{"numero_id": "bm-bmtnaau-1927-07-01", "volume": "bmtnaau_1927-07_01", "ocr_sha256": "1afe19132ae8f6f27eadfe36dea0d8e43c68ff73cdc131ca339a785ec83b3f7f", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1927/07_01/bmtnaau_1927-07_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1927/07_01/bmtnaau_1927-07_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01", "articles": [{"article_id": "bm-bmtnaau-1927-07-01-c002", "article_bluemountain": "bmtnaau_1927-07_01#c002", "volume": "bmtnaau_1927-07_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=bmtnaau192707-01.2.2", "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=bmtnaau192707-01.1.1", "debut_caractere": 251, "fin_caractere_exclue": 990, "texte": "SOME REFLECTIONS ON THE INFLU-\nENCE OF SHAKESPEARE IN INDIA\nby C. J. Sisson, with Notes by E. G. C.\nSOME SURVIVING LONDON THEA-\nTRES by Beresford Chancellor.\nREINHARDT & COMPANY • some Anony-\nmous observations on an organization.\nTWO LADIES, The Princess des Ursins and\nLa Belle Otero, by X. Y. Z.\nFILMS, CRITICS, AND ROBINSON\nCRUSOE by Everard Plumbline.\nX TOTES AND LETTERS ON THE THREE\nINSITWELLS, UNFORTUNATE MR.\nBROWN and other curious and intriguing matters.\nILLUSTRATIONS: REINHARDT PRODUCTIONS BEFORE 1905.\nTWO GORDON CRAIG DESIGNS IN 1905. PORTRAITS OF FRANCESCO\nBIBIENA, BIGARI & ORLAN'DI. ROMEO AND JULIET IN INDIA. A\nNEWLY DISCOVERED PLAN (circa 1600) OF \" LA PERGOLA \"\nTHIS VALUABLE PLAN IS HERE REPRODUCED FOR THE FIRST TIME."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c003", "article_bluemountain": "bmtnaau_1927-07_01#c003", "volume": "bmtnaau_1927-07_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=bmtnaau192707-01.2.3", "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=bmtnaau192707-01.1.2", "debut_caractere": 510, "fin_caractere_exclue": 1157, "texte": "LITERARY CONTENTS.\nAN ASTOUNDING DISCOVERY ..... J. S Page 83\nTHE SHAKESPEARE DANGER & THE INFLUENCE |\nOF SHAKESPEARE IN INDIA . ... C. J. Sisson with Notes by E. G. C. . 8|\nSOME SURVIVING LONDON THEATRES . . E. Beresford Chancellor . . .91\nHARLEQUIN. Some Notes & Dates . . . . . E. G. C; . . . . .91\nTHE FILMS ......... Everard Plumbline . . . . 91\nMONEY, REAL & FANTASTIC . . . . Anonymous. . . . • lOj\nREINHARDT & COMPANY ...... Anonymous IQ|\nTWO LADIES X. Y. Z 10|\nVALDIMAR MOLLER, Actor & Caricaturist . . . C. . . • • • . 101\nA NOTE ON THREE SCENOGRAPHERS . . . Allen Carrie 11l\nCORRESPONDENCE. FOREIGN NOTES. BOOK REVIEWS. EDITORIAL NOTES."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c004", "article_bluemountain": "bmtnaau_1927-07_01#c004", "volume": "bmtnaau_1927-07_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=bmtnaau192707-01.2.4", "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=bmtnaau192707-01.1.2", "debut_caractere": 1159, "fin_caractere_exclue": 2012, "texte": "ILLUSTRATIONS.\nA RARE PLAN OF THE FLORENTINE THEATRE\n«LA PERGOLA\" . . Plate 12, Face 8\n\" ROMEO & JULIET\" in BOMBAY , From a photograph . \" 13, n 9\n44 ELECTRA\" A Design for a Stage Scene, 1905 . . Gordon Craig. n 14, n 9\n45 THE STEPS/', A Design for a Stage Scene, 1905 . . Gordon Craig. . n 14 B, Precede 9\n44 ELEKTRA A Reinhardt Production .... From a photograph . 15, Face 1(1\n44 KABALE UND LIEBE A Reinhardt Production. , n n R n 16, Precede l(j\n44 SALOME A Reinhardt Production . . . . \" \" n n 17, Face \\Q\nTHREE LITTLE THEATRES OF PARIS . . . From Galignani's Guide, 1859 . . ll\nA CARICATURE . . . . « . . Valdimar Moller . . . 1(|\nFRANCESCO GALLI DA BIBIENA .... Anon. . . . . . 1Q\nVITTORIO BIGARI ....... ■\" 11\nSTEFANO ORLANDI . . . . . n . . . . .1 j\nHead and Tail Pieces and Vignettes, by Callot, H. M. 8., and from other old and modern Designs."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c005", "article_bluemountain": "bmtnaau_1927-07_01#c005", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[86]", "page_fin": "[86]", "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=bmtnaau192707-01.2.5", "titre_corps": "A PLAN OF THE FLORENTINE THEATRE \"PERGOLA\"", "titre_sommaire": "A PLAN OF THE FLORENTINE THEATRE \"PERGOLA\"", "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": "[86]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 95, "texte": "A PLAN OF THE FLORENTINE THEATRE \"PERGOLA\"\nfrom a rare document hitherto unpublished.\nPlate 12."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c006", "article_bluemountain": "bmtnaau_1927-07_01#c006", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "87", "page_fin": "88", "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=bmtnaau192707-01.2.6", "titre_corps": "AN ASTOUNDING DISCOVERY : MADE BY A SUBSCRIBER TO \"THE MASK\"", "titre_sommaire": "AN ASTOUNDING DISCOVERY : MADE BY A SUBSCRIBER TO \"THE MASK\"", "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": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.5", "debut_caractere": 24, "fin_caractere_exclue": 1490, "texte": "AN ASTOUNDING DISCOVERY\nMADE\nBY A SUBSCRIBER TO \"THE MASK\".\n\nFOR many years The Mask has been unearthing and bringing to\nits readers rare items never before published in any Journal,\nand this it does in the service of scholars and students, and to\naid in making the Theatre's art and history better understood.\nAmong the subjects to which we have given study and research\nhas been the structure both within and without of the homes of the\nDrama, the Theatre buildings themselves.\nNo one twenty-five years ago cared much about this branch of\nthe subject: today there is no one who fails to study it.\nAll over Europe and America artists of the Theatre realize that\nit is one of the very first things to study the position and shape\nof the house in which their work is to be seen.\nMost of all in Germany and in the United States, are scholars\nalive to the importance of this study, but also in Holland, in Italy, in\nDenmark and in London a lively interest is being shown in all details\npertaining both in the past and the present to the Drama's home.\nThis quarter we are happy to be able to offer to these students\na rare plan of the Florentine theatre \" La Pergola \", that old and aris-\ntocratic playhouse built in 1652 by the Accademia degli Immobili,\nwhich took as its emblem the windmill with the motto \" In sua Mo-\nvenza e fermo \", \" In its movement steadfast\nThis Thentre is therefore 114 Years older than the Teatro\nLa Scala in Milano, and is still used rightly."}, {"page_pdf": 6, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 1448, "texte": "We have discovered other such plans of even greater interest and\nintend immediately to lay them before our readers.\nThe rare pictorial document, now reproduced for the first time,\nhas lain untouched for over two centuries. Where and how it was\ndiscovered will be announced in the next number of b\nMeantime, if Signor Morini, Conte Bruno Brunelli, Signor Glauco\nLombardi, Mr. Lawrence, Professor Allardyce Nicoll, M. Alfred Mortier\nor M. Constant Mic can throw any light on the two questions,\nwho may be the author of this plan and if it is the original plan, we\nshall be glad to publish their communications.\nTo facilitate study we print below the alphabetical references to\nthe various details, which, in the reduced reproduction are otherwise\nnot easily deciphered. We also append a reproduction of the emblem\nof La Pergola\nA. Luogo de Serenissimi Padroni.\nB. Stanzini de S.Sri. Accademici.\nC. Teatro dell' Udienza.\nD. Orchestra.\nE. Ingressi per il Teatro.\nF. Salite che portano a quattro ordini di\nstanzini.\nG. Guardaroba.\nH. Stanze per il custode.\nI. Ingresso per le dame per andare nel\nTeatro, e stanzini.\nK. Ingresso dei proni. (2) Serenissimi.\nL. Camera dove dimorano i proni. Sere-\nnissimi.\nM. Corridori che portano alle stanzine.\nN. Fianchi per l'operazione delle comparse,\ne Scene.\nO. Proscenio con sue lontananze, e canali.\n€J Ogni Braccio Fiorentino e due Palmi, e sett'once.\n(1) See also page 128.\n(2) Abbreviation for \" Padroni\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c008", "article_bluemountain": "bmtnaau_1927-07_01#c008", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "89", "page_fin": "95", "image_debut": 7, "image_fin": 15, "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=bmtnaau192707-01.2.7", "titre_corps": "THE SHAKESPEARE DANGER : SOME REFLECTIONS ON CERTAIN FACTS RELATED BY MR. C. J. SISSON, REGARDING THE INFLUENCE OF SHAKESPEARE IN INDIA. WITH ACCOMPANYING COMMENTS", "titre_sommaire": "THE SHAKESPEARE DANGER : SOME REFLECTIONS ON CERTAIN FACTS RELATED BY MR. C. J. SISSON, REGARDING THE INFLUENCE OF SHAKESPEARE IN INDIA. WITH ACCOMPANYING COMMENTS", "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": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 3407, "texte": "THE SHAKESPEARE DANGER\nSOME REFLECTIONS ON CERTAIN FACTS\nRELATED BY MR. C. J. SISSON, REGARDING\nTHE INFLUENCE OF SHAKESPEARE IN INDIA.\nWITH ACCOMPANYING COMMENTS.\n\nTHE works of Shakespeare are better\nknown in India than we suppose.\nIf, in the midst of our daily Jazz, we\nstop for a moment to bother our heads\neither about Shakespeare or about India\nwe discover this.\nIt would suprise most readers of\nShakespeare writes Mr. C. J. Sisson, and\neoen most Englishmen in India (two clas-\nses not necessarily coincident) to be told\nthat Shakespeare's plays have been infinite-\nly more popular in Bombay than those of\nTagore in Calcutta. Yet this is a plain fact\nMr. Sisson has recently written an\nimportant essay lately published in brochure\nby the Shakespeare Association, or rather\npublished for it by its nurse, the grand\nold Oxford University Press.\nThere are considerable hopes being\nexpressed in influential quarters that when\nthe Shakespeare Association comes to years\nof discretion—it is now still young—it will\nbe given a latch-key of its own, it will have\nits own press and offices (').\nThat will be a good thing, if, when\nthe press and the offices are found, the\ncommonsense of writers is not lacking.\nAs a rule all the good common sense of\neven famous writers leaves them when\nthey come to write about Shakespeare\nand his plays. Of his poems they sel-\ndom say a word. Words are spent la-\nvishly on the plays as literary master-\npieces ; rarely a word to say what is due\nto Shakespeare, presuming of course that\nanything is still due to him.\nPresuming still further that what has\nalways been his due has never yet been\npaid properly by us—let us tell ourselves\nonce more what it is that we may possibly\nowe him still.\n1 believe the moment is ripe for a\ngood talk—that good talk which has this\nadvantage, that it regularly absolves us\nfrom doing anything at all rash, such as,\nfor example, producing Shakespeare's plays\nfor the people of the Empire.\nYes, the good talk is due too : once\nevery decade it has to be enjoyed or en-\ndured as the case may be. And I feel\nthat a real good talk is upon us this 1927.\nWHAT IS DUE TO SHAKESPEARE.\nYES, let us ask ourselves and one ano-\nther ; what is due to this our national\nplaywright ? What do we owe this\ncelebrated artist. I think that we shall\nprobably have to listen once more to\nthe truth about it this year. We may\nagain hear it said that his plays should\nbe performed ; and I am not so sure but\nthat a real effort will not be actually\nmade by certain groups of enthusiasts to\nattempt to perform them. We already\nknow that this has been done, and with\nthe utmost enthusiasm too, by a group in\n\n(1) The following note has been kindly contributed\nby Mr. G. B. Harrison, Honorary Secretary of the Shake-\nspeare Association. Editor.\n44 The Shakespeare Association which has its headquarters\n4 at King's College, University of London, Strand, W. C. 2,\n*• exists to stimulate interest in all kinds of Shakespearean\n44 study. Meetings are held during the winter months.\n44 During 1925-26 a series of papers on 44 Shakespeare\n44 and the Theatre were read, which are very shortly\n44 to appear in a volume of studies to be issued to mem-\n-44 bers only, The annual subscription is £1.1.0. for\n44 members receiving publications and 5/s. for associate mem-\n-44 bers. The Honorary Secretary, Mr. G B. Harrison,\n44 M. A„ is always pleased to hear from anyone interested."}, {"page_pdf": 8, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.8", "debut_caractere": 0, "fin_caractere_exclue": 3408, "texte": "London at the Old Vic Theatre: another\nband of devoted ones groups itself around\nthe mulberry tree at Stratford upon Avon,\nthe very birthpl ace of this divine master,\nand in season these do make a festival.\nIt is a great little affair : it always has\nbeen a great little affair. Who is there\nwho does not go once a year on this sa-\ncred pilgrimage to Stratford and there listen\nto the words of this great writer Shakes-\npeare. Besides listening, another good talk\nis enjoyed,—speeches are made by cele-\nbrities, and even clever men utter words\nof wisdom and often of beauty, saying\nwhat Shakespeare was and what he should\nbe to us. After all is over we go home.