngenerous pity—and decides to save him from\nthe abyss into which he is about to fall.—\nBut on hearing people coming she replaces\nthe mask and withdraws into the room on the\nleft after having taken the key from him.\nThe guests rush in, all somewhat excited\nby wine, following Jeremiah who does not\nwant to serve them any more to drink—Fal-\nstaff is the rowdiest of them all.—\nIn the meantime the watch is heard ap-\nproaching—General confusion. Elizabeth takes\nadvantage of it to place unseen a parchment\non the hilt of Falstaff's sword—then she retires\nrapidly and unobserved with Olivia.\nJeremiah implores his guests not to expose\nhim to the rigours of the law by remaining\nlonger, and notifies them of the approach of\nthe watch—\" What do you fear? exclaims\nFalstaff ....here am I and my sword \" ; but, in\nstriking on the cross-piece, he finds the parch-\nment, reads it, and is struck dumb.—It or-\nders him in the Queen's name, under pain of\ndeath, to transport Shakespeare instantly into\nthe royal park of Richmond.— The guests in\nthe meantime have all withdrawn.\nHe, having called four of his men, has-\ntens to execute the orders received—while\nthe four men lift Shakespeare up the scene\nchanges.\nPART TWO.\nThe Royal Park °f Richmond—In the background the\nThames—to the left a Gothic Pavilion with a door to\nwhich one ascends by a few steps. Moonlight night.\nTHE four men transport Shakespeare, and\nlay him down in the open air; they then\nretire.—\nThe royal gamekeepers assemble there\nfrom their nightly round—Falstaff arrives, still\ndisturbed by the emotions of the night. Ha-\nving gathered the gamekeepers around him he\ngives them strict orders—no one is to ap-\nproach the royal park that night: he is answer-\nable for it with his own head.\nSo saying, he turns his head and sees\nLatimer before him—Terror of Falstaff who\nimplores him to go away, informing him of"}, {"page_pdf": 15, "page_imprimee": "57", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.15", "texte": "the orders he has received and the terrible\nresponsability which weighs upon him.\nBut Latimer, in prey to his jealous sus-\npicions, wishes to ascertain whether they are\ntrue ; thus he promises him to retire on con-\ndition that he tells him who were the two\nmasked women of the tavern.\nFalstaff, to whom it seems, too good to\nbe true to free himself from so great a danger\nso cheaply, confesses with a mysterious air\nthat they were his lady loves—and to con-\nvince him more firmly shows him the bunch\nof flowers. Latimer recognizes it; and, be-\nside himself with rage, snatches it out of his\nhand and draws his sword; \" says\nhe, since thou art my rival thou must fight\nwith me \".\nFalstaff, in whom courage is not the prin-\ncipal virtue, not knowing how to get himself\nout of the difficulty, confides to Latimer that\nthe women were not at the tavern for him,\nbut rather .... For whom ? cries the young lord\nfuriously .... Falstaff, hard driven, rolls his eyes,\naround, pale with terror, sees Shakespeare\nwho is sleeping, and pointing him out to La-\ntimer,—For him .... he exclaims.\nLatimer is about to throw himself upon\nthe sleeper when the Queen appears upon\nthe threshold of the pavilion, followed by\nOlivia, both dressed in white and covered\nwith white veils.\nFalstaff sees her, restrains Latimer, and\ndrags him away almost by force—The game-\nkeepers disperse.—Elizabeth communicates to\nher friend the plans laid so as to succeed in\nher generous intention.\nA sweet and mysterious melody awakens\nlittle by little the drowsy poet—He looks\naround as though bemused, seeking to recon-\nnect his own recollections, and sees the park\npeopled with white and airy apparitions which\nsport and frisk before him.\nElizabeth from the highest step of the\npavilion controls with the sound of the harp\nthe movements of those apparitions.\nThen, turning to Shakespeare, it seems\nthat she says \" I am thy genius which speaks\nto thee yet once again before abandoning thee\n—Let the man with his frailties and his vices\ndisappear, and let the poet be born afresh \".\nThen the apparitions, ever obedient to\nthe signs of the Queen, present before his\neyes some pictures from his most celebrated\ntragic poems—Romeo and Juliet—Othello—\nand Macbeth—which ends by exalting his\nmind and his heart.\nThen he, kneeling before Elizabeth, says\nto her—Oh thou who hast restored to me\nstrength, genius, hope, courage com-\nplete thy work,! unveil to me thy features and\nreawaken me also to 10ve....—and beside\nhimself with emotion he is about to raise her\nveil, when the Queen, repulsing him, exclaims\n\" Back! wretched man, someone approaches \".\nLatimer in fact is approaching—but Olivia\nthrusts herself between Shakespeare and Eli-\nzabeth, who retires hastily—Shakespeare does\nnot perceive the change, and repeats to the\nwoman who was standing before him ardent\nprotestations of love. Latimer, furious, rushes\nupon her, tears off her veil, and, recognizing\nOlivia, overwhelms Shakespeare with reproa-\nches, challenges him to a duel, and forces\nhim to defend himself.\nFalstaff rushes up with the gamekeepers—\nOlivia goes in search of the Queen, who\nalone can avert a disaster.\nThe two adversaries contend in spite of\nthe opposition of Falstaff, who reminds them\nthat it is a crime punishable with death to\nfight a duel in a royal park—Shakespeare\npresses hard on Latimer who falls back between\nthe wings.—Falstaff and the gamekeepers\nthereupon rush up.\nFrom the other side comes the Queen.—\nShakespeare, who believes he has killed his\nfriend, reappears greatly agitated, encounters\nthe Queen, recognises her, and turns and ru-\nshes rapidly away like a madman.\nGeneral tableau.\nTHIRD PART.\nReception hall in the Palace of Whitehall. Entrances\nto right and left.\nTHE Queen and Olivia, ignorant of the\nresult of the duel, because the Queen saw\nonly the flight of Shakespeare and is comple-\ntely oblivious of what may have happened to\nLatimer, await with great impatience the ar-\nrival of Falstaff, whom the Queen has had\nsummoned.\nEnter the intrepid guard, still bearing the\ntraces of the terrible proofs to which his\ncourage has been put. The Queen orders\nhim to give her an account of what took\nplace the preceding night in the royal park\nof Richmond. Falstaff, who fears for his life"}, {"page_pdf": 16, "page_imprimee": "58", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.16", "texte": "if the Quen (who he believes to be ignorant\nof everything) should come to know that the\npark was invaded despite her orders and that\na duel was fought in it, declares that, thanks\nto his active surveillance, nothing unusual took\nplace. But the Queen makes him swear upon\nhis life what he asserts, and threatens to pu-\nnish him severely if he should have lied.\nAt such words, Falstaff, trembling from\nhead to foot, throws himself at her feet con-\nfessing everything ; but he reassures her re-\ngarding the life of Latimer, relating how the\nyoung Lord, who was believed to be severely\nwounded, had but tripped and fallen on the\ngrass.—Joy of Olivia and of the Queen at\nthis news.\nElizabeth accords her favour to Falstaff on\ncondition that he will always and to everyone\nmaintain that nothing took place that night in\nthe royal park of Richmond and that he did\nnot see there either Shakespeare or Latimer,\nor the Queen, or Olivia.\nFalstaff, bewildered between fear and\nsurprise, repeats mechanically the words of\nElizabeth ; his amazement increases on finding\nin his hat the key which he had given to the\ntwo masqueraders and which the Queen placed\nthere without his being aware of it.\nIn the meantime Elizabeth seats herself\nat the table, and writes a note in which she\nexplains everything to Lord Latimer, reas-\nsures him as to the love and fidelity of Olivia,\nand recalls him to court, enjoining upon him\nabsolute silence respecting all that took place.\nThe note has hardly been despatched\nwhen an usher announces William Shake-\nspeare. He is introduced.\nThe Queen thanks him for the prompti-\ntude with which he responded to her invita-\ntion to present himself at the Palace. wish-\ned, she continues, to tafie odvantage of a\nsolemn fete, which gathers around me all that\nthere is of noble and eminent in the three\nKingdoms, to receive at court, and see for the\nfirst time, the great poet who does honour to\nEngland.\nShakespeare is amazed by such words\nand humbly reminds Elizabeth of the visions\nof Richmond park and of her generous coun-\nsels. The Queen replies that certainly his\nimagination caused him to take a dream for\nreality. Shakespeare insists, and cites two\nwitnesses, Miss Olivia and Falstaff.\n• Both of them reply with a decisive nega-\ntive to all his agitated demands. Shakespeare\nthen throws himself at the feet of the Queen\nand says to her—Even Were all a dream\nthere is one fact which is, alas, real.—I have\nslain Latimer.\nLatimer at that moment appears on the\nthreshold ; Elizabeth points him out to Shakes-\npeare, who, in despair, fears for his own\nreason, and ....since, he exclaims, which\nconsoled my life is but a dream ..../ renounce\nlife.\nThe Queen then draws him aside and,\n... No, says she, you have not dreamed, live\nfor England ....and for me.\nShe then calls Latimer and Olivia to her,\nunites their hands, and presents to the bride\nand bridegroom a rich casket; presenting ano-\nther, no less rich, to Shakespeare. He opens\nit and discovers a wreath of laurel.\n\"Oh I lam not worthy, exclaims the\ngreat poet in confusion, going down on one\nknee ; \" Yes, you are, responds the Queen,\nit fell from your head, I replace it and fas-\nten it there. From this moment you will al-\nways find in your Queen a protectress.... .\n\"And nothing m0re....\" asks Shakespeare\nwith emotion. \" And a friend in \"\nreplies the Queen in a low voice ; and in\nthus saying she encircles his brow with the\nrich crown, and orders that the day be cele-\nbrated in which the Queen of England, in\nthe name of the country, thanks Shakespeare\nfor his works.\nFrom within is heard the music of the\nfestival. Elizabeth, taking Shakespeare by\nthe hand, introduces him into the Great Ball\nRoom\nPART FOUR\nwhere the supreme poet is feted and ap-\nplauded by all.\nTHE END"}, {"page_pdf": 17, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.17", "texte": "A DESIGN FOR A ST AGE SCENE.\nBy Gordon Craig.\nPlate 7.\n\nTHE MASK\n1927"}, {"page_pdf": 19, "page_imprimee": "59", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.19", "texte": "SOME SCENIC DIRECTIONS\nUSUALLY KNOWN AS PARADOSSO.\nTRANSLATED FROM THE ITALIAN.\nBY GIULIO TROILI DA SPINLAMBERTO\nGIULIO TROILI da Spinlamberto ( the\nMarchese Amico Ricci for some reason\nconverts into di Spilimberto) called Paradosso,\nwas born in Firenze (?) in 1613 and died in\nBologna (?) in 1685.\nHe was architect and scenographer. He\npainted in the Teatro Farnese in Parma where,\nbetween 1680 and 1708, Ferdinando Bibiena\nsaw his work.\nHis famous book (a folio) \" Paradossi\nper praticare la prospettiva senza saperla\"\nWas published in 1683 by in Bolo-\ngna, hut seems to have been finished by Troili\norT February 24th 1672, for his Dedication\nin the first edition (1683) is so dated.\nWe have the authority of Zanotti (1139)\nthat in those days it was considered by the\nartists to be '[a very useful book \"• ft /s\nillustrated with bold woodcuts, two of which\nare reproduced here.\nThese illustrate the two short chapters (Nos.\nXVIII and XIX) dealing with the Theatre;\nchapters which, since they exercised an influence\nupon Ferdinando Bibiena, may not be entirely\nwithout value for us: for, even though the\nartists of some lands today think fit to race\nalong in competition with the motor car trade,\nsome there are who prefer to go more slowly\nknowing what they know>\nHOW TO RAISE A SCENIC STAGE, WITH\nTHE POSITIONS OF THE TELARI.\nAS a rule we Painters find the Platform or\nFlooring of the Stage with its slope\nready made, and with the positions for the\ntelari already indicated.\nFrom what I have observed in the Thea-\ntres of Parma, of Modena, of Ferrara, and\nhere in Bologna, I find that the height of the\nfront of the Stage is more than that of a\nhuman figure, being about five feet; and its\nheight at the back measures the ninth part\nof its whole depth from front to back. When,\nhowever, the front of the stage is less than\nfive feet in height, practical experience teaches\nus that the tenth or eleventh or twelfth part\nof the distance from front to back 15 sufficient\nfor the height at the back.\nHaving, therefore, a floor space equal to\nABCD, fig. I, the breadth of which is 70\nfeet, and the length, or rather depth, 45 feet,\nmark the two points E and F to indicate the\nwidest space between those two lines upon\nwhich the Telari(l), on which the scenes are\ndepicted, are to terminate. The space be-\ntween the one point and the other is 30 feet,\nand the space between G and H is 10 feet.\nThe two lines EH, GF are to mark the\nterminal lines of the Telari, be they set\nslanting or not slanting.\nAs regards the relative distance of these\ntwo lines from each other at the back, there\nis no other rule save that of the gratification\nof the eye for attaining the effect of great\ndistance which is given in these days to stage\nscenes.\nIf one wishes to work according to rule,\nand not haphazard, one must prolong these\ntwo lines EH and FG until they meet to\nform the angle O, which serves as the apex\nof the Pyramid, and the vanishing point where-\nin all the horizontal lines of the scene in\nconstruction tend to meet.\nAll this has to be worked out on paper\nwhen, owing to the impediment of the back\nwall BC, one cannot put it into execution in\nthe Theatre itself.\nThrough the point O must be drawn the\nhorizontal line OZ.\nThen let the terminal point N be set at\nsuch distance from the front of the stage as\nseems best, so that N is distant 40 feet\nfrom X, and so that the whole distance from N\nto O may be 100 feet, which distance should\nalso be marked off on the horizontal line OZ\nat the point where there is a star.\n\n(i) A Telaro or Telaio means any framework upon which\ncanvas can be stretched. It is here used to indicate the wings\nor the side pieces of scenery, and the original Italian term\nhas been retained. Translator."}, {"page_pdf": 20, "page_imprimee": "60", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.20", "texte": "Although the present diagram I does not\nallow of this measurement being shown, it\ncan be better seen in figure 2 where the two\nlines OZ and FL meet. Thus,f from the\n9\npoint N which represents the eye, to the\npoint O, the distance is 100 feet; and the\ndistance is the same from O to R, where\nthe star is placed.\nTherefore, to find the positions for the\nTelari in regular order, one acts by the or-\ndinary rule, making the diagonal lines converge\nto the vanishing point, thus representing a Sala\nwith its Ceiling, a Loggia with Columns, a\nGallery with Pilasters, and other proportioned\nobjects in such wise that the more remote\nparts shall appear smaller than the nearer ones."}, {"page_pdf": 21, "page_imprimee": "61", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.21", "texte": "If, for instance, you desire a Loggia which\nis wider than it is long, as, for example,\n30 feet wide and 15 long, let X be drawn\nto the vanishing point, cutting the line EO\nin the point i; then draw a line from F to\ncut it in point 2, and so on with the others.\nPoint 2 will give you the position for marking\noff a square.\nHaving found the terminal points for the\nTelari by means of the regular process, and\nhaving set them up perpendicularly upon the\nstage, either parallel to the front line of the\nstage, or set obliquely in relation to this, it\nis certain that those portions of the scene\nwhich must recede in perspective must con-\nverge to a point determined by rule and not\nby chance.\nLet this point of convergence be, for\nexample, the point O.\nFrom this point draw a thread, passing\nthrough the middle of the stage and across it,\nas does OX in fig. 2 ; and let this, being\nprolonged, touch the floor of the auditorium\nat the point T; as does OP, in the side\nview of the stage. And although reason\nwould demand that this line NO should be\nactually horizontal, as OM is seen to be, it\nis customary, (since at present the stages are\nso long that such a line would reach to too\nhigh a point in the auditorium, ....at times as\nhigh as 10 feet and even more as is seen\nfrom P to M), to take, from the point P, the\nordinary height of a man, as indicated in\npoint N, and draw from it a thread, such as\nis indicated in ON; which thread then serves\nto find every foreshortening, all such being\nobtained by means of another thread which\nshould have at its end a ring that slides along\nthe said thread ON.\nHaving now found the vanishing point O,\nand the Star for the point of distance, and\nthe Terminal points of the Telari such as\n1, 2, 3, 4, and the thread ON for the ho-\nrizontal line, the whole process, performed by\nthis present ordinary rule, may be compared\nwith the rule given for cutting the Pyramid.\nFor example; in the sideview given in\nfig. 2 let the line marked 10, 20, 30, 40\nbe considered the section of the floor of the\nauditorium, extending a distance of 40 feet\nfrom the stage line F. And let the line FY,\n5 feet higher, marked 15, 30, 45, and 60,\nbe parallel to the line of the floor P.\nThis serves to show the slope of the\nstage, which, at point V will be 5 feet high,\nsince its height must measure the ninth part\nof the stage's depth.\nIf, from the point marked 15, we draw\na line straight towards the line M, it will\ncut the line PO in the front at the exact\npoint of the first Telaro, so that this first\nTelaro will be set 15 feet from the front of\nthe stage, just as in the first figure.\nThe same result is obtained by drawing\na line from the point 30 to the point M,\nsince this will give the position of the two\nsecond Telari or apparenza, distant 30 feet\nfrom the front of the Stage, just as it proved\nto be in the ordinary method of working\nshown in the first figure ; so that, by using\nthe ordinary rule, one can produce the effect\nof scenes seen in Perspective upon flat sur-\nfaces, and upon obliquely set Telari, with the\ngreatest facility, and does not work blindly\nand on haphazard lines.\nTO FACILITATE THE SCENIC PRACTICE.\nTO facilitate the regular working out of the\nscenes one proceeds in two different ways.\nBy the first, one has to find the heights of the\nTelari when these are already set in their\nplaces; by the second, having the Telari\nwhen they are not yet set up in their places,\nthe work is very convenient.