\nIf we forget all about Shakespeare for the\nrest of the year, what is so surprising in\nthat: we have our social duties to per-\nform : we have a great many things to\ndo which must keep us from doing many\nof the things we would really //£e to do\nif only we had more time. So if we do\nnothing to introduce Shakespeare's Plays\nto the people of Britain there is—is there\nnot ?—every excuse for not doing it.\nOUR USUAL EXCUSES.\nONE of the excuses we offer is that\nShakespeare is above the heads of the\npeople : another reason we sometimes give\nis that his moral tone is not all it might be.\n\" There is nothing either good or bad,\nbut thinking makes it so \" ; that is Th\nDevil's Creed remember: lest you forget,\nlet me remind you that no lesser man than\nMr. Rudyard Kipling has stated it. He\nmay have changed his mind now—but\neven if he has there are others who can\nexplain how bad an influence on the na-\ntion are Shakespeare's plays —or rather\nwould be, were the Nation as a whole\nto hear them and to see them daily as it\nhears and sees the words and pictures of\nour popular daily journals.\nSome millions of so-called ignorant\npeople benefit by hearing and seeing what\nour cheaper journals have to say and\nshow ; is it quite so certain they would\nbenefit by hearing and seeing the works\nof Shakespeare? I should not ask this if\nthere were not a doubt: and that there\nis a grave doubt is plain to see, for nei-\nther influence, money, brains nor autho-\nrity in England has seen to it that these\nplays be performed. The brains (some\nof them) have urged that a fair trial should\nbe accorded Shakespeare; it is only fair\non the men of brains to admit that they\nraised their voices. To do more, to insist,\nif 7\nwould not have done, for influence, money\nand authority were turning away.\nINDIA, SHAKESPEARE AND THE\nINDISCRIMINATE.\nAND now how strange it is to hear\nthat in India—the land from whence\nreports of unrest are now and again being\ntelegraphed to us in our peaceful isle—\nin India Shakespeare's plays are popular.\nExcepting Germany, Mr. Sisson tells us,\nIndia is the country where the plays of\nShakespeare have in recent times \" form-\ned the safest and surest attraction to the\nindiscriminate masses who attend popular\ntheatres \" ; and he adds that the proprie-\ntors of a theatre can always count upon\na profit on a Shakespeare production.\nSo that if Shakespeare spells ruin to\nus in a political, moral and social sense he\ndoes not spell ruin to the proprietors of\nthe Indian theatres.\nIf Shakespeare's fire is too much for\nthe water in us all, if it burns, scor-\nches and sets a nation alight, —and of\ncourse such a happening might be a ca-\nlamity-—if he plays havoc with our blood,\nhe doesn't ruin our purse. That is what\nis so highly satisfactory."}, {"page_pdf": 11, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 3749, "texte": "It's not exactly the nicest of argu-\nments to advance, that, because Shakes-\npeare's plays can pay as well as the latest\nrevues pay,— Chu-Chin-Chou) or 7he\nBeggar's Opera—, we should shut our\neyes to the serious fact that, while doing\nthis, the nation may be ruined by these\nShakespeare plays first morally and then\nmaterially. I don't think that the wildest\nenthusiast for our national poet would\nchoose to see him acted if at the expense\nof the whole nation.\nBut still how curiously interesting to hear\nthat in India \" the indiscriminate masses \"\nlove him and like to be fired by him.\nSo many are the interesting points in\nMr. Sisson's essay I thought it might be\na good thing to obtain permission to re-\nprint long excerpts from it ; and, this\nobtained, only your permission remains to\nbe asked to inflict them on you.\nI say inflict because we are not Shakes-\npeare lovers;—we will I think admit that.\nGermans are Goethe lovers ; they keep\nhis plays alive (and Shakespeare as well).\nWe treat Shakespeare more as the French\ntreat Racine—paint up his head on a\ntheatre ceiling but forget to play him.\nAnd so this enthusiasm of the Bom-\nbayites will not exactly find a responsive\necho in many English hearts—for the\nreasons I have stated.\nTo me in my wildest moments of appre-\nciation it is, I need hardly say, a real de-\nlight to witness the signs of true homage\nwhen ever it is offered to great dramatists.\nWHAT MR. SISSON WRITES.\nTHE plays, of course, are acted in the verna-\nculars, Marathi, Gujarati, Hindi, and Urdu.\nSeats can, or could, be had for fourpence in\nthe cheapest parts. It may safely be assumed\nthat very few Englishmen have set foot in these\ntheatres, except policemen in pursuit of their\nunhappy lot, though more may be met with\nin the big neighbouring cinema palaces.\n\" Here, then, nightly from 9 p.m. to I a.m.\nthe benign Shakespeare might be seen, masking\nin turban and gorgeous feudal vestments, speak-\ning strange languages, and delighting audiences\nwhich were in part not even aware of his\nname except as a maker of interesting plays\nfor their immediate entertainment. Many of\nthem probably think that he is ahve and are\nin the felicity of hoping for further inventions\nof his skill.\nTHE ORTHODOX SHAKESPEAREAN.\nTHE orthodox Shakespearian would expe-\nrience many a shock if he ventured into this\nstrange temple of his idol. He might accus-\ntom himself to the Oriental costume and\nmise- en-scene, to the disturbing medley of the\naudience, even, with some study, to the\nforeign language. But he would be amazed\nto find that he was being provided with an\nopera and a ballet as well as a play, though\nDrury Lane might have inured him to much,\nand horrified when he realised the extreme\nliberties that were being taken with the text\nand plot.\nTHE WISE SHAKESPEAREAN.\nA wise Shakespearian would be comforted,\nnevertheless, with the thought that the\ngreat dramatist was fulfilling here also, in\nthe far corners of the earth, his essential\nfunction of delighting men with the pictures\nof life in the form of a work of. art. He\nwould reflect that to every age and every\npeople beauty and truth must be conveyed\nin such shape as will permit of delight.\nA LIVING ORGANISM.\nABOVE all he would rejoice that Shakes-\npeare is here, not translated formally,\nnot imitated, but transplanted as a living orga-\nnism. We may further reasonably doubt\nwhether Shakespeare himself would feel equal\nalarm or horror, when we consider the ge-\nnerous and amicable relations he entered into\nwith his own Elizabethan audiences. Cultured\nadaptations of Shakespeare, Mr. Gupta informs\nus, proved complete failures on the public\nstage in Bengal, which thereupon abandoned\n\n(l) We have added a few headlines to help things along\nfor our enlightened readers."}, {"page_pdf": 12, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.12", "debut_caractere": 0, "fin_caractere_exclue": 4228, "texte": "Shakespeare. I have not the slightest doubt\nthat the dramatist would rather that Macbeth\nor Othello were acted in Bombay than that\nJulius Caesar were read in Tokio, even if\nMacbeth were acted as by the Arya Niti\nDarshak Theatrical Company, at various times\nfrom 1910 to 1923, as adapted by Mr. N.\nV. Thacker.\nA PROPER SENTIMENT.\nTHE interest of the play centres upon Lady\nMacbeth, to judge from its title, Va-\nsundhara, her Indian name. The dramatic\neffect of the sleep-walking scene explains this\nprominence of Vasundhara. The sub-title\nof the play, Bedhari-Talwar, means 'double-\nedged sword ', and points the moral. In his\npreface to the printed play-book of this adap-\ntation, the manager, evidently a man with a\ntincture of letters, regrets the necessity of\nbowing to the will of audiences. But he\nadmits their rights, and is not repentant.\n' What they need is given to them ', he\nwrites, ' and they should get what entertain-\nment they can ', a very proper sentiment\nand good business, too. Henslowe would have\nagreed with him, without the superfluous regrets.\nADMIRABLE ADAPTATION.\nIN the main plot the men-foik are all provided\nwith ladies, as is fit and proper in India.\nSo Banquo-Vasantsinh has a wife Kaumadi.\nMalcolm-Virkant has a lover Minakshi, the\ndaughter of Vasundhara and of Macbeth-\nMinketu, who risks her life for him. The\nlove-interest necessary in an Indian play is\nthus added, and the equally necessary happy\nending is secured by the reconciling marriage\nof these two. Banquo is combined with\nMacduff, and his son Fleance-Virochan is\nslain in his house, for a good reason.\n\" Scenes of witchcraft and ghost stories\nare not in the traditions or to the taste of\nthe Indian theatre, and this theme is entirely\nomitted. The part of Banquo is therefore\nuneconomic as it stands, and the combined\nBanquo-Macduff assumes a new importance\nand significance. For the same reason a\ndifferent motive is given for Macbeth's am-\nbition and his crimes, in a striking first scene.\n\" Macbeth has triumphed over Duncan's\nenemy, King Jayadhwaja, who lies in chains\nin Macbeth's splendid camp. Jayadhwaja,\nlike a defiant caged tiger, still bares his teeth\nat his conqueror, and taunts him with being\nthe dependent, nay, the slave, of King Duncan-\nAgnimitra. Minketu is no ruler like himself,\nv/ith no sovereign sway, for all his splendour.\nMacbeth, who is like many a chieftain in\nIndian, or English, feudal history, is stirred\nto his depths, slays his tormentor, and broods\nin anguish over the stinging taunt. Lady\nMacbeth, too, has heard it, and reminds him\nof it, till he is driven to action. Frankly, I\nam lost in admiration at this skilful and most\ndramatic opening to the story of Minketu's\nusurpation (l), whatever may be thought of it\nas a first scene of Macbeth. Had the great\nspirit of Shakespeare been born in another\nhemisphere and apprenticed to another stage,\nthis might well have been his foundation for\na study of reckless ambition and retribution.\nHis dramatic inspiration is there, alive and\nat work, firmly based upon the truth of the\ntime and place and persons, and in this set-\nting his creations can move with dramatic\nreality before another audience and take\ntheir place in another civilization.\n\" The addition of the character or Yakoob,\nfirst Macbeth's accomplice, then converted to\nvirtue, a reminiscence of Hubert in King\nJohn, is again skilful. Yakoob becomes in\nsome sort an avenging spirit, the symbol of\nan outraged moral universe, as well as a\nsubstitute for the element of fatality in Shakes-\npeare's weird sisters \".\nA WORD OF COMMENT.\n|F Mr. Sisson is lost in admiration at this\nI skilful way of handling \" Macbeth \"\nI believe we shall drown together. For\nwhile no one allows Shakespeare's plays\nto be played (what is done is not playing\nShakespeare but playing at Shakespeare)\nhundreds would rise up and protest (in\n\" The Times \" too) if any producer da-\nred to take such liberties with the text,\nas these men of wit in India have taken\nShakespeare, like all the good things\nwhich are too much for us in London, is\n\n(i) Yet if any producer in England took such a liberty\nwith the text, the only man in the Empire to stand by him\nwould probably be the play-writer George Bernard Shaw.\nEditor."}, {"page_pdf": 13, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 4031, "texte": "a holy thing : damned then for ever until\nsome one breaks the spell and his own\nneck by flinging the halo into the Thames.\nAnd is it not remarkable that this man\nwhose plays are held to be anything but\nmoral in their teaching should be held\nup as sacred ?\nMr. Sisson then proceeds to ask whe-\nther this free adaptation of the plays is not\nan act of vandalism —or worse, forgery.\nMR. SISSON CONTINUES AND SUPPORTS\nTHE PRACTICE.\nTHE case is now fairly put for a conside-\nration of the capital question, whether\nthis popularity of Shakespeare is gained at\ntoo great a cost in remote Bombay, whether\nin fact these theatres and these audiences are\nnot merely debasing works of genius to gross use,\nand defacing and counterfeiting sterling coin.\nTo this question three answers may be\nmade. First, we can trace from 1890 on-\nwards, and probably long before, a continuous\nseries of performances of Shakespeare's plays\nin vernacular adaptations, including the com-\nplete Shakespearian canon, except the En-\nglish History plays, of which only Richard 111\nseems to have been acted. These plays have\nbeen attended, and applauded, by men of\nail castes, mill-hands, workmen and petty\nshop-keepers, as well as middle-class folk\nand students. They are produced with all\nthe available resources of costume, scenery\nand lighting, and the admirable acting and\ndeclamation of the Indian stage. The fun-\ndamental acting quality of Shakespeare has\nbeen as triumphant in Bombay as it was in\nTudor London or as it is at the Old Vic,\nto-day with not dissimilar audiences.