\nOne takes, with all exactitude, all the\nmeasurements upon the two lines EO, FO\nso as to know the positions of the Telari\n1,2,3, 4, etc. One then takes the distance\nfrom each of these points to the line IK\nwhich marks the middle of the stage.\nThen let there be drawn the profile of\nthe stage MN, in such a manner that the\nlines of the Telari reach as far as this said\nprofile, which is very helpful for finding the\nheight of each Telaro.\nSupposing that on the first Telaro QR\nthere is the semblance or design of a Column,\nBase, Capital, Pedestal, Architrave, Freize or\nCornice, and we draw lines from all these\nparts to the vanishing point O, we shall have\nevery proportion in the other Telari also, as\nis seen by the line marked with a star and O.\nThe Horizon line LS will be marked\nout, according to the method set forth on the\npreceding page. Its height ML, in the front\nof the Stage, is of a just stature of five feet\nor a little less."}, {"page_pdf": 22, "page_imprimee": "62", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.22", "texte": "We have, in the last page, the whole\nbreadth of the stage as 30 feet and the half\nof it as 15 feet.\nIf we measure the ground line AI of the\nfirst Telaro A, it will be, for example, 13 feet;\nthe second, B, II and a half feet; and the\nthird C, 10 feet, and so on with the others.\nThus our measure of the steps or feet will\n« A\nserve for the first Telaro Q, showing that the\nhalf of the breadth of the pavement A is\n13 feet; but for the second Telaro one must\ndivide the line of II and a half feet into 13\nparts, and calculate each part as one foot,\nbut smaller than the first: so likewise must\none divide into 13 parts the width of 10 feet,\nto make use of these in the third Telaro;"}, {"page_pdf": 23, "page_imprimee": "63", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.23", "texte": "and in this manner there must be as many\nlittle measurements as there are Telari.\nOne can, however, mark upon a piece\nof wood four measurements of different length.\nHaving thus the design of the first Te-\nlaro, with the measurements of the number\nof feet for the heights, one should then\ncarry to a convenient place the first two Te-\nlari, as one sees YZ in the small diagram P,\nso that they may be set up adjoining each\nother, when we want to achieve in one the\nsame effect as in the other. Because this\nprocess renders it very convenient to draw\nthe lines parallel to the front of the Stage.\nLet the horizontal line TV be drawn,\nconformable to the height required; that is,\non the first Telaro it will be, for example,\nabout 4 feet and a half; in the second Te-\nlaro 4 feet, in the third 3 feet and a half,\nand so on with the others.\nThe point T, where all the lines must\nconverge, is distant 13 feet from the cut of\nthe Telaro, as the point V should also be.\nThese points will serve as well as if one\nshould make use of the thread, as indicated\nabove, for the Horizontal line.\nWishing to find the just gradient, set the\npoint of distance as far back as is the dis-\ntance of, the first Telari or the line on which\n'Jit-\nthey are set, from the point of sight N, as\nis seen in the preceding page, and do the\nsame with every other Telaro. But let the\ndistances be increasingly great in proportion\nas the Telari are increasingly distant from\nthe said front line. Here, then, it is neces-\nsary to make use of the adjusted paces (1), so\narranging that the same number of feet mea-\nsured by the Column on the first Telaro will\nalso be allotted to the Column of the second\nand the third Telari, and so on.\nIn carrying the Telari subsequently to\ntheir places, their gradient will be allowed\nfor, together with the gradients upon the Te-\nlari themselves, which in some cases close in\nthe great size of the Stage and are known\nas first, and second, Orizonti. (Horizons).\nThe better to understand what has been\nsaid let us study figure 2. in which we have\nmany details, such as the Plan, and various\nraised sections, as for example the first Ho-\nrizon MNPL : the thread CO, or rather the\nhorizontal line, gives us the point of conver-\ngence R, for the points to be worked out in\nthe first Horizon; and so with the others.\nThis thread CO is that upon which the\nring runs, with the moveable thread, for find-\ning the graded measurements both in those\nTelari which are set aslant, and in those\nwhich are parallel to the front of the Stage.\nFor those which are aslant, one takes the\nheight where the ground lines S, i. S, 2.\nS, 3 terminate above the horizontal line C, O.\nIf one wishes to represent upon the slan-\nting Telari lines which are parallel to the\nfront of the Stage, let there be attached\nto the two sides of the Telari which stand\nforward from the Orizonte a thread AB, pa-\nrallel to the front of the Stage. Then extend\nthe horizontal line C, O towards the Audi-\ntorium until it reaches the point N, as on the\npreceding page. When the distance limit has\nbeen found in point N, take a thread which\nreaches as far as the Telari AB. Let this\nthread be AZ, which will terminate in the point\nV, grazing, however, the thread AB, which will\ngive us, on the Telaro, the line AV, which\nWill appear to be parallel to the front of the\nStage. And prolonging the said line AV,\nas in VT, it will terminate above the Hori-\nzontal line, which must traverse the Telari,\nas is seen in the small inset diagram above\nin P; and one takes this as the accidental\npoint, to which all the parallels are drawn.\nOne can, it is true, work by proportions,\nwithout adopting the thread each time, once one\nhas found one above and one below of the\nsaid lines, so as to give due proportion to\nall that is represented on the first Telaro. If\nit happen that the Telari are already set up\nin use, one will take the measurements of the\nfirst Telaro, ....that is, the Pedestal, Base, Co-\nlumn, Capital and Cornice, and then, from each\nof these divisions, draw lines to the point of sight\nO when there is no impediment; and these will\ngive us all the proportions for the other Telari.\nAs for the more minute measurements, let\nthe measurements of the first Telaro be taken\nseparately, as is shown in the small diagram\nABCD. These measurements are taken upon\nthe line AB. Then take a point haphazard,\nsuch as O, to which all the points will be\ndrawn with threads, since these will give the\nsame measurements proportionately for the\nsecond Telaro EF, and for the third GH,\nand so with all the others when these are\nset within the two lines.\n\n(i) i. e. the artificial divisions of space which, by a con-\nvention, are taken as representing feet."}, {"page_pdf": 24, "page_imprimee": "64", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.24", "texte": "ADVERTISING AT THE\nHEART'S EXPENSE.\n\nWHAT MR. RICHARD CAPELL WROTE IN A\nLONDON DAILY. AND WHY HE WROTE IT\nTHE Romantic Lovers are passing.\nLet everyone pop out his head from\nhis window to have a look. It will not be\na last look for 1 am sure that the lovers will\nbe returning down the street tomorrow. Ac-\ncording to Mr. Richard Capell(I) the romantic\nlover is passing away—and so, says Mr\nCapell, romantic music is off. That is ano-\nther and a funnier thing; for, believe me, never\nso long as humanity lasts will the romantic\nlover go—except to reappear, nor romantic\nmusic die—sufficiently for our peace.\nWhat Mr. Richard Capell is driving at\nis that Lord Berners is coming up.\nLord Berners is a kind of funny-man—he\nlaughs, and by laughing wants to make you\nlaugh—but it is not to be done.\nLord Berners is skittish—was skittish when\nlast I heard him twiddling on the piano. As\n1 listened I thought to myself, from what an\nocean of Romanticism this little fount springs.\nIn what untold noble sacrifices and other\nsweetnesses this stuff and nonsense has its\nroots. But I shuddered a little to think of it\nall. Why is it, why is it, asks Mr. Richard\nCapell, leaning forward, so earnestly—\" why\nis it when a modern composer like—(a cough)\nlike Lord Berners (who has written the\nmusic for the new piece to be done by the\nRussian ballet at the London Lyceum)—why\nis it that, when he sets Heine to music, he\nfeels bound to interpret \" Du bist wie eine\nBlume \" as having been addressed to a white\nsucking-pig, with answering grunts in the\nbass? \" And he goes on to say that \" mu-\nsical criticism, unaided, cannot answer \" and\nsuggests that the scientist can.\nBut why disturb the scientist always about\nthese simple little matters. Lord Berners\nseizes on an old, and to him comically exqui-\nsite verse by Heine because presumably he\ncannot get anything as good from, let us say,\nthe Sitwells. Then Lord Berners starts think-\ning of sucking pig because he is too sen-\nsitive. The harsh realities of life he refuses\nto experience—he will not grunt and sweat\nunder a weary life—he will only note down\nthe grunts of his clique. But he is not hap-\npily placed to hear proper grunts; no live\nLord is. That may come later; perhaps: Lord\nknows. Meantime where can one best ima-\ngine pigs grunting ?—in clover? what stuff—\nwhat nonsense .... no, in Heine—in the per-\nfection of song. The true modern, if lord-\nlike, musician, can catch all the grunts in\nHeine, all the squeaks in Burns, and every\nsqueal in Shakespeare.\nCome away, come away, death \".\nWell, let us not touch on that lest no pig\nhowl.\nMonteverdi alone is modern enough to set\na tune to such rum stuff as Shakespeare wrote\nand both of them dead these three hundred\nyears.\nPoor Lord Berners—he is not really mo-\ndern. You know—he knows—we know.\nCan he, for example, even attain to the ad-\nvanced modernism of Monteverdi ?... ask mu-\nsicians.\nSo Mr. Capell, as gallant as a musical\ncritic can be, would draw a cloak over the\nshoulders of Lord Berners to protect him from\nthe storm. Instead of saying what he can do,\nhe will say what he cannot do. Lord Ber-\nners cannot be romantic; sentiment is the\nlast thing Lord Berners ever sinks t0....\nanyhow.\nPersonally I do not believe it. I am pretty\nsure that Lord Berners, if he continues to\nwrite music, will one day rise to the romantic\nheights of Handel and Purcell, even if the\nMonteverdian peaks prove too high for\nhim.\nBut should Lord Berners not do this, some-\nbody else will; some writer of music un-\nknown even to Mr. Richard Capell and to\nyou and to me. For what do any of us know\nabout this supposed disappearance of romantic\nlovers, really. What can we safely say about\nscience and its power to change lovers. Be-\ncause the twopenny ha'penny Press veers with\nthe wind its Press men are too apt to suppose\nall else to be equally variable. But it is not\nso:—Lovers never change. I saw two of\nthese only yesterday standing at the corner of\na big wall, aged eighteen and twenty-two.\nThey may, of course, have been filled to the\nbrim with the furies of the intellect: they may\n\n(l) See an article by Mr Capell entitled \" Romantic Lo-\nvers Passing \" published in the \" Daily Mail \" November 2.\n1926."}, {"page_pdf": 25, "page_imprimee": "65", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.25", "texte": "have learnt the lesson how to make love scien-\ntifically, at university, at home; but so far\nas I could see they were only making love\nwith the eyes. There again I may be in error.\nTheir eyes may not have been made of the\nsame stuff that the eyes of the last eight mil-\nlion years have been made of. They may\nhave been made of glass or of ivory and\npulled by little strings inserted by the phy-\nsician in their youth. But I was totally de-\nceived. I took them to be those ancient\neyes of a young man and a young woman,\nand certainly one pair of eyes was saying\n\"Du bist wie eine Blume *\\ And I heard\nno grunts, I saw no sucking-pig.\nPerhaps these two delicacies are only to\nbe found in the most aristocratic circles. My\ntwo young people were merely a young\nand a young gentleman, and they were stan-\nding in the foyer of a Theatre.\nMr. Capell says that somebody the other\nday said: Our young people make love self-\nconsciously, knowing that they are merely in\nthe grip of an agelong biological force\nI would only correct one word of this.\nI would change the word \" people \" to\n\" fools for while there are a million young\npeople who will make love as it has been\nmade for untold centuries, there must always\nbe a handful of people eager to help the\ntrashy modern journalist out of his difficulty,\nand who will make love for him a la\nmode. It is the latest thing to pretend to\nbe making love as though in the grip of\nan agelong biological force. It is nothing\nelse but one of those silly pretences which\na very few awkward if pretty people are\npretending. But it doth seem a little bit of\na nuisance that this sort of a pretence, this\nparticular silliness, should be so often made\nso much of by able writers like Mr. Capell,\nand spread far and wide through immense\njournals like the Million Mail. For, on rea-\nding this article, there is no doubt whatever\nbut that another five hundred stupid young\nwomen will test this latest mode, love biolo-\ngical, and that will cause everyone who tests\nit a lot of pain. And ten thousand young\nmen will be puzzled, troubled, and ten thou-\nsand contradictions may take place. For girls\nare silly things and think that the latest little\nthing would be rather fun to try, and so they\ntry it on with their young men, and the result\nis catastrophic.\nWHY MR. RICHARD CAPELL WROTE IN A\no LONDON DAILY. O\nAND why this long article by Mr. Capell\nabout romantic love passing and about\na new kind of love coming ? why all these\nhints towards a new mode, why all this talk\nof Schumann, Goethe, Heine, Stravinski, the\nsucking pig and the rest. Is it so as to say\nsomething to young people ? Is it in order\nto explain something serious about music ?\nWhat was the reason ? It was unfortunately\nonly as an advertisement. An advertisement\nfor the Russian ballet and for Lord Berners'\nmusic, and just the insidious kind of adver-\ntisement the Soviet loves. Well, advertise-\nment is a very good thing, but if advertise-\nment is going to kill the affection between a\nhundred young people while it cackles on\nabout what it does not know and about what\nit has not even the right to mention, then\nsuch advertisement is to be damned over and\nover again.\nI wish all the healthy young people of\nEngland would have a rag with modern jour-\nnalism, when it uses as advertisements the\nthemes which are the private property of young\nmen and women.\nI like all that Mr. Capell writes, of course,\nbut I do wish that the young people would\nrag him to death this time and point out that\nin his article on the passing of Romantic love\nhe is, without suspecting it, serving the best\ninterest of the worst elements of tenth-rate\njournalism.\nThey must bring him to life again after-\nward, for after all where should we all be\nwithout our Richard Capell.\n\nJohn Brownsmith."}, {"page_pdf": 26, "page_imprimee": "66", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.26", "texte": "A SIXTEENTH CENTURY\nDESIGN FOR A THEATRE.\nJ. S.\nTHE Design by Giorgio Vasari il Giovane (l)\nwhich we reproduce, forms one of a series\nof drawings, all on uniform sheets, drawn in\nblack and coloured inks, each sheet measuring\nabout 38 centimetres high by 27 centimetres\nwide.\nThe series, which is preserved among the\nFlorentine archives, is entitled: \" Citta ideale |\ndel Cat?6 Giorgio Vasari | int)enta e disegnata\nI'anno 1598 that is : \" Ideal City, of Ca-\nvaliere Giorgio Vasari, conceived and drawn\nin the year 1598\".\nThe set of sixty-four drawings, on loose\nsheets, is enclosed in a portfolio with text in\na fine accurate writing, commencing with a\ndedicatory letter \"Al Sermo Ferdinando Me-\ndici Gran Daca di Toscana \" and dated \"\nFirenze il di pmo (2) di marzo 1598 \" and\nsigned by his \" Humiliss'\"0 e Devotissmo seroo\nil cat?6 Giorgio Vasari\".\nIn this dedicatory letter Vasari reminds\nthe Duke of encouragement already received\nwhen he presented to him the work of his\nuncle Giorgio Vasari ; and explains that\nhe now ventures to lay before him \" -\nsente libro di piante, insieme con qualche pro-\nfilo, le quali dimostrano parte per parte tutte\nquelle cose, che sono necessarie farsi in una\nbella e bene ordinata Citta \": which, being\ntranslated, runs : \" the present book of plans,\ntogether with some side-views, which show\npart by part all those things which it is ne-\ncessary to construct in a beautiful and well-\nordered city \".\nThe designs include a cathedral, royal\npalace, churches, palaces for nobles and for\npublic offices : public edifices of all kinds,\nsuch as a port, a market, a mint, a munici-\npality, school, library, granary, arsenal, prison,\nhospital; together with houses for more mo-\ndest citizens, and monasteries, baths, bridges,\ngardens, and all the other features of civic life.\nThere is also a long address \" A benigni\ned amorevoli letlori \", ....to the benignant and\nloving readers, ....which may mean that the\nwork was intended for publication, though\nwe have not come across a copy.\nThe text which Vasari adds to his design\nfor the Theatre runs, translated into English,\nas follows :\n\" Now, to imitate in some degree the\n\" ancients, who always had in their cities\n\" some special place where spectacles of va-\n\" rious kinds were performed. Thus we find\n\" that not only Roma had its theatres, of\n\" which noble remains may still be seen, but\n\" that also in Verona, Arezzo and other\n\" places most noble buildings were constructed\n\" for this purpose.\n\"For this reason we have made the pre-\n\" sent plan of a great Saloon, or rather Stan-\n\" zone, in which to recite comedies, tragedies\n\" and other like things ; for jousts and similar\n\" knightly tourneys can be performed upon\n\" the piazzas and in the wide streets.\n\"We have designed two stairways so\n\" that the men can mount and descend with-\n\" out impeding the women; and, so as not\n\"to cause confusion, gradi(l) have been con-\n\" structed around for them also.\n\" A capacious space has been left for the\n\" stage, so that many persons may be able\n\" at the same time to assemble in front of it,\n\" and that behind there may be room for the\n\" actors; and that there may also be conve-\n\" nient space for the many musicians who are\n\" very often required.\nThe following references are added to\n\" the letters on the Plan.\n\" A. Stanzone ; (2) B. Gradi, (3); C. En-\n\" trance. D. Double stairways. E. Stairs\n\"up to the stage. F. Place for the actors.\n\"G. Rooms behind the scene \".\nIt is interesting to compare this plan with\nPlate 15 in Mr. Gordon Craig's last book,\n\" Books and Theatres \".\n(1) Giorgio Vasari il giovane was the nephew of Giorgio\nVasari who wrote the Lives of the Painters.\n(2) The first of March. *\n(3) Giorgio Vasari, author of the 44 Lives of the Pain-\nters, etc. was born in 1511 and died in 1574. His nephew,\nthe designer of these plates, was still living in 1619.\n(1) Steps or \" gradinati \" for the spectators to sit upon.\n(2) Auditorium or floor space of the great saloon.\n(3) See under Note i."}, {"page_pdf": 27, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.27", "texte": "PLAN FOR A THEATRE.\nDesigned by Giorgio Vasari il Giovane 1598.\nPlate 8.\n\nTHE MASK\n1926"}, {"page_pdf": 29, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.29", "texte": "CARICATURE BRA WIJVG OF MLLE. GEORGES IN THE ROLE\nOF \"MEROPE\"\n\nAlfred Edward Chalon (zySo-1860) made this drawing in pen and water-colour of Mile.\nGeorges and David in 1820: it is now in the Victoria and Albert Museum, London.\nMr. Martin Hardie, the keeper of drawings and prints, has kindly allowed us permission to\nreproduce it. In 1820 Mile. George was thirty four years of age. The design is inscribed\n'' Mile Georges et David \" and \" La Mere-ope et sons fils David, 1820 Presumably some\nfun is intended in the three words La Mere-ope — 14 Merope but where the joke lies\nis not evident to us.\n\nTHE MASK\n1927\n\nPlate 9."}, {"page_pdf": 31, "page_imprimee": "67", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.31", "texte": "THE CENSOR AND\nPOOR IAGO.\n\n** We've just come from the country, Mr. Maynard,\nWe've just come from the North\nAnd we d lifee a nice engagement, Mr. Maynard,\nFor the purchasing of beans and broth\nTHIS song was written by neither Comstock\nnor Shaw. I am not certain about the\nlast line of the ditty. It was to purchase\nsomething which rhymed with North not\nFame, nor the Keys of Heaven, nor a motor-\ncar for the wife; nothing at all expensive, it\nwas something quite necessary.\nThey who sang this song were two bro-\nthers, I forget their name ; and I forget whe-\nther they got their engagement but this is how\nthey set about it. Mr. Maynard was an\nagent, and the two brothers, serious actors, I\nbelieve, before going in to see him entwined\ntheir arms in the old orthodox pas-de-deux\nfashion, had the door flung open, and entered\ndancing, and singing this preposterous ditty,\nconvinced that this sort of thing would wake\nup the bored Mr. Maynard to some sort of\naction. It was an actor, 1 believe Mr. Cooper\nCliffe, who told us the story one evening in\n1896 in a dressing room on the 3rd floor at\nthe Old Lyceum.\nI remember the tune. Since that evening\n1 have, I know not how many times, found\nmyself singing it—always in the most serious\nmoments always wondering what Mr. May-\nnard's face was like, and always convinced\nof the sound common sense of the two bro-\nthers who still compel my admiration.\nYes \" we want a nice engagement, Mr.\nMaynard\".... Now, Messrs. Comstock and\nShaw remind me just a little of these two.\nThey too wanted nice engagements, but ne-\nver were they half so engaging as the two\nbrothers. Those inhuman actors evidently\nloved their foolery better than their salary,\nand I think it is about time (and quite the\nright period) to put up a statue to them,\narms entwined, smiling debonaire in the 2nd\nposition, and on the base of the statue these\nwords\nTO TWO UNKNOWN ACTORS\nWHO WANTED\nA NICE ENGAGEMENT.\nMr. Comstock and Mr. Shaw never\nwanted an engagement for long. Although\nthe mask is in the end mightier than the pen,\nthe pen in the hands of a good Puritan can\ndo far more mischief. Not that Comstock\nand Shaw wanted to do that: their aim was\nalways to do good. Blushing being, gene-\nrally, excluded from their programme, they set\nabout winning fame openly. The one attacked\nthe wicked actors, the other went for the\nwicked playwrights.\nThey were alike in one particular.\nBoth loved the Censor.\nIt seems to us a strange thing to be able\nto say that Shaw could tolerate the Censor,\nbut it is clear that, had he lived in the age\nof Congreve and Wycherley, he himself would\nhave become the Censor.\nLiving and writing his plays in our day,\nhowever, he fell foul of the Censor. The\nCensor was a man of the world and Shaw\na reformer of it. Naturally reformers have\nto be censored more carefully than any other\nmore ordinary men. In correcting the vices\nof the age, the reformers are apt to forget\nthe first thing in any programme of reform—\nthemselves. There Mr. Comstock and Mr.\nShaw were altruists: in all else egoists.\nLike Falstaff they would banish all the\nworld but not plump Jack.\nIt seems to us a strange thing to be able\nto picture Comstock and Shaw as a couple\nof fat knights; but I take it Comstock is like\nthe old Fellow gone thin, and Shaw, as can\nbe seen any day from that immortal drawing\nof him made by Mr. Lowe, (!) is, round\nthe eyes, the mouth, and nose, all Falstaff.\nBut Falstaff with a purpose. lago posing as\nFalstaff.\nNot that Shaw would \" stab men in the\ndark\": he would be more likely to drop a\npurse of ducats in their pocket and then shout\nfor the B3 Branch of the Society for carrying\ndrunken men to Hospital, tip them well, and\ngo home and write an article attacking that\nSociety as incompetent and venial.\nWhat I mean is that Shaw puts on the\nFalstaffian way to hide the awful direness of\nhis purpose. The tragedy of lago is that lago\nfelt too keenly, and could not write letters\nto the Cyprus Daily Chronicle.... was always\nboasting of more than he dared do and so\nwas obliged to do whatever he daren't do,\nin the dark.\n\n(i) Published a few mouths ago in 14 The New Statesman'"}, {"page_pdf": 32, "page_imprimee": "68", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.32", "texte": "* *\nOthello being dark and noble in a brutal\nway, lago, emulating him, hoped that, by\ngetting into the dark, he too might suddenly\ncarry on in a noble brutal way.\nShaw has the double appearance of lago\nand Falstaff: so much so that some years\nago, on reading lago when preparing the\nplay of Othello for the stage, 1 noted down\nthat honest lago was to look like Shaw: the\npink skin was to be seen through the rather\nreddish beard: the assumed jollity was to be\nobviously assumed; he was to be an uncom-\nfortable man of limited intelligence going at\nfull steam ahead all the time. He was to\nbe looked up at by all the supers, the sol-\ndiers, the servants; nobodies like Rodrigo\nwere to take him for somebody and show\nit plainly. Only were Othello, Desdemona,\nCassio, Brabantio, to be almost unaware of his\npresence.... only were Othello and Cassio\nto be aware of it as they became nobodies.\nEmilia was to know him and to give him\naway to us from the very first.\nAnd he was to smile on and on with\nhis teeth showing, and he was to strut with\nthe nape of his neck much in evidence,\nupright;—big boots, nothing comely at his\nwrists or neck,.,. Jaeger, I thought: he was\nto have a voice which suggested a man suf-\nfering from some physical pain which he\njauntily pooh poohed. There was,—and I\ncan't make this out at all—there was to be\na touch of Bram Stoker about him. All\nIrishmen are not alike, but I suppose there\nwas something akin between Stoker and Shaw.\nI think it was the cheery Irish voice, and\nsomehow, in both, it seemed a little forced,\nthat cheeriness.\nI am wondering, can Comstock be Irish?\nI doubt it; yet it is possible : possible too\nthat his voice is a forced one, his whole at-\ntitude put on ....more than likely he loves\nhis Congreve dearly and regrets that Wy-\ncherley is so seldom staged even by amateur\nsocieties.\nShaw and Comstock are not really Fal-\nstaffian, not real lagos at a11.... not even real\nCromwells in mufti. They are the leaders in\nthe Censor business because they are the two\nmost awkward men of the age. They were\nstanding in the crowd and got shoved forward\nto the head of the procession in this Masque\nof Awkwardness which was produced by the\nold Furitanical tidal wave of cold water which\nnowadays is not asked to come along with\nits ancient tidal force and fuss because, now-\nadays, we all have our own baths and use\nthem regularly.\nDiscovering themselves at the head of the\nProcession in this Masque of Awkwardness,\nComstock and Shaw did their best, and it\nmust be admitted they excelled themselves.\nMore than any other men on earth, Shaw\nand Comstock have made it difficult for the\nCensor to retire. No sensible men or women\never before worried about the power of im-\npropriety, since impropriety is but the reverse\nof propriety and both are with us and will\nbe and have been, even as radishes and\nwatercress, cups and saucers, noughts and\ncrosses, have been with us. Some will use\na radish who have no use for a cress; you\ndrink your tea out of a saucer, I may drink\nmine out of a cup, others out of both.\nWe are and always have been fools, and\nShaw and Comstock are no wiser than we,...\nwe even consider them stupider. It is foolish\nof them, we think, to do as we don't. If\nthey attacked the Censor instead of the im-\nmorality of plays, we should hate them be-\ncause we don't do so.\nWe hate all that isn't just what we all love.\nLook at us when two young men or two\nyoung women or a young man and a young\nwoman become friends. We bristle;—why?\nBecause we are fools, and folly has been\npopular and is made more and more popular\ncentury by century.\nWe take no steps to make sound sense\npopular. We kill artists; why?—because\nwe are not artists. We hate lovers because\nwe are out of love. We suspect good verse\nand prose because we cannot write it. We\nlook a new dress up and down, and sniff\nbecause we haven't bought it.\nWe scream about plays in which naked\nwomen appear because we are dressed up,\nand daren't undress: we fume —we flaunt\nand we flourish.\nOne flourish begets another. Which ac-\ncounts for many things which have flourished\nand still flourish in the Theatre,\n\nX. Y. Z."}, {"page_pdf": 33, "page_imprimee": "69", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.33", "texte": "PICTURE BOOKS.\nBY FELIX URBAN.\n(I)\nPICTURE books are so easily read, and I\nfear this is the reason why I like them so\nmuch. Here are five good ones.\nThe first is a scholarly Picture book—for\nMr. Campbell Dodgson has important things\nto tell us about Albrecht Diirer (2) now that\nAlbert Durer has gone to America.\nDiirer's etchings and woodcuts when col-\nlected together always make a fine Picture-\nbook, even without any text; but the text to\nthis Catalogue raisonne by the Keeper of\nPrints and Drawings of the British Museum\nis the last word on the subject—and the sub-\nject is the metal plates.\nI, as a dramatic critic forced to sit out\nperformance after performance in the Theatre\nof my native town of Sheffield, often turn to\nDiirer as a relief, wearied to death by the\nungainly, inexpressive, fatuous and floppy\nattitudes taken by the actors who put on the\nrobes of Thespis—Greek or Roman or Shakes-\npearean :—who play in what (for some rea-\nson only known to our theatrical profession)\nare known by the name of \" costume pieces \" :\nbored when 1 see the same old gestures, the\neternal three-quarter-front pose of Macduff as\nhe asks \" Stands Scotland where it did \",\nhis hand on hip passing anon to arms crossed\non breast: grieved and wearied as 1 see him\ndoing just as every other Macduff has done\nfor the last forty years ; 1 then return home\nand take from its shelf my Diirer picture book\nand I realize how litile the actors of our land\nunderstand the practical use that these Picture\nbooks could be to them.\nIt seems they cannot derive from the work\nof the masters. On the other hand they can\nderive from Theatrical prints, and thus \" The\nHistory of Harlequin \" by Mr. Cyril W. Beau-\nmont (3) will be of more use to them than the\nbook on Diirer.\nBefore I leave Diirer may 1 ask the scho-\nlars, the connoisseurs, and the other knowing\nmen of the Engraving world, how it is that\npublishers who are only too eager to issue\nmonographs which shall sell as well as instruct,\nare year in and year out denied the chance\nof issuing a book of the Etchings of Jacques\nCallot? Diirer, Mantegna, Pollaiuolo, Barbari,\nCampagnola, Altdorfer, Rembrandt, these are\nthe fellows about whom the art critics are\neternally persuading publishers to issue one\nmore book.\nWith all the greatest respect to the seven,\nI am heartily sick of them. I want Callot,\nand I know hundreds of others who want\nCallot, and damme if anyone will give us\nCallot, and this the year 1927 and he buried\nas long ago as 1635.\nCallot is every whit as great a master\nof engraving as Diirer and about three times\nas lively and eight times as delightful—and I\nrepeat this is the jolly year 1927.\nI appeal to Mr. Dodgson to do the right\nthing and give us a complete illustrated mo-\nnograph-catalogue raisonne and all, with\n\" every known work of the master illustrated \"\nof Jacques Callot, Frenchman, 1593-1635.\nSuch a picture book would do more to\nrevive the art of engraving—to cheer the\nnation—to awaken the Theatrical profession—\nand to satisfy the public than all the mono-\ngraphs on these other artists will do.\nIf too busy to do the work himself Mr.\nDodgson will be in touch with many an Ita-\nlian or French critic who knows his Callot;\nand out of these could select one to do the\nwork—to introduce Callot as he deserves to be\nintroduced to our public; properly—completely.\nMr. Beaumont has reintroduced Harlequin\nto us, and when he issues a cheaper edition\non plain paper and with less swaggerness the\nPublic will come to know him.\nMr. S. Sit well seems to have nothing to\ndo, so why doesn't he become a publisher\nand issue these things for the Public? Al-\nready he has the knack of writing prefaces ....as\nthis volume proves. THE SITWELL PRESS,\n....books at one shilling to five shillings no-\nthing more costly ....strikes me as quite a notion.\nMr. Beaumont should not be allowed to\nspoil us : it must cost him a terrible amount,\nand he has something else to do.\nHe loves these things and he gives his\nlife to them because of that,—an awful mis-\ntake. The mistake—and let us make no mis-\ntake here—is not; Mr. Beaumont's : it is ours :\nour fault and Mr. Sitwell's, and the fault of\nall the other wealthy amateurs. We too\n\n(1) Mr. Urban wrote in \" The Mask Volume IV, on\nthe value to actors and workers in the Theatre of the study\nof the Old Masters.\n(2) Albrecht Diirer by Campbell Dodgson.\n(3) Issued by Mr. Beaumont at 76 Charing Cross Road,\nprice £ 2.2.0."}, {"page_pdf": 34, "page_imprimee": "70", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.34", "texte": "easily take a seat in Beaumont's cosy corner,\nand are too blind to endeavour when we\ncome across it; take it to be a fad and Mr.\nBeaumont a dilettante.\nMr. Beaumont's cosy corner is quite the\ncosiest I have ever sat in. Some of you may\nnot know it. It consists of one.big, dilapi-\ndated, but very comfortable arm chair. It is\nin the only corner in his otherwise draughty\nshop in Charing Cross Road,«. No. 75, by\nthe way.\nThe shop consists of two rooms packed\nfrom floor to shelf with books; —books also\nfill up every available space, and it is with\nthe utmost difficulty you steer your way in\nand out of this storehouse.\nBut, while I could linger for a long time\ndescribing the several peculiarities and plea-\nsant things in this workshop of this enthu-\nsiast—a practical enthusiast, too—I must not be\ndiverted by anything, for what I want to stress\nhere is the mistake of it all.\nDownstairs Mr. and Mrs. Beaumont print\ntheir books on their handpress, publish and\nsell them.\nNow the mistake we make is to be blind\nabout this same Beaumont press. What is\nit ? We guess and guess, and, not daring to\nask, we size it all up as follows :\nIt is all a pose.\nDo not mistake my meaning, I beg of\nyou. I mean that the appearance of being\nfrightfully hard up is a pose : of being re-\nduced to two or three rooms, working more\nor less unaided without capital.\nEither all this is a pose, or Mr. Beaumont\nis a very remarkable fellow, and the sooner\nwe one and all see to it that his work is\nbacked by some proper financial backing the\nbetter. Now Mr. Sitwell might rouse up\nand establish a place where all the books\nthat we want and that no one will give us\ncan be planned out, set up, printed and bound.\nWhy leave all the pluck or the pose, which-\never it is, to the Beaumonts—and all the\ntrue laurels. Why ? ....because it has never\noccurred to people who have nothing to do\nthat some people have too much to do, or\nthey'd never sit by and watch them tripping\nlike Harlequin along so erectly, so gallantly.\nNot that Mr. Beaumont strikes a spangled\npicture. His is one of power. This I put\nto all young and fairly well-to-do young art\nconnoisseurs of the day.\n€J Some of the most entertaining and most\ninteresting Modern Picture Books are issued\nby \" The Studio \".\n\" Posters and Publicity \", the Autumn\nnumber of the \" Studio \" for 1926, and\n\" Art and Publicity \", the Autumn number\nfor 1925, contain advertisers' designs from\nFrance, Holland, Switzerland, Germany, Eng-\nland, Italy, and America There are about\na hundred of them reproduced in colour, and\ninnumerable quantities in black and white.\nI would sooner sit and look at these ad-\nvertisement designs than I would read most\nnovels, or visit most cinemas or picture gal-\nleries. The experience is refreshing.\nMuch of the English work is decidedly\ngood and will surprise and delight anyone\nwho cares to discover it for themselves.\nSome of Mr. D. Percy Bliss's woodcuts\nfor \" The History of Rasselas \"(2) are as good\nas his best work, which is to my mind par-\nticularly good ; but some are as bad as his\nworst. Bliss is one of the lively English\nwood-cutters :—they are rare. When an Eng-\nlishman enters this field he very often feels\ngrave and dignified, and so his work is apt\nto become rather dull. Not so Bliss. Bliss\nis serious and so he is gay :—but he must not\ndo too much work. He had far better have\ndone four to six designs for this \" Rasselas \"\ninstead of the dozens he has done ; and some\nof his full page plates are decidedly a failure:\nthey are actually lifeless in parts, and that is\nsomething I had thought impossible in Bliss.\nIf a picture book has a lifeless spot in it,\nit wearies us far more surely than does a life-\nless piece of writing, for the attraction and\nrepulsion is far swifter to act upon us.—Like\na light going out, a dull picture leaves one\ndesolate.\nBy the way how packed with pictures is\nthat beautiful book by Miss Elinor Wylie,\n\" The Venetian Glass Nephew \"(3>. What\npictures !—what a picture book ! ! I see that\nHeinemann later brought out this book of hers.\nBut how is it the scouts of the publishing\nworld in London are so sleepy that they did\nnot long ago spy these' exquisite works and\ntell their employers of them ?—So often two\nor three years behind everyone else :—it is\ntoo bad on our public.\n\n(1) The Studio: 44 Leicester Square, London.