\nSecondly, the history of the progress of\nShakespeare through the centuries on the\nstages of Europe forbids hasty judgment, nay,\nsuggests charity in very self-defence, lest\nSauny the Scot, once thought so great an\nimprovement on Grumio, Caliban's Sycorax,\nor a hundred other horrid witnesses, be brought\nforward to testify, and some of our great folk\namong actors and dramatists end in the dock\nalong with Mr. Thacker.\nFinally, the history of the Elizabethan\nage stage and drama, as they developped out\nof the Miracle and Morality plays through\nartistic chaos into splendour, show how they\nowed their greatness not only to the genius\nof men like Shakespeare, but also to the mu-\ntual education of playwright and audience.\nThe foundations have been laid in Bombay\nfor such development and such progress. The\ntwo factors necessary to progress may well\nco-operate increasingly both to purify and to\nexalt this long-established popularity of Shake-\nspeare, which is even now less simply ba-\nsed upon his powers of entertainment, among\nthe populace of a city of another hemisphere,\nof a fundamentally different civilization.\nSCHOOL AND COLLEGE AMATEURS.\nIT is interesting to observe the unmistakable\nzest with which school and college ama-\nteur theatricals busy themselves almost ex-\nclusively with Shakespeare in English, and\nhave for favourites precisely those plays\nwhich have been most successful on the\npopular stage, Romeo and Juliet, Othello,\nThe Merchant of Venice. The New High\nSchool in Bombay, under Mr. Murzban, has\ndistinguished itself especially in this respect.\nAnd there are positive suggestions, to my\nmind, that the popular stage may attract Uni-\nversity Wits both as actors and as playwrights,\ninspired by the classic Shakespeare in the\noriginal to reform and re-create the indige-\nnous drama in spite of the present social\nprejudices. A former student of mine in\nElphinstone College of the University of\nBombay, a brilliant comic actor, informed me\nthat he intended to follow the stage profes-\nsionally as actor and dramatist.\nTHE TROUBLE WITH THE BARD.\nAND of course Shakespeare, now that\nhe is gone aloft and become a man\nof sense, approves all this entirely.\nThe trouble with the Bard was the\ntrouble with us all in Europe. Suggest\nto him in 1 608 that some of his lines should\nbe cut and he would have cried \" cut\naway Suggest- that whole acts be\naltered, and he would agree to have them\naltered, so long as he wasn't asked to\nput in three or four extra weeks' work."}, {"page_pdf": 14, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.14", "debut_caractere": 0, "fin_caractere_exclue": 4325, "texte": "But suggest a third \" improvement \" and\nhe would break down and tell you to go\nto the devil. This was his trouble even\nas it is ours. Sense we have up to a\npoint; pass that point and we become\nfools. We are even foolish enough to\nherd together and thrust out our horns\nfrom behind a thicket, the Author's So-\nciety, and take legal actions to \" pro-\ntect \" our plays from being made sens-\nible. For (and this rather sensible) if\nit once be allowed that another can im-\nprove one of our masterpieces that other\nis as good as we —and this would never\ndo,— and so this shall never be. \" A\nwhole share I \" ; (\" Hamlet \" improved).\nMr. Sisson then tells us something about\nthe Theatres and actors in India; the\nmore modern Theatres, the modern actors,\nnot those of ancient India.\nPARALLEL CONDITIONS.\nINDEED, if one seeks for a parallel to the\nconditions under which Shakespeare wor-\nked, one may find it among the Indian Eli-\nzabethans of Bombay Theatre-land. The\ntheatres are commercial ventures which aim\nat profit from the delectation of the people,\nand which are not, and do not pretend to\nbe, concerned with the drama as literature.\nThey are not patronised by the cultured\nclasses or by respectable women. The\nVictoria Theatre in Grant Road has a large\nbox, forming part of the gallery, exclusively\nfor the accommodation, and segregation, of\nprostitutes, who are enthusiastic patrons, and\nwho use the theatre as a hunting-ground, even\nas Turnbull Street and Pickthatch were once\nin close association with Shoreditch and the\nBankside. The audiences demand action,\nspectacle, and variety entertainment all in one,\nand they delight in rhetoric and declamation.\nTheir drama is essentially romantic, in all the\nsenses of that pretean word, even as the\nclassic Sanskrit drama is romantic in most\nsenses. In this respect, and in others, the\ninfluence of tradition is strong upon them.\nSaub-hagya-Sundari, indeed, one of the two\nUrdu versions of Othello, takes the spectator\nback to Othello's early career and gives a\nwider picture of his life. Even Shakespeare\nis too restricted, too classic in one sense, for\nthe Bombay stage.\nAN ACTORS' CASTE.\nTHE community of actors is, as it were, a\nseparate caste, isolated from the general\nsocial system, and the general attitude of the\n' respectable ' classes towards them is precisely\nthat which is familiar to the student of the Eliza-\nbethan stage. There are no actresses, for wo-\nmen's parts are acted by boys and men. The\nexperiment of having women as members of\na company was recently tried, and failed\nlamentably. They were lazy, forgot their\nparts, and paid more attention to their male\ncolleagues off the stage than on, with the re-\nsult that the company was set by the ears.\nAt any rate, this was the manager's expla-\nnation.\nAll actors go through a severe apprentice-\nship, and the singers, dancers and fencers\nare experts, even as they needed to be on\nthe Elizabethan stage, when no audience\nwould tolerate unskilled or perfunctory per-\nformance in these kinds. The comic stars\nare great men in the companies, and are\nmuch given to extemporisation such as Hamlet\ncriticised in the theatre of his day. It is\ninteresting to note that the most popular ' lea-\nding lady' of to-day, Mr. Jayashankar, made\nhis fame in the part of Sundari (Desdemona)\nin Saubhagya Sundari.\nThe companies are generally co-operative\nconcerns, with ' fellowships in a cry of players'\nranging from V2 3 annas in the rupees,\ni. e. shares from 1/32 to 3/16, for important\nactors. Some companies are financed by\nbusiness men of the stamp of Henslowe,\nwho control them very much after his fas-\nhion.\nPlays are written to order often, and are\ninvariably bought outright, so that the author\nhas no further rights in his play. The best\n\n(i) Diwan Bahadur Vijayaragacharya tells me it is not\nso in Madras,\n(i) How incessantly the loyal and over-worked Secre-\ntary of the Society of Authors tells us English play-tnakers\nnever to part with our work outright. He conjures up vi-\nsions of last days in a garret if we do. Be playwrights and\nartists if you will, but do be practical like Bernard Shaw, he\nseems to be saying to us, his brood : for presumably all are\nmembers of that fine Society,—fine from my point of view\nsolely because this good man is concerned lest we should\nlose the world and gain our whole souls."}, {"page_pdf": 15, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 3654, "texte": "companies maintain a paid ' kavi' or play-\nwright, whose duties are to write new plays,\nto re-dramatise old and well-tried subjects,\nto re-furbish old plays or alter or add scenes\nor topical matter where required. Collabo-\nration in the writing of plays is frequent, the\ncomic part being entrusted to one ' kavi \"\nthe serious part to another, the ' romantic '\nlove-scenes to a third, and the songs to a\nfourth.\nLONDON INTELLECTUALS.\nCAN'T you see the London intellectuals\ntrying it? Of course the Drury Lane\npatch-workers do try and fail; and could\nanything be more sound : unfortunately if\nthey can snip and sew they cannot select\nnor arrange the patches with any style.\nMessrs Bummelberg, Blutstein, Hob-\nhausen, Blumenweg and Hammerhof try\nbut simply cannot do it as it should be\ndone. The thought of the percentages\nseems to rattle them. Poor Wright couldn't\ndo it either. Why they even try, these\noutsiders, heaven only knows.\nMR. SISSON PROCEEDS.\nTHE Indian peoples have dramatic tenden-\ncies and dramatic gifts of a high order.\nIndia is one of the few remaining countries\nof the world where the dramatic expression\nof life and feeling is still natural and universal,\nwhere rhetoric is enjoyed for its own sake,\nwhere eloquence is untrammelled and deve-\nloped with ardour. The drama is a national\npastime, and natural actors abound. 1 have\nseen a performance in a somewhat remote\nState in Rajputana, presented by the subjects\nof the cultured and enlightened Maharaj Rana\nof Jhalawar, in which the sound dramatic\nsense of his retainers triumphed over the\ncrude production, the almost complete absense\nof scenery, and the oil-flares, with the hearty\nco-operation of an unspoiled audience. Their\ntragic acting was affecting, and I shall never\nforget the comic verve of an ancient and\nzestful busy-body who always appropriated to\nhimself the sage remarks and fine sentiments\nof his betters, with his ludicrously, insinua-\ntingly assertive ' Well, that's just what I\nsay ', in a rotund bass. These were amateur\nactors, by trade cooks, policemen, soldiers,\nmusicians. I believe the play, the subject\nof which was taken from the Mahabharat,\nwas written by the Maharaja's domestic poet-\npriest, with whom I used to bandy verses,\nEnglish sonnets for Sanskrit lyrics sent up\ndaily with my morning tea. He was a rarely\nsimply and beautiful soul, of knightly courtesy\nand graceful learning.\nMr. Sisson now comes to the Cinema,\nand, with his note on it, we will conclude.\nTHE CINEMA.\n\" HT\",HE cinema is perhaps the most dangerous\nX enemy, after all, that the hoped-for\nnew drama has to overcome. It is amazingly\npopular in India, and the beginning of its\nvogue has coincided with the decline of Shake-\nspearean adaptations on the Bombay stage.\nThere can be no question that this coincidence\nis significant ond indicates a further cause of\ndecline. An Occidental pseudo-art has here\nbeen embraced without adaptation, and it is\na lamentable fact \".\nONE FINAL SUGGESTION.\nTHIS is all thi more, curious because\nCinema and Stage are very far apart.\nIf a closer relative be sought for he can\nbe found in daily journalism.\nThe prices of Cinema and newspaper\nare low- The appeal is not much higher.\nThe aim is practically the same. If the\naim of the stage were to get rich quick\nit could do it tomorrow. It has only to\nbecome unconscious of its descent and\ncease to value its privileges.\nAnd leaving Cinema, leaving India,\nreturning to the place which it is feareo\nShakespeare may contaminate, we can\nsuggest but one real solution to the whole\nquestion, \" Shall Shakespeare be played\nor banned \" ? and that is to have once\nmore a real good talk about it.\n\nGORDON CRAIG."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c009", "article_bluemountain": "bmtnaau_1927-07_01#c009", "volume": "bmtnaau_1927-07_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": 9, "image_fin": 9, "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=bmtnaau192707-01.2.7.1", "titre_corps": "ROMEO AND JULIET", "titre_sommaire": "ROMEO AND JULIET", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 9, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 76, "texte": "ROMEO AND JULIET.\nACT I, SCENE II.\nNew High School. Bombay, India.\nPlate 13."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c010", "article_bluemountain": "bmtnaau_1927-07_01#c010", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "96", "page_fin": "98", "image_debut": 16, "image_fin": 18, "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=bmtnaau192707-01.2.8", "titre_corps": "SOME SURVIVING LONDON THEATRES AND THEIR ARCHITECTS", "titre_sommaire": "SOME SURVIVING LONDON THEATRES AND THEIR ARCHITECTS", "signature_source": "E. BERESFORD", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 16, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.16", "debut_caractere": 0, "fin_caractere_exclue": 4158, "texte": "SOME SURVIVING LONDON THEATRES\nAND THEIR ARCHITECTS.\nBY E. BERESFORD CHANCELLOR.\nONE hardly regards the theatres of London\nas architectural masterpieces; their fa-\ncades are little capable of artistic treatment,\nat least a minimum is expended on them ; all\nthe glory of decorative audacity being confined\nto their interiors. Space for one thing pre-\nvents the theatre designers from doing more\nthan produce something which is likely to\nthan .by attract the eye rather by its flambo-\nyance than by its essential qualities of distinction.\nIt is so much an age of advertisement that the\nfronts of theatres have become a sort of hoarding\non which are displayed illuminative and other\nexamples of the wares within—as was the\ncustom at Bartholomew Fair. Cinemas, too,\nare as much plastered with photographs as a«\nItalian tombstone, and architecture becomes\na handmaid to reclame.\nThere are, as in everything, exceptions ;\nthe beautiful little Scala Theatre, and the\nnew Tivoli Music Hall, although an extra\nstory would have given the latter more dig-\nnity, are examples; and a certain quaint\nthrow-back to other days is evident in the\nnew theatre in Covent Garden ; while The\nCapitol in the Hay market (which seemed to\nspring into being before it was begun —to use\nan Irishism) possesses certain impressive qua-\nlities which are far to seek in most of the\nmodern London playhouses.\nBut in earlier days, when theatres were\nless numerous than they are today, they built\nsuch things in the grand manner; as if they\nnot only suspected everyone of their houses\nto be aere perennius but as if they wished to\nadd to the decorative features of the city.\nThus when Davenant erected his play-\nhouse in Dorset Gardens, Wren was called\nin to design it, and produced a facade, both\nto the street and the river, which was not\nonly impressive and effective in itself, but to\nwhich the sculpture of Grinling Gibbons gave\nan added distinction. That structure was\ndemolished in 1720, and its site was occu-\npied, not inappropriately, by the City Gas\nWorks ! Nor are any remains to be found of\nthe Duke's Theatre, in Portugal Street, the\nlast relics of which structure disappeared on\nthe extension of the Royal College of Sur-\ngeons' premises in Lincoln's Inn Fields.\nBut there still remain in London a few\nTheatres dating from a later period although\nsufficiently old to be regarded as survivals of\nthe historic past. Of these Drury Lane is\nthe most outstanding. As in the case of nearly\nall the older play-houses in London, Drury\nLane has been the victim of fire ; indeed it\nhas been burnt down several times since those\nearly days when Killigrew first opened it, in\n1663. Nine years later it was destroyed\n(to be precise, in January 1672), and if\nPepys does not overstate the case, it was so\nuncomfortable and ill-arranged, as to be no\ngreat loss.\nWren designed its successor which it is\ninteresting to know cost £ 4000—the earlier\none had been erected for considerably less\nthan half that sum; and although Dryden\ndescribes it as \" plain built—a bare conve-\nnience only \", one may be sure that, being\nthe work of Wren, it was not without special\narchitectural merit. It was opened in 1674,\nand existed for many years, being refaced\nby the Adams, before Garrick had left it.\nBut it was not large enough for an increased\npopulation of play-goers, and, in 1794, a new\nhouse was erected by Henry Holland. This\nsurvived till the night of February 24th 1809,\nwhen the whole of London was illuminated\nby the glare which was soon known to be\ncaused by the burning of the theatre. The\nflames were visible for miles beyond the\nmetropolis, and gave an additional glow to\nthe interior of the House of Commons where\nSheridan, the principal shareholder in Drury\nLane, happened to be engaged in the de-\nbate.\nNo time was lost in rebuilding, and Ben-\njamin Nyatt designed the new structure which\nwas opened in the October of 1812, and\nwhich, with the addition of the Portico some\nyears later and the colonnade formed in 1831,\nis substantially the Drury Lane we know\ntoday, and, with the exception of Sadler's\nWells, the oldest existing play-house in London.\nCo vent Garden shares with Drury Lane"}, {"page_pdf": 17, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 4491, "texte": "a distinctive fame among London's theatres,\nand, like its neighbour, it has been several\ntimes burnt to the ground. The first Covent\nGarden Theatre was erected, from the designs\nof Edward Shepherd, in 1 733 by John Rich,\nthe famous inaugurator of pantomimes, who\nhad hitherto been running the play house in\nLincoln's Inn Fields. Hogarth's print (if it\nbe Hogarth's, about which there is some\nquestion) entitled \" Rich's Glory \", shows\nthe manager entering into possession of his\nnew theatre.\nIn course of time it was found necessary\nto enlarge and reconstruct the building ; and\nthis was done so thoroughly, no less than\n£ 30,000 being spent on it, that it emerged\nsubstantially a new house, and was opened\nas such in September 1792. But it had only\na short life, and in September 1808 was\nburned to the ground, many lives being lost\nin the fire. Three months later, George,\nPrince of Wales laid the foundation stone of\nthe new building, of which Sir Robert\nSmirke was the architect, and which cost\nno less tham £ 150000.\nIt was on its opening in 1809, that the\nfamous O. P. riots occurred which resulted\nin the new theatre being turned into a bear-\ngarden for weeks after.\nThis, the third Covent Garden, remained\nfor many years later, unappropriated, until\nJullien opened it with his Promenade Con-\ncerts, during the seasons of 1843- i 845 ; to\nbe followed by Italian opera, in 1847 ; for\nwhich latter purpose it continued to be used\ntill March, 1856, on the sth of which month,\na fire broke out in the early morning, after a\nbal masque had taken place here, and entire-\nly gutted the building. On its ruins rose,\nin 1858, the present structure which was\ndesigned by E. M. Barry, on a far larger\nscale than its predecessor ; its main exterior\nfeature being the Corinthian portico, and the\nfigures (relics of the former house) by Flaxman\nand Rossi, let into niches in the wall.\nAnother London theatre which remains\nfrom earlier days is the Lyceum, designed\nby S. Beazley, and first opened in 1834,\nafter an earlier house converted into a theatre\nin 1790, and enlarged in 1809, had been\nburned down in 1830. In former days what\nis now the pit door in the Strand was the\nprincipal entrance ; but Beazley's Corinthian\ncolumns in Wellington Street have for over\nninety years formed the well-known facade\nof the famous play-house.\nBeazley was fond of this classic conven-\ntion, and he employed it again when he\ndesigned the St. James's Theatre for Braham,\nin 1835. The exterior remains practically as\nhe left it, but the interior was remodelled in\n1879 ; and since then has been subjected, as\nha ve the interiors of all the older play-houses,\nto such alterations as the London County\nCouncil's bye-laws have from time to time\nmade necessary.\nThe Haymarket Theatre, or \" The Little\nTheatre in the Haymarket \", stood immediate-\nly to the north of the present structure.\nIt was a quaint little place, built by a car-\npenter named John Potter, and was first\nopened in 1721. In course of time it passed\nthrough the hands of a number of well-\nknown actor-managers, Macklin and Foote\nand Coleman among them ; while many fa-\nmous histrions have made their first appea-\nrance in London here, including Cooke and\nHenderson and Bannister, Elliston and Liston.\nIn 1820 the little house was closed, and\nin the following year the present theatre,\nwhich was designed by Nash, was opened.\nIts classic portico is effective from any point,\nbut chiefly as seen, through the trees of\nSt. James's Square, from King Street, when\nit fills up the view in a most satisfying way,\nespecially in London where hardly any of\nthe few vistas we do posses, has an ap-\npropriate ' finish '.\nWhen the Bancrofts took the Haymarket in\n1879, they entirely reconstructed the interior ;\none of the most marked changes (not made\nwithout hostile demonstration) being the con-\nversion of the pit into additional stalls.\nIn the Strand of so many theatres, there\nare practically no old ones, unless it be the\nAdelphi once called \" The Sans Pareil \",\nwhich was originally opened in 1806, but\nwhich has been much altered in the process\nof time, the Strand front being widened and\nwholly reconstructed in 1888; and the Vau-\ndeville, which was erected by Mr. C. J.\nPhillips, in 1870. Gone are Terry's Theatre\nwhich Mr. Walter Emden designed, and\nwhich was as fire-proof as human ingenuity\ncould make it, and the Gaiety of Nellie\nFarren and Fred Leslie, which had dated\nfrom 1868, and was demolished in 1903.-\nThe New Gaiety, new no longer, which"}, {"page_pdf": 18, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.18", "debut_caractere": 0, "fin_caractere_exclue": 2040, "texte": "Norman Shaw designed on classic lines very\ndifferent from the rococo style of its prede-\ncessor, stands on the site of two courts,\nHelmet Court and Angel Court, property\nin which former by-way was once appro-\npriately held by Henry Condell, one of\nShakespeare's fellow-actors. The very sites\nof the little underground Olympic in Wych\nStreet, and the Globe, on part of old Lyon's\nInn, are forgotten; and the Opera Comique,\nclose by, is buried beneath Aid wych—the\nAldwycb in which new play-houses have\narisen, one of which has resuscitated that\nname of the Globe which has such a Shakes-\npearean sound ahout it. His Majesty's is a\nnew structure on the site of Vanbrugh's\nOpera House; but the little Royalty in\nDean Street, once Miss Kelly s, is eighty-\nseven this year, and even the Criterion of\nThomas Verity, which once seemed so modern\nis (eheu ! fugaces !) over half a century old!\nTheatres are not merely architectural fea-\ntures, when any attempt is made to give them\nexternal distinction as well as internal luxury,\nbut they are also social landmarks : for they\nindicate the trend of fashion in our pleasures,\nand in no direction so much as in our pleas-\nures is fashion capable of being so markedly\nexhibited. Once in remote days they were\nin the fastnesses of Shore ditch; anon they\ncrossed the river; later it was Fleet Street and\nLincoln's Inn Fields that had to be scoured\nto find them; still later, as the migration of\ncitizens westward took place, they penetrated\ninto the Strand and the Haymarket and\nDrury Lane; until in our own days we find\nthem everywhere from Hampstead to Ham-\nmersmith ; while Shaftesbury Avenue seems to\nthe excited imagination one vast playhouse.\nAmong all the new ones that have come,\nand are coming, it is pleasant to find some\nof the old guard still dressed in the garb\nwith which Nash and Holland and Beazley\nclothed them; and to the acti,\nit must be a matter of some satisfaction to\nrealise that, at least externally, such are not\namong the least dignified and distinguished to\nbe found in London."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c012", "article_bluemountain": "bmtnaau_1927-07_01#c012", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "98", "page_fin": "98", "image_debut": 18, "image_fin": 18, "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=bmtnaau192707-01.2.9", "titre_corps": "HARLEQUIN : A NOTE AND SOME DATES", "titre_sommaire": "HARLEQUIN : A NOTE AND SOME DATES", "signature_source": "E. G. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 18, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.18", "debut_caractere": 2042, "fin_caractere_exclue": 5029, "texte": "HARLEQUIN\nA NOTE AND SOME DATES.\nE. G. C.\nMR. Sacheverell Sitwell in his Preface to 44 The History\nof Harlequin a handsome volume written and\npublished by Mr. Cyril Beaumont, makes a curious state-\nment about Callot, and the role of Harlequin, saying that\n44 If we look at the Works of Jacques Ca110t.... we find\nno sign of Harlequin, He came into full being a little\nlater than Callot's day.... \"\nIn my copy of the 1919 reprint of Callot's 44 Balli\ndi Sfessania\" designed and engraved in 1622 and dea-\nling with the masks of the Commedia dell'Arte, I find\nHarlequin in the background of four of the twenty-four\nplates—and possibly in six.\n1. In the Plate of 44 Guatsetto—Mestolino \". There he\nis, leaping in the air. I count eight or nine of his patches\nbesides recognizing other signs.\n2. In the plate of 44 Franca Trippa—Fritellino *\\ He\nis embracing a girl and is seen just bahind the left leg of\nFritellino. Only two or three patches show.\n3. In the Plate of 44 Scaramuccia Fricasso \" he is on\nthe extreme right of the plate embracing a girl : three or\nfour patches show,\n4. In the Plate showing 44 Francischina—Gian Farina \"\nhe is in the centre background and walking on his hands.\nI count eight or nine patches.\nI am less certain about the two other plates: that\nshowing 44 Sigra. Lucia—Trastullo \" and that of 44 Cap\nBabeo—Cucula \" ; but it seems to me that the second small\nfigure from the right in the first plate is he, and in the\nsecond he seems to me to hold the bellows :—both are\nanyhow in patched costumes.\nThe Harlequin as seen by Callot is the same fellow\nTristano Martinelli made4 him, though Callot does not give\nhim a black mask. Compare the costume of Martinelli\n(Luigi Rasi, <4 I Comici Italiani \", vol. 2. p. 97, 98, 99,\n100) with the Callot designs,\nInstead of coming 44 into full being a little later than\nCallot's day \" he preceded him by many a year. How\nmany no one seems to know ; but the authorities tell us\nsomething.