\n(2) J M. Dent & Sons. Price io/6 net.\n(3) Heinemann. Price 7/6."}, {"page_pdf": 35, "page_imprimee": "71", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.35", "texte": "FIVE BOOKS.\nTHEATRE ET MUSIQUE MODERNES EN CHINE\nTHERE is this that can be said at once for\nthe Chinese Theatre, it photographs\nbadly.\nThe Japanese stage poses better.\nI have visited neither Japan nor China so\n1 have seen no performances of either of the\ntwo stages. What I have read of the Japa-\nnese stage takes my fancy quickest. But that\nagain is to say something in favour of the\nChinese.\nTheir stage is less tidy and more Italian:\n1 suspect their taste to be not as faultless,\nnot as immaculate, as the taste displayed in\nthe shop windows of London, Paris and Ber-\nlin ; certainly it is not comparable with the\nsame taste which the English hostess displays\nin her drawingroom.\nSo the first point is won by the Chinese.\nAs for books on the Chinese Theatre,\non the Japanese Theatre, and photographs,\nall these are very deceptive. In Ame-\nrica there is a theatrical photographer who\ncan make even a paper model for a scene\nlook like something built of stone in the open\nair. Altogether unreliable is a camera in the\nhands of the crafty. Its raison d'etre was to\nlay bare truth, whereas it is today in league\nwith those who wish to take in the public :\nit is no longer itself. I don't object, but it\nhas obviously capitulated.\nSo the bad photos of this book by M.\nGeorge de Morant delight me. I edge nearer\nto the study of the Chinese Theatre; 1 shift\nfurther away from the Japanese stage, but\nwith a copy of the No plays in my pocket.\nAnd I shall return some day to write of de\nMorant's book if only to linger to write some\npage or two on the first line of his second\nchapter : \" Tout acteur ou actrice, en Chine,\ndoit jouer, chanter et danser... \".\nDidst thou hear that, dearly loved old\nBritish actor ?... \" must play, sing and dance \"\n.... \" every actor and actress must .... \"in\nChina \".\nSounds reasonable, does it not ? or is hard\nwork all High-brow nonsense? ....\" doit jouer,\nchanter et danser \" : .... Mon dieu ! aliens\nau Cafe de la Regence tout de suite!\nTHE CHINESE THEATRE .\nWITH four coloured drawings (not prints,\ndrawings on silk), by Chinese students,\nthis rather costly, luxe book comes to tempt us\nand we all harrassed to death by foolish\ngoings on in Hankow or Canton or where not,\nover there in that same China, where, says\nMr. Zucker sententiously, \" the actor has at\nhis command consummate skill to hold the\nmirror up to life ; he is no less of an artist\nthan his occidental colleague\nOne is tempted again; .... this time to\nclose the book as one murmurs \" is that all? \":\nbesides, it makes the \" occidental colleague \"\nlook such a fool.\nOther books claim more for the Chinese\nstage than this one, and some day I hope to\npay longer and more serious attention to the\nseven or eight important books on Eastern\nTheatricals than I have as yet had time\nto d 0.... and even write one myself.\nThese days one has time only to miss all\nwhich counts because we have to get a\nlittle exercise so as to keep well, and this\nwe get by jostling in the street. The moun-\ntains are too far off and the lanes too damp,\nand besides, even were they brought to our\ndoors they would have to wait for the things\nwhich don't count yet which have to be seen\nto polished off and then the day is over. -\nSo China can wait while her occidental\ncolleague is being served first and worst. 1\nnever understood how it is that the old pagan\nChristian truth, \" He that is first shall be\nlast \" is no longer listened to by those na-\ntions which pride themselves on their sound\ncommon sense, their foresight and their level-\nheadedness.\nThe \" group of nations \" I refer to is that\nwhich is better known as the Empire of the\nNewspaper. For when no longer power is\non the increase we may, 1 believe, say there\nis a leakage somewhere, and then, sooner or\nlater, comes the panic; and if it take ten\nhours, ten years or a century to scuttle, all\nis one; \"He that was first has become\n\nTheatre et Musique Modernes en Chine. G. Soulie de\nMorant. Librairie Paul Gauthner, Paris, Price Frs. 200.\n/The Chinese Theatre by A. E. Zucker. Jarrolds.\nLet's go to the Pictures, by Iris Barry, Chatto & Windus.\nPrice 7/6.\nJulia Marlowe, Her Life and Art; D, Appleton & Co.\nPrice Dollars 5.00*\nConfessions of an Actor, by Jack Barrymore, Robert\nHoldep & Co. Price 10/6 net."}, {"page_pdf": 36, "page_imprimee": "72", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.36", "texte": "last and, to vary the second verse, \"he\nthat was last and is now left will be damned\nif he'll push\nLET'S GO TO THE MOVIES.\nYES, China can wait whereas Cinema can't:\nbesides, who would keep Miss Iris Barry\nwaiting. She has something to say about\n\" the paucity of dramatic invention of the\nfilm-makers \", the tag of \" the false and silly\nconvention \" of the mid-Victorian period\n\" that it paid to be good \" \" which of all\nthings is the most horrible \" she adds.\nI wonder if the Cinema is losing more\nground and more money than ever I suspec-\nted : that horror about \" pay \" which horri-\nfies Miss Barry seems sincere enough.\nIt reminds me of the kind of talk young\nstudio people used to talk about thirty years\nago this little old-fashioned contempt for\nwhat pays, be it the good, the bad or the\nindifferent, is so like our attitude of thirty\nyears ago, ie, in the Victorian era.\nNowadays, as so many of Miss Iris Barry's\nwords show, we are indifferent or contemp-\ntuous to all powerful things and have become\nregular boomsters of all that is weak, all that\ncannot wait.\nThis is not what we can call \" Christian\ndregs \". I suppose it cannot be that. Let\nme quote the whole passage from Hammond\nChickling's famous book:\n\" The vice of today that horrible\n\" passion for display to cover emptiness.\n\" Kindness gone mad discernment with\n\" mud in its eyes the brawny young woman\n\" employed at £ 10 a week to boom the\n\" weak, the paltry and the inane in terms\n\" of the best and the strongest, what is this\n\"do you think? You take it and her to be\n\" vice personified you see in her a vampire,\n'* a horrible advanced something which\n\" you cannot even find a name for, you\n\" picture her and what she represents as\n\" something new it and she are but Chris-\n\" tian dregs\nNo, no, no, do not tell me that charming\nMiss Iris Barry is that that she is merely\na little sentimentalist who \" won't cry\": tell\nme that she is better than the snapshot makes\nout; that this twisted body with its distorted\nface on top grinning is not Iris Barry\non board the ' Aquitania '; that this other\nsnapshot, Miss Barry at the Ritz is a terrible\nlibel on her that she positively is a woman\nlike every other Miss or Mrs. and merely\nfooling the camera, the films, and the men\nwho pay her to write them up. Let me\nbelieve that she is a typical girl of com-\nmonsense, then I can count on getting on\nto the study of the Chinese theatre in about\ntwo or three years. But if you tell me that\nthis is Miss Iris Barry, this hurried snapshot\nof a real being, and that she is typical of\ntoday, and that this Cinema is the Cinema,\nthen of course you are asking me to believe\nmore than I will believe.\nLet us not go to these movies :—let us\ngo to the rival show.\nJULIA MARLOWE, HER LIFE AND ART.\nOR rather let us read about Miss Julia Mar-\nlowe and see what it was that led to the\nadmission of that swarth Childe, Prancing Nig-\nger, into the Dark Tower.\nMiss Marlowe was and is a beautiful\nwoman and a beautiful actress. Would that\nthis alone had been enough to save the whole\nstage of America from disaster. The tale\nshe tells shows that the actress believed\nit sufficient, and if there were five hundred\nmore such actresses something nearer achieve-\nment would result.\nWe should be in something like a posi-\ntion to advance rapidly, so that prancing\nnigger may take the floor, have its cake and\nwalk on it. It is taking thirty to forty years to\nmake us stir half an inch, but the enemy have\nthat advantage, .... we are being pushed back.\nIt is because certain men and women like\nJulia Marlowe realize this that they make\nsuch heroic single attacks all out of order\nand all leading to nothing. Heroic and futile.\nWhat was to have been done in 1900\nstill remains to be done. First united belief\nand then a united agreement to advance on\nthe one and only right road and in order.\nAll else is fantastic dream. Why has it\ntaken us twenty-seven years to see this ?\nFrom Duse to Miss Marlowe the whole\nline was waving its arms beautifully, but\nquite ignorant of what the difficulties were\nwhich beset them, their lovely personalities,\nand their immense talents and the rest of us.\nThey waved cried laughed, and\nwere swept away."}, {"page_pdf": 37, "page_imprimee": "73", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.37", "texte": "The stage, battered, betrayed occasionally\nby percentage hunters who are inside its\nwalls, still remained where it was ; and in\nthe Citadel are those who know what is\nneeded.\nWhen will the troops the artists\nthese performers, wake up and learn disci-\npline and fidelity to that citadel of the stage ?\nTo an idea a cause, and be damned\nto a little personality. Till they are ready\nto learn nothing can be done ; each \" doit\njouer chanter et danser \" to begin with\nAt least fifteen years work if you begin\nat the age of five, and during that time perhaps\nthere are other things to learn, not so showy,\nbut valuable to discipline.\nCONFESSIONS OF AN ACTOR.\nSTILL, Jack Barrymore confessing is a delight;\nhe has practically nothing to say; he\nis as good as gold. What a boy! saying\nnothing perfectly; he can draw well too, and\nstage-manage and make a speech, and do\nlots of things. 1 don't know of any book by\nan actor that I like better, for I know none\nso modest or told with greater sweetness.\n\nAnd now how about a little work or is it still too\nearl y ? Yoo~ No~ I Joo,\n\nFROM A SENSIBLE LONDON JOURNAL.\nHILDA TREVELYAN THOMSON.\nI\nSoft as a gathered flower falls\nWhen lightly thrown,\nSo lies the hand of my dear love\nWithin my own.\nII.\nAs petals of the palest rose\nHer fingers white,\nThe faint sweet fragrance of her palm\nIs love's delight.\nIII.\nLife sleeping flowers, the fingers close\nI k*ssed apart.\n. ... In that soft, secret hiding-place\nIs hid my heart.\nIF Hilda Trevelyan Thomson had written of his hands,\nhis palm, it would have been more ordinary, I admit;\nbut it might have:\nfirst, had a very bad influence ;\nand secondly, done a lot of harm.\n\n\"ONLY\"\nA NOTE BY C. G. SMITH.\nA writer living in Pekin reports to an Ame-\nrican periodical that there is a remarka-\nble Chinese actor called Mei-Lan-Fang(I)\nwho performs, as did the Elizabethan, the\nprincipal female roles.\nHe writes of this young actor that he\n\" deserves all his fame \", and proceeds to\ntells us something (by now quite familiar to us) ;\ni.e., that the conventions of the Chinese Thea-\ntre are much like the Elizabethan,—scenes,\nmake-believe and all. \"It is necessary only\nto walk about a little and to go out by the\nleft hand door und reappear immediately\nafterwards through the right hand door to\nmake it clear to the spectators that the scene\nis changed \".\nNow linger a moment round that word\n' only \\\n\"It is necessary only to walk about a\nlittle \" etcetera. \" Only i.e., that is all\n... no more than that, i.e., practically nothing.\nNow it is not possible to make a more\nmisleading suggestion to the western stage\nthan that this walking about a little is a mere\nnothing, for it is acting.\nThe westerner holds that acting ends\nwhere the scenepainter, carpenter, and gene-\nral effect maker are told to bustle; that if a\nproper scene is set up representing castle walls,\nor a room in a palace, an actor can then come\non and do the rest—it having been half done\nfor him before he enters. The westerner is\na very easy-going pleasant creature to let the\nactor off so easily, and to be satisfied by\nsceneries and effects which belong by rights\nto the Toy theatre or the Peepshow. And\nthe western actor has been quick to avail\n\n(i) Mri-Ran-Fan according to Miss Zoe Kincaid (Kabuki:\nMacmillan),"}, {"page_pdf": 38, "page_imprimee": "74", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.38", "texte": "himself to the full of the indulgence the\nplaygoer has shown him.\nAnd a fine state of things has been\nbrought about by this all-round eye-winking.\nIn Europe we hear so much too much\ntoday about the poor actor who is suffering\nunder the tyrannical usurpation of his stage\nby producer, scenic artist, light-effecter and\nthe rest. While listening to the outcry we\nwatch the actor silently protesting with a\nquiet shrug of the shoulders that he is no\nlonger allowed to be the king he once was\nof his own boards. What does the gesture\nreally mean ?\nDoes it mean that he wants to he master\nof plays so as to cut them: of scenes to vul-\ngarise them ; of lights to focus them on himself?\nIf so, then all is still in the realms of hum-\nbug.\nOr is he perhaps truly grieved ? Does\nhe really want to do the whole trick unaided ?\nTo come on to a bare platform and show\nthat he can positively make us feel that he\nis in a forest or before castle walls; that he\nis the hero coming back disguised as a shep-\nherd ; that this is the threshold of his old\nhouse, and that that is a dog which is bounding\ntowards him and now fawning and licking\nhis face and leaping up and throwing him\nback. Does he really want to do the whole\nthing, to be the real actor ?\nIf so, away with all scenes, remove the\nlime lights and silence the effects. Let\neveryone stand back, clear the stage; get\nout of the playhouse, and let the actor come\nonce more to his own for he has at last come\nto his senses.\nLet him but show us that he is able to\ndo this—to act a scene into existence, and\nwill not Appia, will not Roerich, will not\nStern and the shade of Bakst rejoice, and go\ninto the stalls and forget all their old non-\nsense and enjoy the immense spectacle—the\nactor alive again ?\nBut the truth is he is more or less dead\nand it's because of this and for no other\nreason (and let there be no mistake about\nthis) that the theatre has had recourse to sce-\nneries and lightings and to producers—to\nstage-managers—to every possible means by\nwhich the actor can be propped up.\nAnd it's been a difficult enough business\nthese last hundred years or so getting all\nthat bric-a-brac into shape; to make some-\nthing in some way approaching distinction\nout of the cardboard and the papier mache.\nIt has been very difficult indeed, and\nthe man for whom it has been done, the\nactor who would shirk half his task, he is\nthe very one to complain—perhaps it was to\nbe expected.\nThese artists who came to his help, who\nliterally propped him up with their sceneries\nand trappings, are now told they are usur-\npers.\nLet these artists but leave him, and un-\npropped he will fall to the ground ; for he\nhas no longer the knowledge of what it means\nto act. Perhaps the Chinese stage can instruct\nand convince him where he lacks knowledge\nand faith. Who is there who will not be\nready to welcome the true actors the day\nthey appear strong at all points.\nBUT to think that reporters visiting the East,\nshould write back to the West and tell\nus that it is \" only necessary to walk about\na little to make it clear to the spectators that\nthe scene is changed \". . . . only!\n\nA WARNING TO ARTISTS. A Dishonest Agent.\nDIDDLED.\nNOT one who swindles you out of £ 100,—that is but\na peccadillo and perhaps the result of sheer stupidity\nor poverty. I forgive him.\nThe kind of agent I call dishonest is the man of\nsome education who comes to you with the proposal cf a\ngentleman saying he would like to arrange something\nto forward your work in Europe or America; and who,\nwhen you give him the permission to try, returns home\nand, on the strength of his visit to you, establishes rela-\ntions with hundreds of wealthy or influential people he\nwould never have come to know unless he v/ent to them\nunder cover of your name, and yet does nothing for you.\nAchieves nothing,\nA year or so later you learn that, through his coming\nin touch with these wealthy and influential people, he has\nbegun to do something not for you but for himself. You\nmake enquiries and you find out that what he is doing is\nin a Theatrical line, and more or less on the lines you\nhad sketched out: he has begun at the point at which you\ntold him lie could open negotiations on your behalf, he is\nsupported by the men he went to in your name.\nI have known several such men.\nOne was a Dutchman, the others were Americans.\nTheir act can not be called a peccadillo : it is a delibe-\nrated swindle.\nI do not forgive them."}, {"page_pdf": 39, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.39", "texte": "THE ROYAL COBOURG THEATRE, LAMBETH.\nAs first opened, May 11th 1818.\nFrom an Engraving by Stow of the drawing by Schnebbelie, R. R.\nFor further description see Editorial Notes.\nPlate 10.\n\nTHE MASK\n1927"}, {"page_pdf": 41, "page_imprimee": "75", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.41", "texte": "ON ACTORS.\nBY EDMUND DE GONCOURT\nTHE GONCOURT BROTHERS CALL IN AUGUST 1865\nON THE ACTOR M. BRESSANT WHO IS TO PLAY\nIN THEIR PIECE \" HENRIETTE MARSHAL\n1865. August 28. No. 30 Rue du\nPetit Pare, Avenue de l'lmperatrice. Is M.\nBressant<2) at home ? We were ushered by a\nservant into a room full of paintings by Bonvin\nand Wattier, &c., including a large dark\nportrait of Bressant, representing the actor in\nhis young days, a picture in which the gloo-\nminess of the tints and the fatalistic expression\nof countenance suggests the sinister apparition\nof a Hamlet such as Scribe might have de-\npicted....\n\" Bressant came in and began by refusing\nto play the role. He said that all the other\nparts are superb, relegating the one we of-\nfered him to quite a secondary position; he\npleaded the fact that he had not acted for\nsome time, and that he wished to create\nsomething.... Then as we rose to leave, and\nexpressed our regret, he exclaimed that he\nwould like to oblige us, admitted the possi-\nbility of his having glanced through the part\nsomewhat superficially, promised to re-read\nit, and see whether anything could be done !\n\" I begin to realise that actors are actors\nin home life. It is their custom to begin with\na refusal, they like to be pressed, and to\nappear to reconsider their decision. I feel as\nif I were on the threshold of diplomatic So-\nciety, where the part of the actor is to hide\nthe desire he feels to undertake a certain role,\nand whose histrionic powers are brought into\nplay for that object, and strengthened by the\nfear lest the part should be offered to another.\n\" We next call at No. 32 Rue du Petit\nPare on Delaunay (3). Thierry(4) told us that\nin his case everything was settled, so the object\nof our visit was merely to thank him for ha-\nving undertaken the role.\n\" His house presented quite a different\naspect; the rooms were small, the furniture\ncovered with damask, the pictures dealt with\nsacred subjects, the ' Madonna della Sedi \\\nand Napoleon the First, some photographs,\namongst which was one of Delaunay hanging\nopposite to that of a lady.\n\" Through the window-curtains could be\nseen a little green arboured garden, such as\none would expect to belong to the house of\na suburban wine merchant. Delaunay ap-\npeared in an elegant silk shirt.\n\" When we expressed our first words of\nthanks he affected surprise, and said he really\nquite failed to understand what this was all\nabout, that Thierry had never mentioned the\nmatter to him—that he had quite understood\nfrom his colleagues that a jeune premier had\nbeen engaged for the part! When we urged\nthe importance of the role, he replied that on\nreading the piece he was so much occupied\nwith the whole that he had paid but slight\nattention to this role, and that it was impos-\nsible for him to play the part of a boy of se-\nventeen. We found ourselves obliged to ask\nhim to reconsider his decision ; he was finally\nkind enough to say he would think the matter\nover. We then retired full of bewilderment,\nand feeling that we did not understand the\nsituation.\nWe were struck with the ugliness of\nthese men, eternally condemned to play the\npart of lovers before the footlights. Their\nhair is already grey, and their features seem\nto be destoried by dint of Theatrical poses....\n\" At four o'clock we went to Thierry, in\norder to give him an account of our visits to\nBressant and Delaunay. He manifested, on\nhearing of what took place, great indignation;\nhis voice, usually so unctuous trembled with\nanger. \" What! do you mean to tell me that\nDelaunay said —but I had arranged his holiday,\nso as to have him back in the middle of Sep-\ntember on purpose, Mark you this, nothing in\nthe theatrical world is ever real. The attempt\nto deceive is itself false! \"\n(1) From l< The Journal of Edmund and Jules de Gon-\ncourt: English translation 1895. Volume 2. page 29-31,\n(2) J. B. Prosper Bressant was born in 1815 and died in 1886.\n(3) Louis Arsene Delaunay was born in 1826 and died in 1903.\n(4) Edouard Thierry : born 1813, died 1894 : Director of the\nTheatre Francais 1859-71."}, {"page_pdf": 42, "page_imprimee": "76", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.42", "texte": "STENDHAL IN MILANO.\nTRANSLATED INTO GERMAN BY JOHANN\nWOLFGANG VON GOETHE AND\nINTO ENGLISH BY A. D. COLERIDGE.\nWITH A NOTE ON CRITICS\nBY C. G. E.\nTHEY are now reviving an opera of Mayers\nElena which Was played before La Testa di Bronzo:\nwhat languishing music ! the transports at the Sestett in\nthe seevnd Act! thai is the musique de nocturne, gentle,\nmelting, the true music of melancholy, which I have so\noften heard in Bohemia. This is a bit of genius, which\nthe Veteran Mayer has kepi from early days, or else,\nsomebody gave it to him ; it supported the entire Opera.\nThere's a people for you ! Why they are born for the\nbeautiful! An Opera, two hours in duration, is sustained\nby one delicious movement, which lasts hardly six mi-\nnutes : people come fifty miles to hear this Sestett, sung by\nMademoiselle Fabre, Remorini, Bassi, Bonoldi, &, end\nthrough the forty performances, six minutes make them\nforget the (wo hours of ennui.\nThere is nothing shocking in the rest of the Opera, hut\nthere is simply nothing at all.\nFrom a letter to Zelter from Goethe, March 8. 1818.\nONE does not always realize that old Goethe\nwas still young enough in 1818 at the\nage of sixty-nine to appreciate some of the new\nwriters then appearing.\nAnd he hasn't forgotten das land where\nthe orange trees grow, and where the\naudiences in the theatres have that rarest\nsense,—common sense.\nBut then what critics they have always\nhad, these Italians: no gush about \" the wit\nand grace and charm and intelligence and in-\ncomparable beauty of Miss Nobody, by which\nI mean there is nothing to compare it with\nunless it be the Tudor Elegance of Holbein's\nportraits or some wide-eyed Japanese and\nso on and so on, etc. etc.\nAnd that's the 1926 and 1927 London\nstyle.—Enough to damn any profession in ten\nSundays,...and yet the writer of such bana-\nlities is often held to be \"a great dramatic\ncritic \".\nLondon would do well to get rid of such\ncritics; they talk at the actors and talk such\nsloppy stuff: never brace them, always butter\nthem, and seem terrified to death lest they\nshall fail to satisfy their passion for praise.\nThe Italian critic refuses to allow his per-\nsonal feelings to reach out in this objectio-\nnable English way to the young ladies on\nthe stages: careful of their epithets, these\ncritics are wise enough to censure what is unfit\nrather than yearn around searching for bits of\nsentimentality with which to pelt the reader\nwho wasn't there to judge for himself.\n\nLITERARY AMERICA\nTHE following extract of a whole slice from a recent\nnumber of \" The American Mercury \" (j) is made\nwithout apologies for the intention but with many for the\nact, the defence for which is that it is such fun.\nTHE Overwhelming Genius of Literary America, lII.\n1. 44 Thornton Niven Wilder, author of * The Ca-\nbala \\ who is only 29, comes before the world with a\nstyle distinguished by maturity and by an exquisite sense\nof tonal values, subdued to a perfect and supple instrument\nof literary expression. He uses words with the professional\nsense of color and numerical weight of a gambler dealing\na faro bank. His style bears comparison with Pater....\nIt suggests one of those wonderful clocks made by medieval\ncraftsmen which, when other timepieces merely strike twelve,\nkeep track of sidereal and ecclesiastical time, mark the\nphases of the moon with meticulous accuracy... —New\nYork Times Book Review.\n2. 44 In H. C. Witwer, America has a humorous writer\nwithout an equal Roanoke, Va., Times»\n3. 44 Master of the art of fiction and true genius—\nGeorge Pattullo ! \"—Central Oregon Press.\n4. 44 No writer, not even the mighty Kipling, can paint\na word picture with half the warmth and color of Achmed\nAbdullah. In this respect he stands unequalled by any\nauthor in the history of English literature —Minnea-\npolis StGr.\n5. \" Arthur J. Rees has the valued gift possessed\nby Stevenson and Poe \".—New York Herald-Tribune\nBooks.\n6. 44 .... Paul Green is doing for America what Synge\nhas already done for Ireland \".—Ditto.\n7. 44 Nowhere on Anita Loos' countenance can there\nbe found the faintest trace of that supersophisticated wisdom\nand cynical knowledge of lifp and men and women that\nwould have drawn the respect of Rabelais and the envy\nof Voltaire \".— The Theatre Magazine.\n8. 44 Only a Dumas could conceive fiction that equaled\n4 The Rosalie Evans Letters ' \".—Gertrude Atherton in the\nInternational Book Review.\n(i) From \" Clinical Notes \" by George Jean Nathan."}, {"page_pdf": 43, "page_imprimee": "77", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.43", "texte": "FROM \"BRANT'S SHIP OF FOOLS\" 1347.\n\nBOOK REVIEWS\n\nTHEATER UND LICHT SPIEL-\nHAUSER, by Paul Zucker. ( Verlag\nErnst Wasmuth A. G. Berlin). Price\n32 Marks.\nTHE Verlag Wasmuth often issues\nup to date books on the Theatre,\nand those who are awake to the\nmodem stage ought to keep a sharp\neye open in the Wasmuth direction—\nfor this Verlag produces them well\nand at a fairly reasonable price.\nIn the present volume eighteen Mo-\ndern Theatres are shown us and eleven\nCinemas. The Cinemas one and all\nstrike me as being distinctly stupid\naffairs, spite of the fact that one is by\nPoelzig—and he full of intelligence.\nEven in his Cinema builiing \" The\nCapitol \" in Berlin, erected in 1926, he\nmanages to invent a ceil'ng that is\noriginal, and forces his originality cle-\nverly in many a detail; but, like the\nrest of the architects, the excellent\nPoelzig blunders over Cinema in that\nhe gives it a house that is like a\nTheatre. I am no architect, but for\nthis creation of modern times,... this\nCinema,... I think I should try to\nconstruct a modern house.\nHere was the chance and it has\nbeen missed. Possibly deliberately\navoided : —if so, then Poelzig has not\nblundered. Maybe proprietors of these\nGerman Cinemas are pessimistic about\nits health, and are to be heard saying\nto their wives at the daily breakfast\n\" My dear, not butter AND marmalade\ntogether, butter or marmalade *\\ \" Why,\ndarling? \" she asks. \" Because things\nare looking black on the horison, swee-\ntest : there's not much more life in the\nGerman movies: and we may soon have\nto turn our own thirty-nine houses into\ntheatres\nWell, well, when the poor directors\nof these Berlin Cinema palaces have to\ndo that it will be quite easy, so like are\nthe places to real little Theatres,—and\nthen they will again be able to lay the\nmarmalade on the buttered bread.\nBut if Poelzig, for some reason un-\nknown, has not done well over the Ci-\nnema, he has assuredly done belter than\nanyone else in this book in the way\nof theatres,... if we exempt Henry Van\nde Velde, of whose work we shall speak\nlater on. The date given in the book\nto Poelzig's \" Grosses Schauspielhaus \"\nBerlin is 1919. I was always under\nthe impression that it was put together\nin 1912-13, for Professor Reinhardt,\nand that a ready-made circus was\ntransformed by the architect into this\nmost theatrical, and, to me, best of mo-\ndern spectacle playhouses. There is a\ngood deal I dislike about it; but, taken\nall in all, and compared with the other\nexamples in this collection, it easily\ntakes first place,... as a modern affair.\nOskar Kaufmann can do a pretty\npiece of work too, making as good a\nshow inside and outside; but, while\nhe impresses U3 before we enter, on\nour entering the place he merely tickles\nour fancy. He likes woodwork of the\nboudoir kind, and fantastics of every\nkind. He's no t at all bad at I he game,\nbut he has not yet fashioned a real\nTheatre.\nThe mind of Herr Fahrenkamp is\ntoo much occupied with Japanese Art\nfor him to do all he would like to do,\nand Lossow and Kuhne have no notion\nwhat stage and drama are, for they\nexert themselves magnificently to achieve\nthe wrong thing.\nMax Littmann, struggling manfully\nwith the old Wagner notion, which\nattacks most of us when we are young,\nand, thank God, leaves us at peace\nwhen we grow up, reveis in It all and\nmakes more out of it than anyone ever\ndeemed possible.\nIn Munchen his Prinz Regenten\nTheatre of 1901, and his Kunstler\nTheatre of 1908, will always remain\na proof of this architect's devotion to\na great cause; but by the time he\ncame to build at Posen in 1910, and\nat Stuttgart in 1912, he shows us that\nhe has already had enough of it, so\nhe slips in circles and side\nboxes and Uncle Tom Cobbley and\nall, with a fine Foyer or two, chan-\ndeliers, and really one begins to feel a\nbit cosy again,... cosy in the old grand\nstyle. The exteriors of his two Stutt-\ngart Theatres, if not quite the thing, are\nthe very next best thing to it.\nSeeling* s Charlottenburg Theatre looks\nto *me a useful place and it would be\nthe very thing for me, if I lived in\nCharlottenburg. Distance has not lent\nenchantment in this instance. I do not\nbelieve anyone could possibly call it\nartistic and that is a virtue.\nWalter Gropius, in his 1923 Thea-\ntre at Jena, has had an idea and carries\nit out well. He is a very gentle man I\nshould say, perhaps even weak at times,\nfor outside and inside his excellent\nsmall theatre is so very hard. Nothing\ncan allow him to unbend: even his\nseats are the very deuce, presuming\nHell is icy as folk believe. But there's\na something I like in Gropius: may be\nI respond to this very weakness not to\nunbend. 1 hope some day Gropius will\nmake one curve, one little curve in one\nof his walls and then but I await\nthe miracle.\nAnd now to come to Henry van\nde Velde. Where this architect dif-\nfers from the others is that he really\npauses.... pauses, to think of the Drama;\nand when we come to consider this\nfact it occurs to us as perhaps the pro-\nperest way of setting about the busi-\nness. Van De Velde is the only ar-\nchitect out of the nine here represented\nwho seems to have considered the pro-\nscenium. His plan is here to show us\nthis, though unfortunately no photograph\nis given of the stage and its proscenium.\nBuilt in 1914, at Koln, its semi-\ncircular stage was an innovation; the\ncentre of the Van de Velde stage is\nwhere it should be : as a rule there\nis no centre;... such a mistake to forget\nthat little point even spite of all the\nguarantees of Democracy. Van de\nVelde is a true artist and has no po-\nlitics, and therefore is balanced, and re-\ncognizes little things like the circle,\nthe half circle, and the centre ; and,\nif he cannot contrive to curve his audi-\ntorium, far be it from him to insist:\nhe will keep his curves for the stage*\nThe stage is the gainer. This same\nproscenium seems to have appealed to\nhis collaborators in the Theatre Champs-\nEly sees, the swell playhouse which was\nput up in Paris in 1913. I well re-\nmember seeing it in 1912, while in\ncourse of construction. These collabo-\nrators A. and G. Perret, charmed by\nthe Van de Velde stage proscenium\nof 1914, adopted it in 1925, for their\ntheatre at the Paris Exhibition of Arts\nand Crafts.\nHenry Van de Velde has always\nbeen a pioneer—l need hardly empha-\nsize that fact—so well it is known* All"}, {"page_pdf": 44, "page_imprimee": "78", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.44", "texte": "pioneers come across each other after\ncutting their way through the forests,\nswimming the big rivers, and at last,\nwith a chuckle of delight, land at the\nPioneers Inn, one of the most dense-\nly populated hostelries on earth ; for\nthe pathetic picture of the lonely pio-\nneer is all bunkum. You can any\nday prove this for yourself if you can\nget a through ticket to the Pioneers\nInn which lies somewhere N N by\ns s.\nIt is an odd place. On arriving\nthere you lose not only yourself but\nall sense of time and place ; you may\neven for a moment suppose yourself in\nHollywood, for the first thing that\nmakes you rub your eyes is the sight\nof a gentleman in a maroon brocade\nwaistcoat embroidered with silver, silk\nbreeches and stockings, Hack shoes\nwith silvered buckles, stretching his legs\non a bench : by him stands another ;\nhe wrears a toga: the two are quite\nsilent. Shojuld you not recognize them\nat once you can on enquiry learn\nthat the first is named Charles Nicolas\nCochin, and the second ApeJopius....\nwho as some of you know was the first\nlo suggest stone as a good warm fauteuil.\nIt was, I learn, adopted after a delay\nof two hundred and eighty seven\nyears.\nAs for Cochin, you all know him.\nBut you may not know of this incident\nin his life.\nTaking a stroll one evening after\nsundown, and the year sometime about\n1760, M. Cochin, greatly to his sur-\nprise, found himself outside the walls\nof Paris, the village in which his plea-\nsant but rather cramped homestead\nstood. Taking a turn to the left, a\ntusiom so often indulged in by pio-\nneers, he thought he saw a light in\nthe distance. He had noticed this light\nonce or twice before, but had paid\nlittle heed to it because, on enquiring\nof a group of Parisian peasants, who\nwere reading and laughing over 44 Le\nDernier Cri the fashionable journal\nof that day, they had told him to ask\nthem another, one yokel being polite\nenough to add 44 there aint no blooming\nlight, you old fooL.. that's a brick\nWall\nThanking his last informant for his\ncourtesy, M. Cochin turned back, en-\ntered the Porte St. Michel and went\nright home. But this stroll of his be-\ncame habitual, and, by habit toe, those\nsame five or six Parisian peasants al-\nways seem to have had the identical thing\nto say to M, Cochin when he paused\nlooking at the brick wall as though he\nsaw a light on its flat plastered surface.\nIt was in fact a blind alley into which\nthe good Cochin was so incessantly\nroaming of an evening, and anyone but\na Cochin would have recognised that\nimmediately and stopped roaming al-\nways into the same blind alley. But\none night Cochin was late with his\nstroll: and on arriving at the blind\nalley not a peasant was to be seen ;\nnone was there to say to the old fool\n44 get along with you \"; so he got\nalong at the double, for there was the\nlight, right enough. 44 Since I see it,\nit must be there \" thought Cochin;\nbut, like all Pioneers, he kept looking\nand relooking, shyly cautious lest he\nmight really be making a fool of him-\nself ; and so he went on and on and\nnever returned to Paris : and by 1 790\nhe had actually arrived at the Pioneers\nfnn where two great gentlemen in togas\nand one in a Kimono met him at the\ngate saying 44 welcome,.,, you have\nbeen long expected\nIt seems that to a new arrival this\nis all they say, everything else being\nso clear to the understanding of all\nthe gathering that it is held unneces-\nsary to talk it aloud : but later on one\nfinds out that there are hundreds of\ntopics :—the seasons, the price of to-\nbacco, the size and weight of pebbles,\nthe precision of the stars, (though this\ntopic has been banned since the arrival\nof Herr Slackenschmidt, for on his\ncoming everyone knew immediately that\nthe stars detest being precise and so\nall were able once more to enjoy their\nlight and their coming up and going\ndown without having to say any-\nthing).\nBut my tale must stop, not because\nthere is not a middle and not an end\nto add to this begining, but because\nthe middle's so long and the end is so\nslim. Besides 44 The Mask \" is so\nslight, and will not bear the mere frame\nwcrk of that tale: suffice it to say\nthat every pioneer, from Jaos (who as\nyou know was the first) down to Mon-\ntejallo, gees to, and is at home at, the\nfamous but (to others) utterly unknown\nInn, and there they al! have the time\nof their lives.\nNever, never is anyone heard to\nspeak of going back to Paris for exam-\nple ; that ceases to be a possibility on\naccount of the ludicrous notions involved\nin the idea—and in like manner no\none speaks of going back to anywhere\nwhat ever, having arrived, having as-\nsembled, have found, like Cochin did,\nthat what peasants in Paris and London\nand Poggibonsi take to be a blank\nwall is actually an open way. Would\n:you speak at all after such a disco-\nvery ?