\nCallot was born in 1592 and died in 1635. Harle-\nquin appeared in his patched coat and trousers first under\nthe name of Zani, but he appeared. It is this costume\nwhich distinguishes him from the other Zanis.\nWe cannot know how many remarkable actors played\nthis particular fool before the Commedia dell'Arte was ta-\nken up hy society. It was only when society began to\nmake a fuss about these astonishing actors that the direc-\ntors saw fit to boom individuals who 44 came into full\nbeing \" by grace of Society's usual contribution to all\nthings—vulgarity. But amongst early Harlequins we are\ncertain of the following :\nAlberto Ganassa from 1568-78, was in Mantova,\nFerrara, Milano, Paris and acting the role of Harlequin.\nIn Spain in 1574 Harlequin appearing.\nDrusiano Martinelli flourished 1572 to 1598 and acted\nHarlequin.\nSimone, in 1 574, Venice in 1 579, Mantova. Tristano\nMartinelli Born (c) 1556. Died 1630 at about 75 years\nof age, both acted Harlequin, ...so the authorities tell us.\nAnd these all precede Callot by some years."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c013", "article_bluemountain": "bmtnaau_1927-07_01#c013", "volume": "bmtnaau_1927-07_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": 19, "image_fin": 19, "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=bmtnaau192707-01.2.10", "titre_corps": "ELECTRA", "titre_sommaire": "ELECTRA", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 19, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 69, "texte": "ELECTRA.\nA Design for a Stage Scene by Gordon Craig (1905).\nPlate 14."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c014", "article_bluemountain": "bmtnaau_1927-07_01#c014", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "99", "page_fin": "100", "image_debut": 21, "image_fin": 22, "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=bmtnaau192707-01.2.11", "titre_corps": "THE FILMS : REAL CRITICISM PLEADED FOR BY A REVEREND GENTLEMAN AT A FILM LUNCHEON", "titre_sommaire": "THE FILMS : REAL CRITICISM PLEADED FOR BY A REVEREND GENTLEMAN AT A FILM LUNCHEON", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "99", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 4055, "texte": "THE FILMS\nREAL CRITICISM PLEADED FOR\nBY REVEREND GENTLEMAN\nAT FILM LUNCHEON.\nI.\nIN Glasgow, Friday May 13 th •( a\nlucky date) the Cinema Club oj that City\nincited to its usual monthly luncheon the\nRev. H. S. Mc Lelland B. A., B. D.,\nF. R. G. S., who made a speech. The re-\nverend gentleman comes of theatrical stock\nand has himself appeared on the films. He\nmade a strong plea for British films for our\noverseas Colonies—films showing British home\nlife and habits, not travesties or other coun-\ntries' ideas of our land and people. He said\ntoo that he would like the Press of today to\ngive real criticism of the films.\nSo now let me have a try.\nII.\nROBINSON CRUSOE.\nI will not say that the whole of this film is\na travesty— sea, hills and sky take a lot of\nmishandling before they will come down to\nthe notions of unimaginative men, and ally\nthemselves with these anti-artists to betray\nNature. But a Robinson Crusoe with a pot-\nbelly is preposterous, and that is what Mr.\nWetherell gives him—and us.\nWhen Robinson Crusoe was ship-wrecked\non the famous island he was twenty-ceven\nyears of age. He was a sailor—had for some\nyears worked on the ship and was in the full\nvigour of a British manhood. He then took\nhis dose of solitary island life.\nExercising all day in a tropical heat, alone\nand obliged to do all things for himself, his\nbody developed until there remained to him\nnot one ounce too much fat or flesh. He\nbecame perfect physically.\nAnd the intensity of the solitude played\nwith such a force on his spirit that he be-\ncame almost perfect spiritually.\nIt is these two outstanding facts which\nenchant all of us who read about Crusoe to\nourselves. In the silence of the reading we\nenter the silence of the Island. We too are\nutterly alone—for we have become Crusoe.\nWhen in a theatre the story is turned\ninto a pantomime, (and the theatre is the only\nplace wherein we have seen our great friend\nstaged) we are not alone. There are generally\nsome two thousand jolly spectators, many\nmunching chocolates, around us. In the Ci-\nnema house there are even more—for Cinema\nis more popular than is the theatre even at pan-\ntomime time.\nIn the Cinema the silence and the soli-\ntude—the two essentials—are gone, and can-\nnot, it would seem, be captured, for our\nneighbours disturb us by their presence, the\nmusic annoys us by its blatancy. It is not\nhighbrow to love this solitude and silence,\nfor I have seen a gardener who was fond of\nreading Crusoe go away with his book in\nthe evening if anyone in the cottage began\nto stir or talk.\nBut if these first two essentials cannot be\nsecured for us we can anyhow expect to find\nthe third essential—that is to say, we expect\nto see on the screen a young man of twenty-\nseven in perfect physical condition ;—athletic,\nalert, dreaming and practical at the same time.\nNow look at Mr. Wetherell. He is a\nparody of the figure of Robinson Crusoe. Mr.\nWetherell has a good face and has had the\nenergy to travel 8,000 miles and more \" to\nfilm this story in its original location \", ... so\nthe Kinematograph Weekly informs us. But,\nalas, the Kinematograph Weefaly has been\nfooled. Alexander Selkirk, say what you\nmay, is not and never can be Robinson\nCrusoe: and if the local colour to some Film\nentitled \" Alexander Selkirk \" can be sought\nfor in the isle of Juan Fernandes latitude 34\nlongitude 80, the local colour for Robinson\nCrusoe can only be looked for in Defoe's book.\nI will not here show you how utterly\n\" incorrect \" this great Defoe was in all his\nstatements for we don't care a rap if he was\ncorrect or incorrect;—he succeeds ....he makes\nus believe ; he convinces us step by step. But\nif you test any of the things that he swears\nour young Robinson did, you will find he\ncouldn't have done them and that the whole\nstory is a perfect lie—a perfect one.\nI have measured and calculated and so I\nknow. Sometimes Defoe is by chance exact ;\nmore often he is merely fantastical. Exacti-\ntude bothers him no more than it bothered\nShakespeare, Stendhal or any great writer.\nThis is one more proof that, to give a"}, {"page_pdf": 22, "page_imprimee": "100", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.22", "debut_caractere": 0, "fin_caractere_exclue": 2860, "texte": "semblance of verity, a writer, a painter, an\nactor need not trouble his head about ac-\ntual fact.\nSo then Mr. Wetherell need not have\ngone eight thousand miles and more to look for\nwhat can best be found in a book to be bought\nfor a shilling in the Charing Cross Road.\nI happen just now to be making a few\ndesigns depicting Robinson Crusoe. After\nmaking a few rough sketches about a month\nago I had the usual spell of weakness which\naccompanies all such attacks to which the\nillustrator is subject. I too longed to see\nthe Island.... to know exactly what kind of\nseas, what kind of rock formation and what\ntrees Robinson was in the midst of\nI wasted some days looking for these in\nbooks and magazines illustrated by photo-\ngraphs of coral islands, Pacific and Atlantic\nwaves, and so on. I enjoyed it very much,\nbut after three such days I gave it up. I had\nfound a palm or two, a floating cask, a bit\nof beach,—but what was that?—what was\nthis ? -1 found I was losing the whole Island\nand its single inhabitant, and all for a cask,\na palm, and a little sand.\nIt is practically what Mr. Wetherell did\n—but I stopped in time ; he went doggedly\non—went on 8000 miles. Good dog Dingo.\nBut he should have tired of his search\nafter three days as I did. His imaginative\nfaculty should have revolted and saved him\nand the situation as it did for me. For I\nwent back to the book—I relied only on\nDefoe, and I am now making an authentic survey\nof the Island of young Robinson. Not one\ntrue inch is being recorded—all is Defoe's\niantasy, and my fidelity is at the service of\nthat madman.\nDefoe's the thing and he isn't photo-\ngraphable ; but I fancy that after six months\nor six days handling the tools of the Film\nTrade I too could produce Robinson Crusoe\nto satisfy a few millions who have never read\nthe book and never will.\nIII.\nTHAT is the worst of it. The Cinema\nprevents one reading a book from which\na film has been taken. I know it for it has\nprevented me from reading the \" Promessi\nSposi \", the romance which Walter Scott\npraised unstintingly and which this year has\ncelebrated its centenary.\nI wanted much to read it and by chance\nI saw the film;—and when I began to read\nit some months later the Sim kept on coming\nbetween me and the book. Manzoni fled.\nSo, rather than see such a spectacle as a\ngreat author beaten off and out of his own\nwork by a film 1 put down the book and\nshall not take it up again. I know the story\n—I saw it all happening—it was so real that\nunless 1 again see certain things in the Manzoni\nbook which were shown in the film (and I\ncouldn't find them) I shall not believe ; and\nfaith for a reader is essential, no matter what\nlies the story-teller may tell you.\nIV.\nSO much for a first attempt to criticise the\nfilms. The Rev. H. S. Mc Lelland will\nnot be satisfied, I fear ; but I will try to do\nbetiei next time. EVERARD PEUMBLINE."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c016", "article_bluemountain": "bmtnaau_1927-07_01#c016", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "100", "page_fin": "101", "image_debut": 22, "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=bmtnaau192707-01.2.12", "titre_corps": "MONEY : REAL AND FANTASTIC", "titre_sommaire": "MONEY : REAL AND FANTASTIC", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 22, "page_imprimee": "100", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.22", "debut_caractere": 2862, "fin_caractere_exclue": 3824, "texte": "MONEY.\nREAL AND FANTASTIC.\nFIRST class stuff, money.\nReal money - pay-as-you-buy money.\nThe other thing had better be called in.\nBut how call in fantastic money—air mo-\nney talked money—confidence trick money ?\n1 hate to mention the name of Mussolini\nlest 1 be rapped severely over the knuckles\nby my good Editor, who leaves me generally\nat large but calls me to account if I grow\npoetical or political.\n1 will beg him to allow me to defend\nmyself here by admitting that I cannot be\neither poetical or political and never try. But\nI'm as fond of the notion Byron and the no-\ntion Mussolini as any man, and that's all 1\never mean.\nI like the swing of the first and the stride\nof the second. Two doctors,—one smiles,\nthe other frowns. And if a frown in Eng-\nland would rid us of these great financiers\n'£j\nand save them from committing suicide, it\nseems to me it would be better for us all.\nAssuredly better for our Theatre.\nWe need a little money to run our Thea-"}, {"page_pdf": 23, "page_imprimee": "101", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 3299, "texte": "tres for the Public. We do not need finan-\nciers to work them for us. Because financiers\ncannot work theatres. If they were artists, if\nthey were actors or dramatists,—if they were\nable to devote all their time to this curiously\ndifficult undertaking—the providing of first-\nclass Theatre work for the Public—we would\nthrow down our tools and welcome the\nfinanciers and beg them to show us how to\ndo it. *\nBut the day a financier sets his foot on\na stage, even if so modestly retiring as was\nMr. James White, that theatre is ruined. It\npays its way and goes to hell at once.\nIt can't be helped ;—it must come to ruin\nand the public suffers.\nTHE PUBLIC SUFFERS.\nHOW does the public suffer ?\nWell, it's a dear old public after all,\nisn't it ? Let us blame everyone from artists to\nfinanciers—but let us remember the public is\nall of us at our best,—waiting and ready to\nbe pleased.\nAnd the fare which even the greatest of\nfinanciers would spread before it must disa-\ngree with it.\nSeeing a plentiful dish, it swallows it.\nIt even learns to bolt it in time. And we cri-\ntics then pretend to be surprised that it is\nsuffering acute indigestion.\nThis is how the too rich food of the finan-\ncier causes the Public to suffer.\nFinanciers and their money are supposed\nto be very real practical things. No non-\nsense about them, says everyone.\nArtists and their arts are held to be\nvery fanciful unreal things—essentially un-\npractical.\nBut the truth is that the arts are perhaps\nthe most real things we possess, as we may,\nI hope, come in time to realise more se-\nriously.\nNot so that we may take our pleasures se-\nriously, but that we may not continue to be\nsuch fools—fooled by a show of money—\nfooled by every pretense rather than under-\nstand a bit better.