\nWell, I am a mild kind of pioneer,\nso I talk; and my talk all hovers\naround Henry Van de Velde and his\nideas, which are born by the hundred\nwhen he is tired of giving birth to\nmerely ten at a time. That he carries\nout all his ideas is not in the nature\nof things ; he is keeping thousands to\nexchange silently with the rest of us\nwhen we all foregather at the famous\nInn.\nWhat a charming book to be sure\nis this 44 Theater und Licht Spiel-\nhauser \" ; it has brought me a glimpse\nof this architect. But I know him\nslightly and I know him to be an\nunblushing advertiser. But what an\nadvertiser he is, with his strange habit\nof employing a special advertising agent.\nBut even there he is a pioneer, for\nhis travelling advertising agent is his\nvoice, and, when ever he speaks, a\nposter sketched in the finest colours is\nlaid upon silk and is slowly unrolled;\nthis he pins to the door, the shutter,\nthe lintel, where ever you will. The\nonly other voice in any way approach-\ning it for quality is that of . General\nD'Annunzio; but, as some one else\nhas said, even as the words of Mercury\nare harsh after the songs of Apollo,\nso is the voice of this most musical\nof poets but a squeak after you have\nonce heard Van de Velde,\n\nTHE AUTOBIOGRAPHY AND\nMEMOIRS OF B. R. HAYDON.\n2 Vols. Peter Davies. Price 20/-net.\nFANNY BURNEY AND THE\nBURNEYS by R. Brinsley Johnson.\nStanley Paul & Co. Price 161-net.\nTHERE are books wholly devoted\nto theatrics—ie, the tricks of the\ntheatre, and these are often a bore.\nThere are also books which are given\nto theatring a little,—that is to say,\nthe people in the said books hang\naround the theatre waiting their time,\nsaying things, jotting them down, re-\ncording trifles; these are sometimes\nreally of interest and assuredly enter-\ntaining.\nIn the first category come the Me-\nmoirs of Actors, Annals of the Stage,\nand serious works :—Colley Cibber's\nApology, Dumas's 44 My Odyssey \",\nMantzius's History of Theatrical Art:\nwhile in the second we have such\nbooks as 44 Crabb Robinson's Diary\n44 The Table Talk of Samuel Ro-\ngers \" and Haydon's 44 Autobiogra-\nphy\nMany of us who devote our lives\nto the stage, who have to act, pro-\nduce, or scrub the beards and dust\nthe velvet hangings every day and"}, {"page_pdf": 45, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.45", "texte": "night, seldom have time to read any\nof these hooks. Some of us who only\nappear in Acts I and V of a play\nhave an hour and a half of spare time ;\nso we fill that up by reading the\n44 Observer \" or the 44 Referee \" ; the\nquieter joys of an hour or so with a\nbook are impossible in a dressing room\nof a Theatre. Many have tried it and\nknow it to be impossible, It's like\ntrying to read on the esplanade of\nsome seaside place, or on the edge of\na cafe.\nThat's why the newspaper was in-\nvented, and why our newspapers grow\nnoisier and noisier. Tis to drown the\nclatter of cups, glasses and hoofs and\nthe whirr of wheels and the rest of\nthe pandemonium.\nThat we do, we newspapers ; and\ntis a churlish world if it says unkind\nthings abou) us; for we are a kind\nof League of Mercy, and with our\ndope we drown the miseries of the\nbusy man.\nUtter then no harsh word about\nthe thunder in 44 The Mask \" ; it serves\nits purpose.\nBut if we would crown the racket\nwe would not kill the moonlight; nor\neven the arc lamps which make ci-\nties bright when the quiet comes at\nlast.\nAnd in such quieter and brighter\ntimes we may find an hour or two\nin which to pick up a book of Me-\nmoirs and therein discover things here\nand there about Talma, Siddons or\nMile. Georges ; for now and again such\nstars are mentioned by people who\nsaw them.\nFor example, in 44 Crabb Robinson's\nDiary \" :—44 1814, August 26. Arrived\nin Rouen in the evening, and heard\nthat Mile. Duchesnois was to perform.\nTired and even hungry as I was, I\ninstantly.... \" and there you have it.\nIt is such scraps that please me more\nthan whole books of an actor's or\nactress's 44 Recollections \", for there I\nget my actor and actress as the public\nsees them ; and I also get a glimpse\nof someone else besides my actor and\nactress which has its uses. I see Wil-\nliam Godwin, Haydon and Talfourd;\nI am aware of the presence of Words-\nworth, and Coleridge often pops in :\nSamuel Rogers is there ;—and here is\nlittle Charles Lamb with his 44 Dicldle-\ndiddle dumpling, my son John, Went\nto bed with his breeches on\"; and\nWordsworth murmuring 44 Charles—my\ndear Charles \".\nSometimes Byron appears ; Moore\nis always there; and Miss Burney\nseems to be hovering, while in a chair\nsits Talleyrand hidden by the others.\nSo that when I catch a momentary\nglimpse of my actor and actress in the\nmidst of such a gay company as this,\n1 feel that things have assumed their\nright proportions again and that all the\nworld is not a stage—while the stage\nonce more really becomes a bit of the\nworld.\nBut there is one odd thing about\nthis wonderful, gay and dear company\nof men and women:—Blake is absent.\nNo one seems to know him, and yet\nyou and I and everyone else know\nhim so well today. Did he not die\nin 1827.\nIn the Memoirs, Autobiographies and\nthe other books his absense is felt;\nno one even utters his name. It\nspeaks well for such a jolly company\nthat I do not leave it to seek out\nW. B. in his little rooms in South\nMoulton Street. To be fair on the\nmerry companions, one of them did\ngo and look for him ;—that was Crabb\nRobinson; but I find no word of\nBiake in Haydon's 865 closely printed\npages. Yet Haydon knew Fuselii,\nFlaxman, Crabb Robinson, Stodhart,\nand all these men knew Blake.\nDid Lamb know him ? he had\nread 44 Songs of Innocence \" ; and\nKeats, is it possible that Keats, Blake\nand Lamb were never together ?\nIt was not perhaps only King\nGeorge 111 and the Public who called\nBlake mad;—possibly even Lamb\nthought him a bit queer, and Keats,\nRogers, Haydon and the rest, when his\nname came up to the top in the talk,\nsurely dismissed it and killed it with the\nword 4 Crazy '.\nIt is rather awful to think this may\neven have been so.\nFor the love of God, charity then....\nAnd a pause if you are not by nature\ncharitable, lest you kill more than even\nthe devil dreamed mankind fool enough\nto kill.\nYet I would I had the time and\nwit to search the archives for some\nrecord showing that Lamb did know\nBlake, and that they had walked and\ntalked together when the big swells\nwere not about.\nWhat little folk most of the big\nswells were one realizes as one goes\nthrough Haydon's Autobiography and\nthe Fanny Burney papers.\nI should like Miss Burney did she\nfuss less;—but I never knew a bigger\nfusser. And as I know some of the\nartists who visited her house (to meet\nher father Dr. Burney) I dislike her\nsmug way of sizing them down.\nBesides, Miss Burney was a dead-\nhead, and did 44 prefer for acquain-\ntance the well-bred and obliging Miss\nDavies to the selfsufficient and impe-\nrious Bastardini\" (1775).\nShe prefers the tame Davies to al-\nlowing a brilliant artist to be herself.\nThis Bastardini, as she calls her in-\ncorrectly, was La Signora Agujari,\none of the fine singers admired by Mo-\nzart.\nYet she has to admit that Agujari\nis 44 alone and unrivalled \".\nShe likes Garrick for Garrick plays\nthe fool for her in the house 44 to pique\nher \" and that strikes her as so admi-\nrable.\nWhen she became Madame d'Ar-\nblay she loses much of her pertness\nand becomes dull.\nThe editor of these new papers finds\nher pictures of men and manners in\nthe 18th century 44 incomparable \" ;\nyet also finds the Burneys 44 not quite\nwell-bred \" and sometimes using 44 the\nlanguage of a snob \", lacking in 44 emo-\ntional balance \" and with 44 no sense\nof style \".\nWhat would all that matter if only\nFanny Buiney's pictures of the men\nand manners of the 18th century had\nbeen well drawn, well sketched, or\neven dashed in well.\nHaydon does better with the early\npart of the 19th century. That 44 im-\nmortal evening \" on December 28th,\n1817, with Lamb, Monkhouse, Keats\nand Wordsworth, plus the stranger,\nthe comptroller of stamps, is certainly\nrecorded well. But when all is said\nand done by these immortals of that\nfamous evening, one turns to look\ntowards Mr. William Blake at No. 17\nSouth Moulton Street. On December\n28th, that same evening, three days\nafter a merry Christmas (it is the very\nsame evening in 1926 and it is half\npast seven that I write this—a hundred\nand nine years have rolled by—) I seem\nto see this man, with a grander head\nthan Beethoven's, now sixty years old,\nstill slowly and gravely colouring by\nhand a copy of a book which he\nprinted in 1789, 44 Songs of Inno-\ncence \", and a copy of a later book\nin 1794, 44 Songs of Experience\";\nfor he had an order for the two for\nwhich he is to be paid 44 on deli-\nvery \" some £ 2.10.0 at the very\nleast.—Today we auction them for\nabout £ 300 apiece.\nLamb preferred Blake's 44 Canter-\nbury Pilgrimage \" to Stothaid's. 44 A\nwork of wonderful power and spirit,\nhard and dry, yet with grace \" he\nsaid of it, on one occasion.—lt was not\non that 44 immortal evening\" Decem-\nber 28, 1817, for what would Keats\nhave thought, or Wordsworth.\nYet Lamb had moral courage."}, {"page_pdf": 46, "page_imprimee": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.46", "texte": "<< PLAY-MAKING \" by William\nArcher. (Third Edition) Chapman &\nHall, Ltd. Price 7/6 net.\nTHIS volume on 44 Play making \"\nwas presumably written by the late\nWilliam Archer in the hope of making\nclearer to us how to set about writing\na play. But instead of telling us simply\nhow to do this he gets lost in his\nsubject. He keeps on referring to little\ndetails in the work of Ibsen, Dumas,\nTolstoi, Maeterlinck, Pinero and other\nplay writers. He pops from one name\nto another ; he tells us that Galsworthy\ndoes this, where as Fitch doesn't; while\nJones works so, Pinero works somehow\nelse.\nThis makes us wish he would keep\nstill and settle on any one Dramatist and\ntell us clearly how the man does write\na play,\n1 was eager to learn what Archer\nwould tell me about the method of\nDumas pere, and on turning to the five\nreferences to Dumas pere I learnt\nabsolutely nothing.\nWhen he starts to tell us how Shakes-\npeare wrote a play he again goes\npopping about from one play to ano-\nther. I want to see Shakespeare the\ncraftsman at work on any one play, ...on\n44 King Lear 44 Hamlet \" or 44 Mac-\nbeth \" not on 44 King Hambeth\nThose of us who are born preachers,\nactors, painters, poets, dramatists, en-\ngravers, gardeners, builders, only lack\nthe little tip from the old pro 44 how\nto do it \". Now Archer doesn't tell\nus. He tries to tell us, but in order\nto give anyone the tip you have to give\nit in a sentence of six words, or of\nthree, for you have to prove that its\neasy, f know this for I have given\npeople the tip.\nAll the dear good Archer does is to\nshow us how fearfully complicated it all is\nand Archer, just because of this\nsimple nature of his that was bent on\ncomplicating, was held in awe by half\nLondon. 44 What does Archer say \"\nwas then the word, as today 'tis 44 what\ndo Brown and Agate say Lengthy\ntalks about a thing done or how to do\nit, are really of very little importance.\nAnd here we see Archer, a play-writer,\nwasting his and our time for forty odd\nyears on elaborate criticisms as Brown\nand Agate are doing today. Confusing\neveryone, .... helping not at all. You\nmay say thai it requires a certain ge-\nnius to give pupils a clue to secrets in\nsix words: if this be so, then the\nsooner we stop listening to the pedants\nwho give us nothing but a headache\nand turn to the lesser men, the merely\nintelligent ones with a genius for illu-\nminating things, the better for London.\nCan't it be stopped ? cannot an end\nbe put to this elaborate criticism ?\nI wouldn't rob Agate or Brown of a\npenny of the hard gained cash; but I think\na new job has to be found for them,\nand I suggest they purchase a copy of\nWilliam Archer's 44 Play-making \" and\nsee if that will teach them how to\nwrite some jolly good successful plays.\nFor to any but a dramatic critic 44 Play-\nmaking \" is written in a foreign language.\n\nVINCENT CRUMMLES. HIS\nTHEATRE AND HIS TIMES:\narranged by F. J. Harvey Darton.\nWells Gardner, Darton & Co. Price\n£> 2.2.0 net.\nFIRST of all a number of illustrations,\nnine in colour, by 44 Phiz\", Fred\nBarnard and others, and some repro-\nductions of a rare playhouse [or two,\nmake this book a delight to keep dipping\ninto; .... and until you plunge you\noften dip.\nThen you read those chapters by\nDickens which present Crummies to\nyou, and you've plunged.\nThen you come out and enjoy Mr.\nDarton's commentary, every word of\nit, as you dry in the sun.\nThis is a book, a sound book, to\ngive to a boy : such a present is worth\nsix lost months of education at Eton.\nNot the least curious thing in the\nbook is the fact that Onwhyn's extra\nillustration showing Crummies is prac-\ntically a portrait of our renowned\nEnglish dramatic critic James Agate;\nI cannot therefore agree with the no\nless celebrated dramatic critic Mr.\nSidney Dark that 44 Mr. Crummies\nexisted until the war\nThere is another picture in the book\nof topical interest, for it shows us\n44 An audience at Sadler's Wells \", in\nthe early part of the nineteenth cen-\ntury, and this depicts for us what Miss\nBaylis wishes to revive. One would\nnever have thought it.\n\nTHE LETTERS OF MARIE AN-\nTOINETTE, FERSENAND BAR-\nNON, Edited by O. G. de Heiden-\nstam. John Lane. Price 12/6.\nI cannot find these documents interes-\nting, nor am I interested in Marie\nAntoinette as she is set dovn in these\npages.\nShe strikes me as a pretentious lady,\nand not particularly straightforward.\nOne realizes what it was that drove\nthe French people to destroy her.\nOne's sympathies for her are driven\naway by her unceasing meddling.\nAs with her amateur roles, so with\nher amateur stateswomanship; they were\n44 royally ill played \".\nIn 1789 this Queen had supported\nthe pretensions of the hairdresser Leonard\nto the directorship of the Theatre des\nTuileries, and the best he could\ndo was to exploit an Italian company\nthere.\n\nA PLAYGOERS WANDERINGS\nby H. M. Walbrook• Leonard Par-\nsons. Price 10/6.\nIT is not that too many books of\nTheatrical memoirs are appearing;\nit is only that the books are exagge-\nratedly large, too expensive, and unne-\ncessarily fine for the purpose: by\nthat I mean work purposes.\nBooks of this kind could easily be\nissued at five shillings and be thinner,\nsmall type used, and plainer covers.\nFor if not for u5,... for the workers\non the stage [or the historians..., for\nwhom are these books ?\nYou tell me that Old Playgoers are\nthe readers and are ready to pay what\na stall in a Theatre cost in the old days.\nBut tell me something more:\nwould these playgoers object to buy\nthese kind of books if plainer, more\nlike a work book and less like a fancy\nnovel ?\nBut this is wandering from Mr. Wal-\nbrook and his good book, worth quite\nten and sixpence if only for the char-\nmingly written chapter on the old Prin-\ncess's Theatre and two other desolate\nplaces where once was so much hap-\npiness.... but I am anticipating the end\nof the twentieth century. I am writing\nfor the friends of my great grandsons,\nwho will doubtless be once again\n44 sentimentalists \".\nThey will like Mr. Walbrook s book\nand will search for it in the Charing\nCross Road, will find it at a shop\nwhich will have the name Dobell written\non a board above the window.\nBut it is not alone for one chapter\nthat you'll bang ycur ten and sixpence.\nThe twenty nine chapters are all good.\nMr. Walbrook is the stuff a good\nplaygoer was made of once, and will\nbe made of again and again. Of its\nkind this book is quite one of the best\nthat has appeared for many a day.\nBy the way, I think on page 130\nthe author means 44 Danish not44 Nor-\nwegian \" Dramatist; and on page 51\nit was the crash of glass from a window\nleft open, and all the crockery, not\nmerely the fall of one plate."}, {"page_pdf": 47, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.47", "texte": "LETTERS CONCERNING THE\nENGLISH NATION by Voltaire.\nPeter Davies. Price 15/ net. (only\n750 copies for sale).\nWITH an able Introduction by Mr.\nCharles Whibley, this reprint of\nthe letters is once more very welcome :\nand surely never before have they\nbeen so beautifully printed or on such\ndelicious paper or better bound.\nMr. Peter Davies indeed seems to\nknow a good deal about book-making.\nMr. Whibley in his short introduc-\ntion writes of Voltaire taking 44 a certain\npride in making Shakespeare known in\nFrance \" ; but, if I remember aright, I\nbelieve that it was another Frenchman\nwho did this. I somehow recollect\nMr. Swinburne telling me in his high\nvoice as he sat patting his knees that\nhe had just discovered that another\nand not Voltaire had made Shakespeare\nknown to France.\nBut no one need bother about what\nVoltaire though of Shakespeare or any-\nthing else because it is only the way\nhe says things that is so enchanting,\nnot what he says.\n\nSHOOT! by Luigi Pirandello. Chatto\n& Windus. Price 7/6.\nTHIS novel by the famous Italian\nwriter is very readable, but it has\nthe confused and confusing elements in\nit which I ior one dislike intensely.\nThe author is this time lucky in his\ntranslator who is none other than\nMr. C, K. Scott Moncrieff.\nThat the book is fuij of intelligent\npassages need not be doubted, and for\nthese it is wrell worth reading; but it\nis too full of unrest, an unrest which\nseems even a little affected : it is agi-\ntated where it might easily (no, not\neasily but assuredly) have been calmly\nplanned, calmly done or put aside :\nthat is what I feel.\nWell then....\n\nMINIATURES AND SILHOUET-\nTES hy Max Von Boehn. Dent &\nSons. Price 10/6 net.\nFIRST of all a very cheap book.\nWell written, with forty coloured\nplates and about two hundred black\nand white illustrations ; entertaining and\nmost informing ; it seems to me to be\naltogether an admirable piece of book\nwork in every way.\nThe only fault I can find is that\nthe line blocks which purpose to give\nus reduced representation of the silhou-\nettes are often blotchy. Goethe's nose\nand wig and tail-coat on page 185\nare spoiled : on pages 186, 187, 188,\n189 the outlines of Goethe and his\nsister and the Frau von Stein are also\nquite spoiled, and the duchess of Weimar\non page 192 apparently has sticking\nplaster on her nose.\nIt is very careless of the block-maker\nor the printer or someone, and yet it\ndoesn't spoil the book.\nFor the student of the Theatre there\nis a good deal in this volume to interest\nhim, especially the portraits of Mile\nDuchesnois, Mile Lange, Theresa Peche\nand Pr^ville.\nAnd what enchanting young ladies\nwere the Sisters Rushout, how sweet\nthe Duchess of Devonshire as Bone\nrepresents her; how adorable almost\neveryone represented by that genius\nIsabey.\nThe author tells us that the art of\nminiature painting has never been ap-\nproved by the critics which is so\nright. Is the art of the puppet approved\nof by the critics ? No: the critic has\nhis life to care for ; he too wishes to\nprosper and be happy. He must praise\nthe big canvas and the big actor: he\nwinks and does it. He winks be-\ncause he knows that little puppets and\nlittle miniatures stand in no need of\npraise and will always enchant all those\nwith wit to discover them for them-\nselves.\nI wish I had some of these lovely\nminiatures.\n\nSIDEWALK STUDIES by Austin\nDobson. Oxford University Press.\nTHE POEMS AND PROPPIE-\nSIES OF WILLIAM BLAKE.\nEveryman Series. Dent & Sons.\nPrice 2/— net.\nTHE \" World Classics\" is a series\nwhich grows on one. The volumes\nare real pocket with but one defect;\n....the ridiculous design, in gold too,\nwhich serves to titivate the back. A\nworse design could have been found,\na more commonplace unnoticeable pat-\ntern could have been had quite easily.\nSo why this preposterously funny thing\nto disfigure these volumes ?\nDobson's 44 Studies \" are perfect\nthings in their way, and were already\nspoken of in the last number of 141 he\nMask \" : and as many treat of Thea-\ntricals every theatre lover should possess\nthem. But why wont the Oxford\nUniversity Press tell us the price of\nthese volumes as clearly as the Dents\ndo with their volumes of the Everyman\nSeries ?\nThis Volume of Blake's poems\nshould prove to be one of the most\npopular volumes of that celebrated series.\nIt is a remarkable two shillings' worth.\nLet me warn would-be purchasers to\nsearch carefully for the eighteen repro-\nductions of 44 The Gates of Paradise \" ;\nfor, if you glance too rapidly through\nthe volume, these will not immediately\nbe found by you. The eighteen are\nall placed together, and they are sur-\nprisingly well reproduced.\nI know Blake's designs fairly well,\nbut many of these platfs are new to\nme, not having appeared in any of the\nGilchrist books or in the Oxford Press\nedition or anywhere else.\nAn interesting introduction by Mr.\nPlowman, together with a bibliogra-\nphical list, adds value to the little\nvolume.\n\nPASTICHE A Music Room Bookl\nby Yvonne Cloud and Edmund X.\nKapp. Faber & Gwyer. Price\n42/ net.\n44 * g 'HIS is \" as the publishers state,\nA 44 a book for music lovers\nHere are records in pen and pencil of\nthings and persons musical. We are given\nportraits or portrait caricatures of Dol-\nmetsch, Coats, Busoni, Sir Henry Wood,\nRavel and others. Accompanying these\nruns a pretty brook-like burble of text,\noften broadening to a stream, never\nswamping us or deafening us ; pla-\ncid and nicely it goes on.\nBut I for one am convinced that\nboth the draughtsman and the writer\ncan do more than they have done here.\nThey do enough to show me that they\nboth have sturdy intelligence, which is\nthe rarest of things. These two young\nartists seems to me to have a future\nbefore them.\n\nCUES AND CURTAIN CALLS\nby H. Chance Newton. John Lane.\nPrice 12/6 net.\nTHESE are records of the English\nStage from 1869 until today.\nMr. H. Chance Newton, the recorder,\nis a name little known to the public,\nbut he is known to all the readers\nof 44 The Referee '* as Car ados.\nThis Car ados is the only part Mr.\nNewton has played with overwhelming\nsuccess ; for though he was an actor\nof distinction in his youth, he decided\nin 1877 to beat all other actors hollow\nby playing one role 18,250 times\nthis role of Car ados.\nWhile performing this (he literally"}, {"page_pdf": 48, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.48", "texte": "created the part), he managed to be\nof great service to the actors he knew\npersonally such as Irving, Tree, Wilson\nBarrett and a dozen or so less well\nknown men. He was a good old friend\nto these: always reliable, helpful and\nkindly.\nKnowing them so well and for so\nlong, it is a real delight to hear him\ntalking about them in his clever book\nof gossip.\nThis able old man for he is now\nseventy-three years of age manages\nto get through this rather long work\napparently without any effort and with\nbut two cr three errors. His worst\nerror is after all merely this, that\nhe omits to mention certain men and\nwomen talents or celebrities.\nHs failed to see Salvini though Sal-\nvini was acting in London in 1875,\nin 1876, and again in 1884. Neither\nare Madame R6jane, Signora Duse,\nM. Coqueiin, or Miss Isadora Duncan\nmentioned. Nor are Mr. Shaw, Sir\nGerald du Maurier, Mr. St. John\nErvine, Mr Masefield or Miss Sybil\nThorndike.\nBut after all Car ados may have been\nindifferent to those persons who Mr.\nChance Newton did not know perso-\nnally ; and indeed the personal ele-\nment iooms largely in this book, .... ty-\npical of the immense importance the\npersonal element plays in the English\nTheatrical world.\nSo we hear a great deal about\n44 good old Herbert that being Sir\nHerbert Tree; 44 good old Barry Sul-\nlivan 44 good old Creswick \" and\nothers who were assuredly as good,\nand old only in the familiar sense.\nWe rather like to realize how often\nthese excellent good fellows thought a\nthing 4 4 d—d good 44 d—d \" that\nor 44 d—d \" the other because it is\nvery dashing.\nWe aie not a little interested to\nlearn that Mrs. Kendal is a Jewess;\nOld Ben Webster, grandfather or great-\ngrandfather of 44 the artistic \" Mr. Ben\nWebster of today, a Jew, and that\nBelasco, Augustus Harris, James Fer-\nnandes and a dozen others whom we\nhad always taken to be highbrow Chri-\nstians, were of the same persuasion.\nWe relish the definite statement\nnailed to the mast that 44 undoubtedly\nof all the actors of the past, whom\nIrving had never seen, the Kean (ie\nEdmund Kean) was Irving's idol\nOne is relieved to be assured that\nit wasn't the gentlemanly Macready, or\nthe smart David Garrick, but was none\nother than the brandy-drinking rascal\nKean. Not that Irving particularly\nadored his idol for his blemishes, but\nthat, knowing him a man of genius he\nsnapped his fingers at the rest.\nThere is an interesting conversation\nwith Tree recorded, in which Mr.\nNewton urges the actor not to play Marc\nAntony in 44 Julius Caesar \" ; and how\nTree began rehearsing Cassius. In the\nend he threw tjiat part over and re-\nverted to Marc Antony saying to Mr.\nNewton 44 in his most apologetic man-\nner \", 44 I had to go back to Antony\nas I find that an actor manager is always\nexpected by the public to play that\npart\".\nA few years ago, adds Mr. Newton,\nHenry Ainley said the same thing to\nhim : 44 I want to play Brutus .... but\nI find that an actor manager is always\nexpected to cast himself for Marc\nAntony\nThis doing what is 44 expected\"\nstrikes me as a peculiarly weak argu-\nment and should serve as a warning\nto those of us who are today rather\nsympathetic towards that old system of\nactor-manager, showing us that there are\nfatal defects in the system.\nI believe Mr. Newton errs when he\ntells us that 44 it is not generally known\nthat Irving \" first 44 met Ellen Terry\n(in a play acting sense) at the Queen's \"\nwhen they played in the 44 Taming of\nthe Shrew \" ; and also when he retells\nthe anecdotes about 44 Fuss!e \", Irving's\ndog, and says he was lost at Southamp-\nton and turned up at No. I Stratton\nStreet, London.\nThese facts were recorded some\nyears ago by Miss Terry in her Bio-\ngraphy, though the place Fussie returned\nto was Grafton Street not Stratton\nStreet, for it was in 1888, according\nto Miss Terry (in 1887 according to\nMr. Brereton) and Irving had not moved\nfrom his house to his flat.\nBut these are after all trifling errors\nand will disturb no one but the histo-\nrian ; and what are the scribes and\nreporters made for but to do that.\nAfter reading the whole book one\ngets the impression that without Mr.\nChance Newton the English Stage\nmight have been a very different place\nfrom what it is.\n\nRELATION IN ART by Vernon\nBlake. Oxford University Press.\nMR. Vernon Blake \" after twenty-\nfive years of almost constant ab-\nsense\" comes to London with this\ndifficult book, rendered difficult perhaps\nby a certain lack of understanding: for\nwho is there who, perceiving our need,\nwill give us stones when it is bread\nfor which our eyes are appealing.\nPerhaps it was rather unfair of us\nto leave things to a vague appealing\nlook: it was rather unfair of us not\nto have told such a man twenty years\nearlier what it was we wanted. For,\nhad he known, I feel he could have\ndelivered the goods.\nObviously we forgot to tell Mr.\nBlake ; and so, while we haven't to\nblame him now for not having read\nour looks, we fear that others will not\nbe so considerate, and they will find\nhim tedious and say so, and there an\nend. They will possibly recognize\nmuch of the old studio talk of the last\nthirty years in this very long book of\nhis, and will be sympathetic to this\nclever talker who wants really to thrash\nthe matter out even if everyone leaves\nbefore he has finished talking: but\nthen they will say in defence 44 he\nreally didn't make it any clearer to us,\nand what is more he wouldn't stop\ntalking \".\nThe book is nicely printed by Mac-\nClose and Co, The University Press,\nGlasgow, for the University Press,\nOxford.\n\nWILLIAM BLAKE. 1757-1827\non the Lord's Prayer, by John Henry\nClarke M. D. The Hermes Press.\nPrice 7/6.\nVERY well worth getting because\nthe author has gone to great pains\nto save you, the reader, pains. There\nare some writers who, as they prepare\na book, think of nothing but their dear\nselves. These are bound to give us\npain; but Mr. Clarke is one of the\nother kind ;—he is all the time trying\nto save us trouble.\nThis he does by telling us to take\nit easy—not to struggle—not to try to\nunderstand Blake's vision since to un-\nderstand Blake is as easy as swimming\nif you will go easy with the water and\ntrust it.\n\nTHE MEMOIRS OF CARLO GOL-\nDONI, written by himself; Translated\nfrom the original French by John\nBlack. Alfred A. Knopf, London ;\nPrice 10/6 net.\nMR William A. Drake has written\nan introduction to this volume\nand said all that I would like to have\nsaid here about Goldoni. Mr Drake\nhas stolen a march on me;—and be-\nsides, until I read his introduction, I\nhadn't thought of the things he thinks\nof and puts down.\nThe translation by Mr. Black is"}, {"page_pdf": 49, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.49", "texte": "dated 1814 and it might be a good\ndeal better. But it is good enough for\nthe secondary purpose of the book,\nwhich is to show us something of what\nhappened in the theatres of Italy be-\ntween 1732 and 1762.\nIt is to be read carefully by any\nserious stage-manager, for the writer\nhas a good many valuable hints to\nhand over to him.\nThe book has not the brilliance of\nCarlo Gozzi's Memoirs. One receives\nno impression of that Venice awaiting\nthe canon of Bonapaite to wake it\nfrom its immense dream : a dream like\na vast tapestry into which one can\ndrift in a gondola and find the very\nair sweet almost to stickiness.\nWith Goldoni we are given a point\nA—his lodging : a second point B—\nhis theatre ; and we are made to draw\na straight line through calle and canal\nfrom A to B, and to rush breathlessly\nafter this dapper little shopkeeper as\nhe plies his trade twixt the two given\npoints.\nGoldoni once said he would write\nsixteen plays during one year for the\nTheatre to which he acted as supplier\nof plays. Fie delivered the sixteen,—\nhe was an exemplary theatrical person:\nhis Memoirs make this clear. He was\na clever, able little being—but give me\nGozzi as representative of Italy.\nGoldoni might have sprung from\nsome Garden City in England or from\nWindlefeidt near Mullhausen.\nActually I take him to be a Swiss;—\nhe hails from Basle so far as I am\nconcerned; he is so utterly in order\nand to so little purpose.\n\nA HISTORY OF LATE EIGH-\nTEENTH CENTURY DRAMA\n1700 to 1750, 1750-1800 by\nAllardyce Nicoll. Two Volumes. Cam-\nbridge University Press. Price 16/-\neach.\nWHEN a new book of Professor\nNicoll's is announced you can\nalways count on its being indispensable\nto you.\nHere is the trained Historian at his\nwork: here he astounds you with the\nsame rapidity with which he collects\nall the known facts and sorts them\nout; and if you are lucky enough to\nbe able to add dates and other facts\nto the huge collection all the better;—\nbut it is not often you can add any-\nthing to the Nicoll heap.\nAt the end of the first volume the\nauthor gives us a Handlist of plays,\n1700 to 1750, which runs into a hun-\ndied and seven pages. It is truly\nwonderful. At the end of the second\nvolume he gives a Handlist of Plays»\n1750 to 1800, which runs into a\nhundred and thirty odd pages.\nBy the way, I would be inclined to\nquestion Professor Nicolis statement\nthat \" the fashion for private theatres\nalmost certainly came from France\nand to say that, if it came via France,\nthe fashion was started in Italy.\n\nGILBERT AND SULLIVAN by\nA. H. Godwin. J. M. Dent & Sons.\nPrice 6/- net.\nI witnessed the performance of seven\nof the Gilbert and Sullivan operettas\nduring their first runs at Theatres,\nOp£ra-Comiques and Savoys.\nHow I enjoyed them ! It was the\ntunes, the jingle and the singers—\nespecially Grossmith—that caught and\nheld me. The words were lost on me.\nNow I find it is the words which\nI go searching for.\nHow good they are. I believe the\nactors today speak them far better than\nthey did in my day. Then they\nplopped them out of their chubby\ncheeks, smiling a conceited kind of\nsmile about nothing—half singing these\nincisive sparkling phrases—or those\nabout the heart.\nI should very much like to see a\nfirst-class English company of 1927 in\n\" Patience \". Next to that I get con-\nsiderable pleasure reading this able book\nby Mr. Godwin.\nIt was so sunny in the London of\nthose days, and not to sing would have\nbeen an insult to Queen Victoria, that\nlady who kept all things and people\nin their right places. Seldom was a\nbutcher found editing a paper then\n—because halfpenny papers had not\nbeen invented. Butchers have managed\ntheatres, but not in Queen. Victoria's\nday :—they were one and all too busy\nchopping up meat for the Royal Family.\nThose today who doubt this never knew\nLondon in those days, no Butcher's\nshop being complete unless it had\nthe Royal Arms over its portals with\n\" Purveyor to the Royal Family \" in\nfine gold letters.\nAnd on the gold the spring sun of\nLondon would twinkle and the carriage\nwheels would go round flashing, and\nthe horses* hoofs trampled musically,\nand Sullivan heard it and Gilbert saw\nthe point.—London then Was the world.\nWhy bother what the thinkers in Ame-\nrica were thinking, or the other pro-\nfound nobodies were saying. London\nwas the world,—well then :—and had\nit not been so no Gilbert, no Sullivan\nwould have collaborated together for\nyou and me.\nMake London the world again for\nus artists, and by jingo we'll live up\nto it.\n\nESSAYS ON OLD LONDON by\nSydney Perks. Cambridge University\nPress. Price 12/6 net.\nCITY STREET NAMES by Louis\nZettersten. Selwyn & Blount. Price\n3/6 net.\nMR. Zettersten covers a lot of\nground in his handbook, whereas\nMr. Perks touches here and there in a\nscholarly way,—the Guild Hall, great\nfire of 1666, and the subsequent schemes\nof restoration are the subjects of these\nhis brief essays.\nMr. Zettersten was a business man\nin the city, and if he had an hour for\nlunch gave fifteen minutes to food for\nhimself and forty-five minutes to col-\nlecting food for us, which food he\nserves up for us in this little book.\nHis idea was to see a new ally,\nstreet, court or institution each day,\nand each evening he would look up\nall about the said institution, court,\nstreet or ally.\nMr. Perks being City Surveyor to\nthe Corporation of the City of London\nis right there on the spot, and has\n\" been able to consult records not\nusually available to the general public \",\nand the result he gives us in his hand-\nsome volume.\nBoth authors refer their readers to\nHorwood's Plan of London which was\nrecently reprinted in its entirety in\n\" The Mask \" So The Mask will\nprove useful once more.\n\nBERNARD SNA W MAN\nAND HIS WORK: Harold\nSkimpole B. A. _ George Allen &\nUnwin Ltd. Price Si- net.\nA celebrity is often unfortunate in his\nbiographers, who more often than\nnot misrepresent the man and his work\nwhile doing their level best to utter\nthe truth.\nMr. Shaw is more than lucky iii\nhaving as biographers doughty sappers\nwho shovel and shove away like any-\nthing.\nLet them but stick at it and in time\nthe snow will all be cleared away and\nthe suburban villa will look its best.\nMr. Skimpole and his publishers have\ndone a remarkable thing in producing\nthe book for so small a sum ; but I\nan not so sure that this is not one of\nthe books which ought to have cost\ntwenty-one shillings or even two guineas.\nIt is written as its subject deserves\nand the several comparisons of Mr."}, {"page_pdf": 50, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.50", "texte": "Shaw with Mr. Chesterton are very\nright and proper.\nThere is very liitle I can find fault\nwith in the little volume, which should\nprove a welcome addition to many li-\nbraries of southern England.\n\nRIP VAN WINKLE GOES TO\nTHE PLAY. Brander Matthews.\nCharles Scribner's Sons. Price 10/6 net.\nPROFESSOR Brander Matthews is\nnow seventy-four years of age and\nseems to have haunted the playhouse\nlonger than even our own 44 Car ados\".\n(Mr Chance Newton) has done.\nHe has been 44 for sixty-four years\nan incessant and indefatigable playgoer\".\nBorn in 1852, Mr. Matthews took\nhis first dip in the Stygian pool at the\nage of eight when he saw Boucicault's\nstage version of 44 The Heart of Mid-\nlothian \" ; and as early as 1869 he\nbegan writing about Theatres, yet is as\nyoung as he was then, and is 44 con-\nvinced that the methods of today are\nbetter than those of yesterday \".\nThis is one of the best books he has\nwritten.\nIt is a collection of short readable\nessays on things Theatrical which were\nwritten in 1913, 1917, 1920, 1922,\n1923, and 1924. So that the last\nwas written when he was in his se-\nventy-second year, and may we all do\nas well in our sixty-second.\nThat he gives us nothing written in\n1926 is only because the hearty old\ngentleman is collecting those writings\nnow, and probably intends to let us\nhave them in 1 929 when he will have\nsome foot notes to add.\nMost of his 44 old fashioned\" no-\nnotions are right notions. He tells us\nwhere they come from ; he quotes Ristori\nor Jepherscn or Rachel or some other\nauthority. He is proud to do so. Would\nthat he were equally proud to quote\nthe authorities when he comes out\nwith one or two 44 modern\" notions.