\nNumbers of professional people will dis-\nagree with the notion that the financier should\nbe asked to keep his place. It pays them\nto have him near. The argument is sound\nand contemptible.\nBut while a financier such as White can\nutterly ruin a theatre or two, there probably\nexist one or two financiers who are sound-\nmen : by that I mean men who do not sprawl\nover the stage they are happy to support.\nSuch men of course do not squander vast\nenough sums on the Theatre, nor do they\npromise it airy millions which don't exist.\nThey do not talk like White saying \" I have\nthe best theatre and the best ' stars \" ; they\neither become Theatrical managers—-drop oil\nand the stock exchange and become one of\nthe profession; or they support it and no\none hears of them: —they prefer very wisely\nnot to be heard of. When they listen to a\ndinner table of guests saying \" Quite the best\nTheatre in London \" they smile to themselves\nand derive real happiness from that.\nThey are not great financiers if their\npleasures are not procurable without ruining\na whole theatre.\n\" Jimmy White was intensely proud of\nall his shows \" writes a friend of his. There\nwe have it:—proud of rubbish.\nSuch a man might have been proud in-\ndeed had he helped to establish a theatre in\nwhich the best artists of the age were assem-\nbled : but proud of it not because he'd\ndone it but because....\nBut it is quite useless for us to suppose\nthat financiers of that type can ever under-\nstand anything.\nSome day we shall be able to be proud\nof our financiers. At present we are not."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c018", "article_bluemountain": "bmtnaau_1927-07_01#c018", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "101", "page_fin": "101", "image_debut": 23, "image_fin": 23, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.2.13", "titre_corps": "\"LIFE A BIG FRAUD\" : WHAT JAMES WHITE THOUGHT", "titre_sommaire": "\"LIFE A BIG FRAUD\" : WHAT JAMES WHITE THOUGHT", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "101", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.23", "debut_caractere": 3301, "fin_caractere_exclue": 3859, "texte": "\"LIFE A BIG FRAUD\".\nWHAT JAMES WHITE THOUGHT.\n\" T am 60 years of age \" he said, or rather shouted in\n1 my ear \" and I tell you life is a damn fraud, What\nare we but a heap of hungry animals, thrusting each other\naside and climbing over each other *\\\nDaily Mail. July j. 7927.\nIT is just because most money men think like this and\nmost artists do not, that some things are safest if trusted\nto the artists and not to business men.\nYET White was left in charge of London Theatres and\npeople are surprised that the Theatres were and still\nare going to the dogs."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c020", "article_bluemountain": "bmtnaau_1927-07_01#c020", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "102", "page_fin": "105", "image_debut": 24, "image_fin": 31, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.2.14", "titre_corps": "REINHARDT AND CO", "titre_sommaire": "REINHARDT AND CO", "signature_source": "ANTONIO GALLI", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 24, "page_imprimee": "102", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 4301, "texte": "REINHARDT AND CO.\n\nREINHARDT and his organization have never\nbeen adequately dealt with in \" The\nMask yet it is one of the very best orga-\nnizations of the modern European stage, and\nthe organization which shares with The Moscow\nArt Theatre the honour of having given birth\nto almost all the organizations which today\nstruggle together for precedence.\nThese two have done more than any\nothers to popularize the ideas to which artists\ngave birth at the end of the last century.\nMuch has been written in books and\nmagazines about Reinhardt, but not very much\nis really known of the way he works. The\nbest and certainly the most entertaining book\nabout him appeared in Germany in 1920,\nentitled \" Reinhardt und seine Buhne \" by\nErnst Stern and Heinz Herald. Published\nby Dr. Eysler and Co, Berlin, it soon ran\ninto twenty thousand copies and has by now\npassed that figure.\nThis is mainly because of Reinhardt's\npopularity in his native land. But its success\nwas largely due to Ernst Stern the designer,\nwho crammed the book (not a large one)\nwith little sketches, big drawings, end pieces\nand what not on every page. Were I a\nfirm like Reinhardt and Co. I would value\nsuch a useful artist highly. And it must not\nbe thought that I am here poking fun at the\nProfessor who has done so much for the\nGerman stage because I speak of him and\nhis company as a Firm. I poke no fun, for\nit is a very serious matter.\nIt is because it is serious, a serious Firm,\nthat it has pushed its way to the front. No\nother firm can for a moment be compared\nwith it. I am sometimes tempted away from\nthis description of Professor Reinhardt's affair:\n1 am often tempted to call it The Reinhardt\nBrothers ; for, if the able Professor is head of\nthe whole show, his brother, Edmund Reinhardt,\n(who deserves to be raised to a professorship)\nis of an importance which cannot be over-\nestimated. He is head of the whole business.\nHis is the genius for organization, and\nwithout him the lucky professor would have\nhad a much rougher time. I very much\ndoubt whether he would not have been forced\nback into the ranks of the theorists, whereas\nnow he passes as one of the really practical\nmen. \" What Craig dreams Reinhardt prac-\ntises \" has for many years now been the\ncry (l): but he would not have practised at\nall lacking his brother Edmund.\nAgain, these two alone would have not\ngone very far had it not been for the super-\nlative talents possessed by Professor Max.\nHis first talent is this : he can pick out able\nassistants and manage them (aided by Herr\nEdmund) as few other managers are able to\ndo. He can put them to producing for him\na play or an opera or a ballet as certainly\nno one in Germany had deemed possible.\nHis second talent is an astounding capacity\nto listen to suggestions and to pick up ideas\nfrom other people, and apply them.\nWhen he began to manage a company\nsometime about 1902 or earlier Richard Va-\nlentin was one of those who provided him\nwith clever notions none of which were\nlost on the clever Reinhardts.\nOur English and American publics are\napt to suppose that the work of this Firm\nhas always been of the quality shown in\n\" The Miracle \" CEdipus Rex \" and\n\" Sumurun \", whereas it was once very\ndifferent. In fact no one who saw a \" Rein-\nhardt\" production in 1902-1903 would suppose\nit to be by the same group that produced other\nand more ambitious things later.\nPerhaps the group did change and perhaps\nnewer agents were brought in who were set\nto gathering ideas to submit to the\nBe this as it may, let us not stop to bother\nabout that: let us rather take a look at the\nkind of thing the firm of Reinhardt put its name\nto in 1902-3. The new generation may care\nto have it made a little clearer.\nTHE REINHARDT TOUCH IN 1902-4.\nI give you here a photograph of half the\nscene for \" Elektra \", Hofmannsthal's\n\" Elektra \". The whole being 12 feet high\nby about 20 feet broad 9 suppose ( 15).\nThe figure in the foreground is that of\nGertrud Eysoldt as \" Elektra \", and in the\ndoorway stands Rosa Bertens, the \" Kjitem-\nnestra \", and two attendants holding torches\npresumbly by Baruch. We have to note the\ncramped and rugged effect of this half scene,\nthe other half of which was twin to it. Nobility\n\n(i) Craig began by doing the thing in 1900 before, anyone\nelse, and damme if he isnt called theorist."}, {"page_pdf": 29, "page_imprimee": "103", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 4920, "texte": "of line there is none: the colour was that of\nany other cellar; the stone-work more or less\nrealistically dabbed in by good scenepainters\nand made to look very real.\nThe performers (especially Fraulein Ey-\nsoldt) , were more or less realistic in their\nactions and their speech. If anything a little\ntoo jerky, but ernst, very admirably ernst.\nSome critics said that the attempt to be downright\nsincere at all cost, cost a good deal too much :\nthe tragedy never seemed to wake up never\nthrilled ; but everyone had to admit that it\nwas treated all very much more realistically\nthan Berlin had been accustomed to see its\nElektras treated. Elektra herself was clearly\ndefined as a young woman in revolt. She\nhated Klitemnestra; one could see that plainly\nshe was really quite cross and worried and,\nwhat is more, she launched her invective with\nsuch force it seemed nearly to shatter her\nevery time she did it.\nWhen 1 saw the piece I remember feeling\nsorry for this young actress. I must explain\nthat I was unaware it was the great Eysoldt\nwho was before me and I was sorry because\nI believed that some young understudy had\nbeen put on at a moment's notice to pull\nthrough and I applauded loudly. I was\nrivetted upon her doings and sayings I\nwas so anxious. When it was all over I\nlooked at the programme yes, it was \" die\nEysoldt! ! \" I asked my neighbour if it was\nshe ; he said it was and said he was so glad\nto notice how thrilled I had been.\nThe whole production of this tragedy was\nadequate not more.\nMuch more than adequate was the pro-\nduction of \" Kabale and Liebe \" ( 16)\nSchiller's brilliant drama in 1904.\nIn this Reinhardt acted, and Valentin too\nand Lucie Hoflich who later became Frau\nReinhardt. Emanuel Reicher and Winterstein\nwere in the cast which was as good an all-round\ncast as it could possibly be wished. And the\nscenic side of the work was admirable. As you\nsee by the picture here. Neat, gemutlich, clever,\nnothing over-done, or under-done; it was quite\none of the best things this German firm ever gave.\nAs is natural. For the Germans are by na-\nture able to deal with the kind of drama.\nReinhardt acted splendidly; though not a\n\" great \" performance it was better than\n\" great \" : it was excellent.\nScene after scene was neat and good ;\nall went rapidly on ; there, and not since,\nwe had a genuine Reinhardt German show.\nFor \" Salome \" ( Pla 17) had not been\nquite genuine: it was the beginning of the end.\nSomeone had told the producer that big\nblue cloths, unnatural acting, plainer costuming\nand decorative effects were being used two\nyears previously in London, and that \" style\nin mise- en-scene was now to replace \" historical\naccuracy \" or\" actualities \". And Reinhardt\nsaid quite simply \" My dear Edmund, if der\nstil is a la mode in the Theatre we must\nbe in der stil \". And he set his agents at\nwork to search for it all around Germany(l).\nAll the talk at that time was about this thine\nO\nnew to Theatres der still, and the aim\nwas to stilisieren (2) everything on the stage.\nIt's a queer thing to realise, that style can\nnot be found by searching for it in that way.\nStill, they worked hard and became more\nand more decorative and less and less realistic.\nInnerlich.... ausserlich was all very well,\nthought the Firm, but v/e must first get it in\nbefore it can come out.\nAnd then began the complete Craigization\nof the great Firm of Reinhardt (3).\nThat was about the year 1901-5. It had a\nwhile earlier been trying to learn(4) from Moscow\nMoscow's speciality, ie, how to do the realistic\nplays. To a certain extent it made good\nhere ; \" Nachtazil \" (5) was not entirely the\nbest Moscow Art Theatre brand but it was\nan honest attempt to be and it achieved\na distinct success and ran into five hundred\nperformances.\nThen \" The Winter's Tale \" : here\nthe Reinhardts believed they had got hold of\nthe Craig notion ; but while the production\nmade quite a stir and a success, the group\nfelt it had not quite got hold of der stil.\nMeantime the artists collected together by\nReinhardt designers, stage managers, and\nmen with clever notions, were kept at work....\n\n(1) Reiiihardt's group were not alone in hunting this\ncockatrice : many a hardy German scholar and artist joined\nin the quest of what it must be admitted was anyhow a fabu-\nlous little animal.\n(2) Stilisieren. v. a. to write elegantly or carefully, to\nwork to reduce to geometrical forms. (Tauchnitz).\n(3) The reader will find illuminatiou on this point by\nstudying, in the light of the Reinhardt Cempany's later work,\nthe two designs by Gordon Craig reproduced in plates 14\nand 18.\n(4) 44 Learn to dance 44 learn to be gay n, 44 will to\ndance 44 wi11.... n and so on and so on, was being repeated\nand repeated all over Germany in iqoo and iqos.\n(5I Maxim Gorki's play known to us as 44 The Lower\nDepths \", first produced by Stanislawsky in Moscow and\nsoon after in Berlin by Reinhardt's group, Valentin again\ndoing a lion's share."}, {"page_pdf": 30, "page_imprimee": "104", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.30", "debut_caractere": 0, "fin_caractere_exclue": 4521, "texte": "and this is so very much to the credit of\nGermany: for, if it had not patiently sup-\nported the Firm of Reinhardt, these artists\nwould not have been able to have been kept\nhard at work. If Reinhardt and Co. have\nwon through it is because of loyal and lasting\nsupport by Germans ; it is because Reinhardt\nwas never allowed to ask twice for funds,\nfor men, and enthusiastic support of all.\nBre source of delight to this firm was\nns Diehbuhne or turning stage: and because\nit was such a delight and a genuine native\none, good results of the attractive Drehbuhne\nKind were obtained. To \" Macbeth \", to\n7 , e, Merchant of Venice \", to \" Midsummer\nNight s Dream and to \" Faust \" in fact\n:2, near'y f their plays at the Deutsches\ntheater this turn-table stage did good service.\nEspecially to \" Penthesilea \" by FCleist\nwas it useful, and especially well did Stern\nmake it act: simple and good was his\nwork here.\nBut all the time the Firm was feeling\ncramped. It was wanting to develop more\nof the larger English ideas and it knew that\ntais would be impossible in the cramped\nup space of the stage of the Deutsches\ni heatre; it wanted to realize that vast\ntheatre sketched in a certain booklet of 1905\nwhich that year appeared in Berlin in its\nGerman translation.\nBefore long it had realized it to a great\nextent and again it is greatly to the credit\nof the Germans who supported their German\nProfessor that it was realized. It is also\ngreatly to the credit of the German Jews,\nwho not only like works of art, but are fond\nof the Theatre and are glad to find the Christian\nelement of the people of Germany not anti-\npathetic towards advance and experiment;\nhappily the Germans are never indifferent\nto the arts of the theatre (I>.\n1 he Grosses Schauspielhaus was then, as\na result of all this, conceived by the Firm.\nThe Reinhardts, supported by dozens of\nbackers, took a circus, and, marching their\ntroop of producers, designers, actors, actresses,\npainters and architects into the place, trans-\nformed it into a theatre for tragedies and\nmelodramas.\nThe \" Trilogy \" of /Eschylus was attemp-\nted and \" CEdipus The Firm was rather\npleased with itself: the idea was born in\n1910 we are told : but this is not true: the\nidea was born in 1900 and in England, and\nin 1910 this Firm saw away with good\nGerman aid to realize it.\nAll its experience from 1902 in its four\nsmaller theatres (l), each theatre over-lapping\nthe other with most methodical good sense,\nall this experience of eight years with four\ntheatres, was of the utmost value to the Firm.\nIt knew what its combined force could\ndo when now it ventured out to do more in\nthe Grosse Schauspielhause: it knew what\nstage directors, artists, actors, singers it could\ncall on: it knew its supers. Again let us\nremember that this experience of eight years\nwith four theatres had only been made pos-\nsible because of the loyal and patriotic sup-\nport of Germans for Germans.\nThen as soon as it could move, it tried\nall sorts of big things: \" The Miracle \"\nwas one of these.\nIt is not difficult to produce such a spec-\ntacle : all that is needed to do it without a\nhitch is eight years' experience with four\ntheatres performing for three hundred and\nsixty five days and nights per year and the\nloyal and enthusiastic support of the largest\nand best part of a nation : and the valuable\nantagonism of a large section of the public.\nAntagonism to a man of talent with an\nidea of value who is supported is not\nbad : antagonism to any such man not sup-\nported is merely foul play.\nReinhardt and Co have not been unlucky.\nDuring the war and the German Revolution\nthe Firm suffered less than did the Moscow\nArt Theatre another organization well sup-\nported by funds and the enthusiasm of the\npublic.\nAnd now this German organization, some-\nwhat changed, is proposing to repeat its\nold success \" The Miracle \" with the remark-\nable trappings of Mr. Geddes the American\nto help to make it seem new. But still\nthis Firm has no IDEA of its own:\nborrowed notions or notions bought and paid\nfor is the most it ever has to offer. As\nperhaps will be seen more clearly if the\naccompanying designs are looked at curiously.\nWere 1 a German I would put up a\n\n(i) This is not the case in all lands : unfortunately\nit is not the case in England or in France, where only the\nold-fashioned elements are felt to be. safe, and where indif-\nference is encouraged as a sure sign of superiority.\n(T) Kleines Theater, 1902-1905 : Neues Theater, 1903-1906 :\nDeutsches Theater, 1905-1910: Kammerspiel, 1906-1910."}, {"page_pdf": 31, "page_imprimee": "105", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 432, "texte": "statue some day to Edmund Reinhardt; and\non one side of the pedestal should be in low\ni • /• ®\nrelief a group of financiers, all good old\nGerman jews, bless them for their pluck; and\non the other side would be the group of\nGerman assistants. Max would not be visible>\nbut he would be in the heart of the statue of\nhis great brother.\n—— 1\nTHREE LITTLE THEATRES\no OF PARIS. o\nREPRODUCED FROM\nNEW PARIS GUIDE FOR 1 859.\n\nANTONIO GALLI."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c021", "article_bluemountain": "bmtnaau_1927-07_01#c021", "volume": "bmtnaau_1927-07_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": 25, "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=bmtnaau192707-01.2.14.1", "titre_corps": "ELECTRA", "titre_sommaire": "ELECTRA", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 63, "texte": "ELECTRA.\nAs Produced by the Reinhardt Company (1903).\nPlate 15."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c022", "article_bluemountain": "bmtnaau_1927-07_01#c022", "volume": "bmtnaau_1927-07_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=bmtnaau192707-01.2.14.2", "titre_corps": "KABALE UND LIEBE", "titre_sommaire": "KABALE UND LIEBE", "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=bmtnaau192707-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 71, "texte": "KABALE UND LIEBE.\nAs Produced by the Reinhardt Company (1904)\nPlate 16."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c023", "article_bluemountain": "bmtnaau_1927-07_01#c023", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "105", "page_fin": "105", "image_debut": 31, "image_fin": 31, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.2.14.3", "titre_corps": "Th. des Dèlassements Comiques, 1841", "titre_sommaire": "Th. des Dèlassements Comiques, 1841", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 31, "page_imprimee": "105", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.31", "debut_caractere": 434, "fin_caractere_exclue": 470, "texte": "Th. des Dèlassements Comiques, 1841."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c024", "article_bluemountain": "bmtnaau_1927-07_01#c024", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "105", "page_fin": "105", "image_debut": 31, "image_fin": 31, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.2.14.4", "titre_corps": "Thèâtre des Jeunes Elèves, 1814", "titre_sommaire": "Thèâtre des Jeunes Elèves, 1814", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 31, "page_imprimee": "105", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.31", "debut_caractere": 472, "fin_caractere_exclue": 504, "texte": "Thèâtre des Jeunes Elèves, 1814."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c025", "article_bluemountain": "bmtnaau_1927-07_01#c025", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "105", "page_fin": "105", "image_debut": 31, "image_fin": 31, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.2.14.5", "titre_corps": "Thèâtre du Petit Lazzari, 1830", "titre_sommaire": "Thèâtre du Petit Lazzari, 1830", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 31, "page_imprimee": "105", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.31", "debut_caractere": 506, "fin_caractere_exclue": 537, "texte": "Thèâtre du Petit Lazzari, 1830."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c026", "article_bluemountain": "bmtnaau_1927-07_01#c026", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "105", "page_fin": "108", "image_debut": 31, "image_fin": 36, "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=bmtnaau192707-01.2.15", "titre_corps": "TWO LADIES", "titre_sommaire": "TWO LADIES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 31, "page_imprimee": "105", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.31", "debut_caractere": 539, "fin_caractere_exclue": 2446, "texte": "TWO LADIES.\n\nHE said: \" It is the same with ladies\nas with dramatists—bad dramatists, I\nmean \".\n\" What do you mean by that ? \" I asked.\n\" Bad dramatists nowadays believe that\nthey are only on the road to writing a great\nplay when they can teach something through\nit, and ladies stupid ladies, I mean—are\nequally serious about teaching. But I do\nnot mean dull ladies, but clever and charming\nladies who become stupid thinking it all\nout\n\" Thinking what all out ? \".\nThinking how they can get their own\nway—bring us all up.\nAnd do they ? 1 asked, \" do they\nbelieve that in getting their own way they\nare teaching the others something ? \"\n\" Apparently \" he replied, \" for look at\nthis story of the Princess des Ursins. Was\nshe not quite the stupidest woman of her\nage, and for all this considered one of its\nvery cleverest ? And most of the other court\nladies of her time—how stupid they appear\nin this book He tossed it over to me.\n\" Have you read it ? \" I asked.\n\" Every line \" he said, rising and putting\non his overcoat.\n\" And you think 1 have time to read it\ntoo? 1 asked, for 1 felt that as he had read\nit he might have taken the little extra trouble\nto review it and thereby save me the task.\nUnless you read it you won't be able\nto review it, and when you've read it you\nwont know what to say.... 1 don't.... so 1\nleave it to you. It's not a history, it's a long\nseries of novels, and not a dull line from be-\nginning to end \".\nif you were to stop a while and tell\nme the story in your own way and briefly,\ncouldn t I by taking down what you say\navoid reviewing the book and read it after-\nwards ? \".\nHe seemed to like the idea, and so, over-\ncoat and all, he sat down at my table in the\nfurthest corner of the Cafe Rcsse and\nbegan :\n\" This is the story of a fool —she was\ncalled the Princess des Ursins : no real Prin-\ncess at all but of a younger branch of the\nTremo'ille family. A Frenchwoman—pretty"}, {"page_pdf": 32, "page_imprimee": "106", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.32", "debut_caractere": 0, "fin_caractere_exclue": 4347, "texte": "—lived to the age of eighty ; for the first\nfifty-eight years did practically nothing ;—then\ngoverned Spain for about fourteen years,\ntwice was nearly crowned queen, and held\nby Saint-Simon to be \" illustrious \" among\nthe most illustrious of her time—and was\nactually a really great fool\nHe didn't lean back, nor puff out the\ntraditional three rings of cigarette smoke nor\nfrown. His eyebrows were neither raised\nnor lowered : his voice was neither emphatic\nnor lackadaisical. He was looking steadily at\nthe corner of the book which he had again\ntaken up when he began to speak. This he\ncontinued to do until he had finished and he\nnever moved. \" That \" I thought, \" is just\nthe concentration I should not have brought\nto bear on the beastly book'',—for it was\nthe fourteenth book I had had to review\nthat week.\n\" She was indeed a charming woman, this\nyoung but matured lady of fifty-eight: she\nwas beautiful as she was charming, as able\nas she was beautiful, as talented as able,\nand a great fool. She believed that she\ncould manage people, took people for pup-\npets, and it is of course one of the greatest\nfollies to do that. And so from ruling Spain\nshe fell, and in one hour. She fell out of\nthe throne into nothing, ....wherein she floun-\ndered and died \".\n\" She had as puppets the King of Spain\n-—Philippe V, that monarch who, promising\nas a youth, was practically an idiot after her\nfourteen years rule. She was his guide from\nthe age of nineteen and she was the guide\nand confidante of his young wife—his first\nwife:—consider how great her failure that\nshe was unable to shape him in those four-\nteen years. All she could do was to \" boss \"\nhim, her, and the court. You know what I\nmean by \" boss \" : 1 cannot find a better\nword to express precisely what she did and\nfailed to do. We rule, we bring up, we\nmanage or we boss She bossed. It is won-\nderful how often we see women blessed with\nthe capacity to bring up children, especially\nfemale children; also to manage some depart-\nment ; but seldom can they rule, and never\nshould they boss \".