\nThese he commends, and takes the\ncredit for them, which is a somewhat\ntricky and reprehensible thing to do.\nHe is at times a little long-winded,\nas, for example, at the beginning of\nthe essay on 44 The Question of the\nSoliloquy \" where he takes two pages\nto say when it justifies itself and when\nit doesn't.\nHe could have done it in six lines.\nHe writes very tolerantly of modern\nacting, for he keeps himself most care-\nfully informed on modern developments.\nI won't say that I should have\nenjoyed eighty or a hundred pages more\nabout the one or two great American\nactors and actresses so little known to\nus, ...Jepherson and Clara Morris, for\nexample, in place of the same number\nof pages devoted to odd scraps relating\nto thirty or forty Europeans about whom\nwe probably know rather better than\ndoes the good Professor.\nStill, we cannot find fault with this\nlast little book by the genial American\n44 guide, philosopher and friend \" of the\nlate William Archer.\n\nMAGAZINES.\n\nTHE ARCHITECTS' JOURNAL.\nMonthly. Architectural Press. London.\nIN The Architects' journal for March\n16th there is an interesting article\nby Mr. J. F. Mcßae on the new\nMunicipal Opera-house at Marseilles.\nThe old Opera-house was destroyed\nby fire in 1919 and the new one is\nnow being built by M. M. Castel\nEbrard and Raymond. Twelve pho-\ntographs of the building and its details\nand four reproductions of plans and\nsections help us very generously to see\nwhat it is Mr. Mcßae is describing,\nand the Architects' Journal is certainly\nto be congratulated by us on this : for\nwe too often look in vain in the illu-\nstrated architectural magazines for re-\ncords of what is being built in the\nway of Theatres.\nAnd if we would experiment a little\nmore in England, and if theatres were\nbuilt for the Public, the Drama and\nthe Actors, instead of for some group\nof profiteers who already have too\nmuch money to know what to do with\nit all, we should begin to push along\nat home, and then no doubt our fine\nmagazines would avail themselves of\nthe opportunity and issue articles well\nillustrated which would cause everyone\nto say 44L00k—that's a lovely theatre\".\nMeantime our Contemporaries might\nshow us more often what is being done\nby French, German and American ar-\nchitects to render their playhouses livelier.\n\nTHE DRAMA (Monthly) edited by\nTheodore Ballou Hinckley, 58 E.\nVan Buren St. Chicago, U. S. A.\nONE often finds there excellent ar-\nticles by Mr. Barrett H. Clark ;\nand besides this it is more serious than\nsome of the other better known thea-\ntrical monthlies and, it seems to us,\nprefers to be rather more exact than\nflashily effective.\nWhat new Theatre Monthlies must\nguard against is the flashy showing off\nof material ill-digested and over pic-\ntured without any reason for its pictures.\n\nEDITORIAL NOTES.\n\n200 FRENCHMEN AND\nSELWVN OF AMERICA SAY\nGERMAN GOODS ARE BEST.\nFROM THE CONTINENTAL DAILY MAIL.\nO MARCH 24TH I 9 27* 0\n44 IF Mr Edgar Selwyn, the American\nI theatrical magnate, has his way Max\n44 Reinhardt will go to New York and\n44 stay there.\n44 i want to build a theatre for\nhim Mr Selwyn told me, 41 A Rein-\nhardt theatre worthy of the man \".\n44 But there are others who want him\ntoo. I was at a luncheon party given\nin his honour in Paris the other day\nwhen 200 Frenchmen distinguished in\nall the arts invited him to give a season\nof his plays in Paris next June with a\nGerman company and assured him of\na great welcome.\n44 They all spoke in French. Rein-\nhardt replied in German and I did not\nunderstand a word of it till an inter-\npreter helped me out .\nMr Selwyn should pop over to\nBerlin if he wants to see how Germany\nand the Germans in Germany built\nProfessor Reinhardt a theatre \" worthy\nof the man\nThe Grosses Schuaspielhaus was the\ntheatre: previous to that he had the\nKleines Theater which was quite worthy\nof him: then the Deutches Theater\nand then the Kammerspiel. He has\nnot been without theatres and still has\na few in Germany and Austria.\nThe notion that the Germans do not"}, {"page_pdf": 51, "page_imprimee": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.51", "texte": "honour their foremost producer is quite\nfantastic and to be attributed to the\nwrong kind of brain wave.\nAnd the other notion (illustrated too)\nof two hundred Frenchmen seated at\ntable—in Paris—and all solemnly rai-\nsing their glasses of rich Burgundy to\nthe toast \" Professor Reinhardt whom\nwe all honour and admire \" has pos-\nsibly its funny side, even if some of\nus cannot but see the tragic horror of\nsuch a situation.\nThe tragedy is that Paris is so de-\nstitute, not of talent but of courage to\nsupport home industries : so fearful to\nback its own bob-tailed nag.\nRather like London was and, let us\nhope, is no longer going to be: for\nwe note that people from the highest\nto the lowest are growing not a little\ncross at the continued attempt to dump\nill foreign goods into our little Blighty.\n\nA PALTRY AT TA C K\no AND A WARNING. o\nTHAT modest retiring play-writer\nand dramatic critic, Mr. St. John\nErvine, had a last fling at the well-\nmeaning scene designers last month on\ntaking leave of the Morning Post which\nhe has always enlivened with his dash-\ning Ulster ways.\nMr. St. John Ervine said that these\nsame scene designers were \" arrogant\nfellows, \" who actually consider them-\nselves to be equal in authority to dra-\nmatists and actors \", and yet \" they\nforget, these arrogant ones, that the\nauthor and actor can dispense altoge-\nther with the artist but that the artist\ncannot dispense with them .\nWe would warn Mr. St. John Er-\nvine to take care.\nThe artists have done him no harm;\non the contrary, they help his plays\nevery time ; but it only needs a word\nfrom the source of all this evil—from\nMr. Gordon Craig—(for \" he is re-\nsponsible through his disciples for much\nthat is dreadful \") for the vanguard of\nthe scenic movement to advance to\nreally deadly purpose.\nMr. Craig has never yet advocated the\nindependence of the scenic design ; but\nshould he say the word—should he\ntell his followers how to do that trick\nof \" dispensing with play writer and\nactor \" (and we don't doubt that he\ncould show them that trick in a twink-\nling) Mr. St. John Ervine might come\nto be sorry he had thrown that parti-\ncular challenge in the faces of this particu-\nlar, unoffending, generally helpful group.\nIt is a pity that Mr. St. John Er-\nvine was so wrath with Mr; Aubrey\nHammond, the mildest of men; and\nMr. Ashley Dukes, the most open minded\ndramatist in England. Yet he admits that\n44 all our scenery is far better done than\nit was \" when he began play-going.\nThen what has he to\nHe grumbles that all is so vivid ;\nthat he has 44 to protect his eyes from\nsome of the glare and glitter\nWe remember when the dramatic\ncritic was always complaining that the\nstage was so dark he could see nothing.\nBut these London Dramatic Critics\nare a farce.—Wonderful brainy men,\nthey are now and again, like the rest of\nus, obsessed with their own importance.\nIf the actor is to be less than the\ndramatist, and scenic men still less, let\nthe dramatic critic fade away entirely#\nLet him be friends with one man only—\nhis companion in misfortune, ....tie\nstage manager.\nWe revere the dramatic critic with\nthe stage-manager. To us they are all\nimportant; but only when subdued,—\nunseen and unheard by the public.\nLet the one produce the play and\nget no praise, and let the other report\nwhat he saw, and avoid telling us all\nabout himself and his eyes and his\nidea 3 and what he deplores—for it\ndoesn't matter. There are three or four\ndramatic critics who are swollen out to\nan unseemly size with their appalling\nself importance, and it doesn t look\nwell least of all on the Sabbath, j\nWe have said that, if he wishes,\nMr. Craig can give his followers the\ncue HOW to produce a drama without\nauthor or actors.\nWe think everyone will agree with\nus that he has been provoked sufficiently\nto justify him doing that. Mr. St. John\nErvine has never ceased speaking ill of\nMr. Craig's work: Mr. Agate too ; Mr.\n• -\nIvor Brown follows suit, ana so on.\nA paltry business—which we have\nfollowed month by month for several\nyears. \"We can recall nothing more\ndiscreditable in the annals of the stage\nthan the annual attacks made on the\nwork of this artist who is held so\nhighly by his fellows in every Euro-\npean land and by some of the best\ncritics in Europe and America.\nWhy these particularly nasty attacks\nshould come from Ervine, Agate and\nCo, who are supposedly Britishers, no\nright-thinking man can say. That they\nare malicious one would not assert,—but\nthey are contemptible and there an end.\n\nOUR FRONTISPIECE:\nTHE OLD QUEEN'S THEATRE.\nIN the present number of The Mask\nyou will find an interesting book,\n4t A Playgoer's Wanderings reviewed.\nThe author, Mr. Walbrook, devotes a\nchapter to three old London Theatres\nnow passing away. He does not give\nus photographs of these so we have had\none made specially for readers of 44 Thz\nMask\" of that one which pleases us\nbest; the old Queen's Theatre made\nfamous by the names of Henry Irving,\nSalvini, J. L. Toole, Lionel Brough,\nCharles Wyndham, Sam Emery, Ellen\nTerry, Henrietta Hodson and a num-\nber of other excellent English actors.\nSome of us pass the doors of this\nTheatre daily and are unaware that its\narchitect was Charles j. Phipps, and\nthat Albert Moore R. A. painted the\nfrieze over the proscenium.\nIt was built as a speculation by Mr.\nLionel Lawson of The Daily Tele-\ngraph. -\nMr. Chance Newton tehs us very\ninteresting things in his book 44 Cues\nand Curtain Calls\" about Irving and\nthis theatre.\nIt was at this Theatre in 1875 that\nSalvini appeared tor ine second time\nin London as Othello.\nIt was this Theatre which Mr. Henry\nLabouchere managed! for a tsme, it being\nconsidered a very fine theatre in ad-\nvance of the times in many ways.\n\" It had a comfortable auditorium and\nan up-to-date system of stage machi-\nnery \" writes Mr. Erroll Sherson in\nhis admirable book \" London's Lost\nTheatres of the 19th century\".\n\nTHE RO YALCOB\nTHEATRE, LONDON.\nO A NOTE ON PLATE 10. O\nTHE illustration showing the Royal\nCobourg Theatre, Lambeth, as just\nopened, May 11th 1816 (Plate 10)\nis from an engraving by Stow of the\ndrawing by Schnebbelie, R. B. the\ntopographical artist, published by Kobert\nWilkinson at No. 125 Fenchurch street,\nLondon on January Ist 1819.\nThe Theatre was designed by the\ncarpenter-architect of Liege, Rudolph\nCabanel (1762-1839). In 1833 it\nchanged its name and was called the\nVictoria Theatre and is now known as\n44 the old Vic .\nThe figure in the foreground, its\nback turned to us, is supposed by some\nto represent William Blake.\n\njirinrFiri-rrik K e R ,\nWE regret to hear of the death of\nMr. Joseph Harker, aged 71 ;\nwho, though out of sympathy with the\nNew Movement in the Theatre, was\na kindly personality and a thoroughly\nsound maker of sceneries."}, {"page_pdf": 52, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.52", "texte": "SOME NOTES ON OLD\nFLORENTINE THEATRES.\nWITH REFERENCE TO THE ACCOMPANYING CITY PLAN.\nTN the four corners of this plan are four\nscrolls held by cupids, these scrolls\ngive the number of churches, monasta-\nries, schools, and theatres to be found\nin the four quarters of Florence in the\nyear 1783. No theatre is included in the\nscroll which refers to the SOUTH SIDE of\nthe Arno, although there was the famous\nAnfiteatro in the gardens of the Pitti\nPalace ; this can be found without dif-\nficulty.\nN. B. The Teatro and Arena Gol-\ndoni were both built later, in 1817 and\n1818 and these came to be situated, the\nfirst in the Via St. Maria, the word\nSanta marking the exact spot, and the\nsecond in the Via della Fornace, the en-\ntrance being above the word Via\nTHE THEATRES ON THE NORTH\nO SIDE OF THE ARNO. o\nIN THE 44 QUARTIERE DI S. CROCE \" (UPPER\nLEFT HAND CORNER).\n(1) The Teatro Coletti, is to be found\nbelow the church of S. Croce and sur-\nrounded by the Via Santa Maria, Via\ndelle Colombe, Via Pietra Piana, and Via\ndel Giardino. Built in 1740. the entrance\nbeing from the Via del Giardino, it was\nsometimes called the Teatro di Via del\nGiardino.\nIt was reconstructed in 1760, when\nit became known as the Teatro dei Ri-\nsoluti, or the Teatro di Via Santa Maria,\nthe entrance being now from that street.\nAbout the year 1828, it became known\nas the Teatro Alneri when it was rebuilt\nby Vittorio Bellini,\n(2) Teatro dei C a dentin which is not\nmarked, but was situated in the Corso\ndei Tin tori, on the exact spot where an\nerror in the old cliche has chanced to\ncome. This existed in 1692.\n44 QUARTIERE DI SAN GIOVANNI \" (LOWER\nLEFT HAND CORNER).\nHere were 3 theatres.\n(0 Teatro Cocomero, (situated just\nbelow the letters F O of the word Fon-\ndamenti in the Piazza del Duomo).\nThe theatre was built in 1650.\n111 1651 it took the name of Acca-\ndemia degli Imtnobili.\nIn /652 there was a split in the Ac-\ncademy, and the Immobili moved to the\nVia della Pergola ; those that stayed on\nbecame the Accademia degli Infuocati.\nIt was restored in 1725 and 1754.\nIn 1859 it became Teatro Niccolini,\nthe name it is still known by.\n(2) Teatro della Pergola, (situated to\nthe left of the Duomo, surrounded by the\nVia della Pergola, Via di Pinti, Via\nS. Egidio and the Via Nuova). Built\nfor the Accademia degli Immobili by\nFerdinando TaccA in 1652.\nIn 1689 it was restored and painted\nby A. D. Gabbiani.\nIn 1755 it was reconstructed by Giu-\nlio Mannajioni; it was restored again in\n1789 and in 1828 reconstructed. Since\nthen it has been several times restored\nand changed.\n(3) Teatro Niiovo (situated just below\nthe letters M E of the word Fondamenti\nin the Piazza del Duomo).\nBuilt in 1779 for the Accademia de-\ngli Intrepidi, it was known as the Teatro\ndella Palla a corda ; it was destroyed\nabout the year 1913.\n4* QUARTIERE DI S. MARIA NOVELLA \"\n(LOWER RIGHT HAND CORNER).\n(1) Teatro della Piazza Vecchia, (si-\ntuated at the North of the Piazza Vec-\nchia between the churches of S. Maria\nNovella and S. Lorenzo). Built in 1762\nfor the Accademia degli Arrischiati, it\nwas the smallest Theatre in Florence.\nRestored in 1796 and again in 1839,\nit made way for the Hotel Baglioni so-\nmetime about 1885.\n(2) Teatro di Borgo Ognisanti, si-\ntuated in the road of that name, (just\nbelow the letter N of the word ARNO).\nBuilt in 1778. by G. Parletti the ar-\nchitect for the Accademia Soileciti, it\nwas often restored, the last time being\nin 1866. It came to be known as Teatro\nRossini and was destroyed in 1888.\nThe scroll of this quarter tells us\nthat there is a third theatre to be ac-\ncounted for : we have hunted but cannot\nfind it.\nAny enthusiastic student who disco-\nvers it will have a copy of the map sent\ngratis (mounted) if he will inform us of\nhis discovery and if it prove correct.\n\nTHE MODERN PAINTER\nAS VIEWED BY\nMR. THOMAS CRAVEN. U. S. A.\n\"Y\\ 7HEN Mr. Thomas Craven sat himself\n* down to solve the question *4 Have\npainters minds ? ,} he sat himself down to\nno purpose.\nIt seems a shame that he should have\nsat down at all: or have hit upon such\nan assinine question to resolve.\nGlued to his seat, the great mind of\nMr. Tom Craven revealed itself: no\ndoubts in Tom's mind a flat 'No' fol-\nlowed by three or four No, 110, no's.\n14 The modern painter is an inferior\nbeing \" ; (Go it* Tom ! (< He is dum and\ndull and conceited \" ; (Tom's going it\nall tight!) 44 bleats like a sheep about\nbis soul \" ; 41 of all the workers in the\narts is he the least alive \" (Got him there,\nwhat ?). 44 The general public has no con-\nception of the feebleness, stupidity and\nignorance of the painter \" ; (We like that\nrather that stupidity AND ignorance).\n44 He is inarticulate and proud of it \".\nWe don't say Tom is ; Tom says the\npainter is. What the Painter will say to\nTom the next time he catches sight of\nhim will probably be sufflcienty articulate\neven for the sensitive ear of Tom.\n44 The painter, dolt that he is, either\ndoes noi read or does not understand \".\nTom should count himself lucky if the\npainter doesn't read this article of his.\nAnd all this and* much more besides\nappeared in 44 The American Mercury \"\nMarch 1927.\nWe commend Thomas Craven to the\ntender mercies of Augustus John.\n\nTHREE VIEWS ON WOMEN AND\nTHE DRAMA.\nWE are half way through a transition\nperiod, the transition being from\nthe Masculine to the Feminine. The\ngreat days of drama were strictly mascu-\nline. Tragedy is a sign of a manly peo-\nple : comedy is a sign of a womanly\npeople. The keynote of the feminine age\nto which we are coming is a sort of\nhysterical refinement. The tune in the\ntheatre is being called by women —.\nwhose taste is for light stuff rather than\nfor solid material\nMr. St. John Ervine : in a speech\nat a Dinner of the Authors' Club.\nTHE legitimate stage does have to ca-\nter for the women, for men don't\ngo, except to support their wives. And\nwhile women love the sentimental play\nthey love to weep gently they do\nnot like full-blooded tragedy. They like\nplays that appeal to the heart, but they\nmust not be too real.\n44 But the men ? why they choose the\nmusic-halls and revues ! \"\nMiss Sybil Thorndike.\nIT is the women who are wanting in a\nsense of the comic. While men face\nthe horrors of real life with a laugh, but\ndon't want to see them oti the\nface them seriously, and quite like to\nsee them enacted on the stage.\nMrs. H. IV. NeVinson,\nWE invite comments from our rea-\nders. and shall later have a word\nor so on the subject ourselves.\n\nKEEPING YOUNG\nDAME Madge Kendal, writing the\nother day to a London journal in\nanswer to the query7 as to who was the\ngreatest Englishman, says : 44 In myjudge-\nment, the greatest Englishman, after\nShakespeare, was Lord Byron \" And\ngood for Madge Kendal, say we.\n\nMR CYRIL MAUDE\nAND LITTLE THEATRES.\nMR. Cyril Maude, interviewed by a\nLondon journal, said all sorts ol\ngood things recently for the Little Thea-\ntres of America, and spoke happily about\nthe movement in England.\nBy the way, his interesting book on\n44 The Haymarket Theatre \" is a valuable\nlittle work of reference. Published as\nlong ago as 1903, by Grant Richards, it\nis none the less the book 011 the subject\nfor you to get if you are studying the\nBritish Theatre.\n\nAll Rights reserved. April 1927.\nDirettore responsabile Antonio Mar aim*\nTipografia Giuntina, Firenze."}, {"page_pdf": 53, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192704-01.1.53", "texte": "THE MASK\n1927\n\nPLAN OF THE CITY OF FIRENZE, 1783.\nDesigned, and engraved by Francesco Magnelli and Cosimo Zocchi.\nPlate II."}]}