\n\" This lady was so very charming, with\nsuch honesty and truth in her disposition, that\nI grieve to think she fell so suddenly and\nthat it was all through her own fault\".\n' This writer here\"—he held up the\nbook \" tries to find all kinds of reasons for\nher failure and never alights on the correct\none. She puts it down to the enemies of\nthe Princess ....it can only be put down to\nherself\".\n\" Among her friends was Louis XIV—\na curious man who never let himself be\ngoverned though the others supposed he\nwas well under their control. A man who\nbrought himself to do and say the right thing\nto everyone although another excessively\nfoolish woman, Madame de Maintenon, for\nmany years too many, made it more difficult\nfor him than was necessary. Still, presumably\nshe filled a certain need as did the many\nhundred others who surrounded the King.\nThere is no doubt that he was a King,\nwhereas Philippe V, of Spain (his grand-\nson) around whom the Princess des Ursins\nbuzzed, was not quite a king. Whether this\nmade it easier for her or more difficult it\nwere hard to say. Richelieu might have\ntrained such a being as Philippe V—or he\nwould have removed him. She had not, we\nare to suppose, ever dreamed of removing\npeople : she was charming : she supposed she\ncould pull the strings of anything and it would\ndance as she wished : she found it danced\nas she wished nine times out of twelve. She\nwas playing at the game of marionnettes,\nwhich in itself is a silly thing to do if you\nonly have flesh and blood for dolls. Flesh\nand blood dolls are the very worst kind of\npuppets \".\n\" The author of this book is always talk-\ning of puppets. I should rather compare\nthe Princess des Ursins to a ring-master.\nShe has that air—and she cracks her whip\nall the time \".\n\" There is another woman whose book\nhas just appeared ; a certain beile Otero—\na Spanish dancer—celebrated. You have pro-\nbably never heard of her \" : ....here he did\nlean back and puffed out some imaginary rings\nof smoke.\nI hadn't heard of this book; I pricked up\nmy ears:—a book by a dancer, ....why I\ncould easily review that: but he was off on\nto it and I could only scribble down quickly\nall he said.\n\"This Otero ....a very fine woman in many\nways, gives the Princess entirely away, for she\nsays that once, when she had quarrelled with"}, {"page_pdf": 35, "page_imprimee": "107", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.35", "debut_caractere": 0, "fin_caractere_exclue": 4255, "texte": "her lover Pacco or Quaco or some name like\nthat, she left him and went to live alone in\na Hotel. She says that \" she liked \" (I re-\nmember the words for I read them over so as\nnever to forget them), \" I lifted\" she said \" to\nbe thought proud, wild and a little formidable\nbut at the bottom the whole thing was a\nbluff \".\n\" The Princess never admitted that.\n\" I could tell you more of this belle Otero\n....a very fine woman in many ways.... but\nyou had better read that book yourself \".\n\" To return to the Princess \", he went on:\n\" Her fall was brought about by the se-\ncond wife of Philippe V. The first wife\nwas one of her \" puppets \"; she bossed\nher; she told her she was a badly dressed\nslut or words to that effect, bustled her,\nhustled her ; flattered her; mentally drew on\nher and held her at the pistol's mouth \".\n\" After that fourteen years went all right\nwith that queen, though in all those years\nwhile she bossed the King she never chan-\nged him, bettered him or brought him to\nunderstand an ything \".\n\" The Queen died and a second Queen\ncame along. The Princess went to meet this\nnew Puppet so as to show her who was who.\nAnd like a great donkey she began imme-\ndiately to bustle her and hustle her about her\nlooks and dresses—just as she had done\nwith the first Queen. Result,... in three to\nfour minutes she was under arrest as a luna-\ntic, the second Queen objecting to that sort\nof thing and, having thought of the same\ntrick as la belle Otero thought of, (yes, a\nvery fine woman in some ways) the Princess\ndes Ursins was taken out of Spain the same\nevening \".\n\" And all because instead of being a\ngenuine mother or friend she was merely\na boss \".\n\" It is ludicrously tragic. And as you\nread this book you realize that this lady is\ntypical of so many other ladies of that age\nand of this—most of them ludicrous bosses—\nnot tragic because most ladies are not of so\nmuch worth as the Princess des Ursins \".\n\" I have felt the utmost interest in this\nclever woman but she awakens in me no\nsympathy for her; she is so utterly insincere\nin her whole existence. Truthful she said\nshe was to Louix XIV, and I think she\nwas; and clever and but I've told you I\nadmire her. But for all that I consider her\na fool for not knowing that if you are a\nwoman you eannot rule a King, you cannot\nrule a Queen, but you may, if lucky, be a\nfriend to both if you want nothing for yourself,\nnot even the phrase \"It was through my\ndevotion that he did this and she did that \".\n\" Then you want an angel.... \" I said.\n\" Yes, 1 want an angel—and it's curious\nhow many angels have been near kings and\nqueens—\n\"How do you know ? \"\nI believe \" :... he puffed no more ima-\nginary rings of smoke but rose and went away.\nI went to find the book by belle Otero,\nthat book which even I could review. It\nis called MY STORY and is by La Belle\nOtero. \" My! what a story \" would have\nbeen as appropriate a title— for it really is a\ngreat big story!\nIf we hadn't her word for it we might\nsuppose it to have been written for her by a\nvery able American journalist, assisted perhaps\nby a Frenchman.\nThere is a good deal about money in\nthis work which makes it interesting : \" in a\nvery short time I had 340,000 pesetas to my\ncredit \" she writes : and there is more about\nwhat she calls \" love \".\nSeveral fights are recorded and once she\nknocks another lady over with an iron chair,\nslightly frightening her: \"it was magnificent\npublicity for me \" she writes.\nMany kind acts are recorded very sim-\nply : I have counted five. Most of them were\nexaggeratedly generous acts. How intrigued\nI am as I read this book by what my friend\nhas just told me of the Princess des Ursins\nto whom generosity I gather must have seem-\ned to be something vulgar. Presumably it\nis, which is all to the good.\nLa Belle Otero tells stories of King Ed-\nward, of the Kaiser, of Thompson the English\nmillionaire and of Count Kessler \" director \"\nof the Eden Museum in New York or rather\nits Paris agent: of Russian Grand Dukes\nand of Rasputin ; of Baron Ollstreder, and an\nAssyrian host of lovers.\nShe is, like others who are what we call\n\" frail \", rather down on \" frailty \". Put it\nin a less Victorian way:—she is anything\nbut moral, and down on those who are like\nherself, especially if they are men. She"}, {"page_pdf": 36, "page_imprimee": "108", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.36", "debut_caractere": 0, "fin_caractere_exclue": 1320, "texte": "winks at Bill, calls him Cheri and then cries\nout \" Why did he steal my purse ?\" ; and\nof Harry she writes \" he came of decent\nfamily enough but he was too fond of light\ngirls\nIf I were a light girl I should write a wiser\nand a sadder book. 1 should call it \" Their story\"\nand I should set forth in the very best phras-\neology at my command how sweet, how strong,\nhow dashing, how daredevil, how terrible\nand awful and wonderful were their light\nways. I should show how genuine was my\ndelight in discovering others like unto me,\nbut i should note with special pride the\ndastardly touches which differentiated their\nlightness from mine. I would not bewaii in\na cheerio worldly way their shortcomings, for\nI'd hate to be supposed to be hankering\nafter a fame which could never be mine, for\nthe good reason that 1 really considered such\nfame to be worth two cents at most.\nI allude to the fame of the immaculate.\nBut this book by La Belle Otero is like\na hundred others. I have seen it compared\nwith Casanova's Memoirs. There is not\nthe slightest resemblance; for Casanova's\nbooks blaze with genius and this one is not\neven smug with talent: but that is not the\nfault of La Belle Otero. X. Y. Z.\nTHE PRINCESS DES URSINS by Maud Cruttwell\nDent & Sons. Price 8/6 net.\nMY STORY by La Belle Otero. A. M. Philpot\nPrice Isj~ net."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c027", "article_bluemountain": "bmtnaau_1927-07_01#c027", "volume": "bmtnaau_1927-07_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": 33, "image_fin": 33, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.2.15.1", "titre_corps": "SALOME", "titre_sommaire": "SALOME", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 33, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 62, "texte": "SALOME.\nAs Produced by the Reinhardt Company (1902).\nPlate 17."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c029", "article_bluemountain": "bmtnaau_1927-07_01#c029", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "108", "page_fin": "108", "image_debut": 36, "image_fin": 36, "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=bmtnaau192707-01.2.16", "titre_corps": "VALDIMAR MOLLER : ACTOR AND CARICATURIST", "titre_sommaire": "VALDIMAR MOLLER : ACTOR AND CARICATURIST", "signature_source": "C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 36, "page_imprimee": "108", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.36", "debut_caractere": 1322, "fin_caractere_exclue": 2611, "texte": "VALDIMAR MOLLER\nACTOR AND CARICATURIST.\nC.\nTHIS letter-sketch I have translated. It is the highest\nhonour one can receive to be knighted by a fellow artist,\nDEAR Sir Gordon•\nHearts thanks for letter.\nYou have gone away in the train and left us in the\nrain and the cold and you are sitting in the warm sun\nsmoking a cigar and near enough to Monte Carlo to\ngamble if you Want to\nAia Aia Allala\nValdimar Moller — Facista.\nTHERE are too many good actors in the Royal Theatre,\nCopenhagen for one to call Valdimar Moller the\nbest actor there—but he is certainly one of the best.\nAnd, as you see, he is a caricaturist.\nHe seems to be fond of drawing and is often to be\nseen behind the scenes during a performance making\nlittle records of everyone.\nThese appear regularly week by week in Politiken,\nthe Daily Mail cf Denmark.\nI do not know if Moller can assume many disguises,\nwhether a clever versatility is one of his particular assets,\nbut 1 do know that he has that rare thing, weight with-\nout heaviness. \" This is some one \" I say, as I see\nhim rehearsing ; \" assuredly *\\ I add when I see him per-\nforming. He is sure—he has power and I am persuaded\nthat he has not yet given the best he can give.\nOf no one in the Theatre is one more inclined to\nsay \" He has more in him than he ever shows"}]}, {"article_id": "bm-bmtnaau-1927-07-01-c031", "article_bluemountain": "bmtnaau_1927-07_01#c031", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "109", "page_fin": "109", "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=bmtnaau192707-01.2.17", "titre_corps": "FRANCESCO GALLI DA BIBIENA", "titre_sommaire": "FRANCESCO GALLI DA BIBIENA", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 37, "page_imprimee": "109", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.37", "debut_caractere": 0, "fin_caractere_exclue": 65, "texte": "FRANCESCO GALLI DA BIBIENA\nArchitect and Scenographer. 1659-1739."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c032", "article_bluemountain": "bmtnaau_1927-07_01#c032", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "111", "page_fin": "111", "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=bmtnaau192707-01.2.18", "titre_corps": "VITTORIO BIGARI", "titre_sommaire": "VITTORIO BIGARI", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 39, "page_imprimee": "111", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.39", "debut_caractere": 0, "fin_caractere_exclue": 52, "texte": "VITTORIO BIGARI\nPainter and Scenographer. 1692-1776."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c033", "article_bluemountain": "bmtnaau_1927-07_01#c033", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "113", "page_fin": "113", "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=bmtnaau192707-01.2.19", "titre_corps": "STEFANO ORLANDI", "titre_sommaire": "STEFANO ORLANDI", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 41, "page_imprimee": "113", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.41", "debut_caractere": 0, "fin_caractere_exclue": 39, "texte": "STEFANO ORLANDI\nScenographer 1681-1760."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c034", "article_bluemountain": "bmtnaau_1927-07_01#c034", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "115", "page_fin": "115", "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=bmtnaau192707-01.2.20", "titre_corps": "A NOTE ON THREE SCENOGRAPHERS : WITH THREE PORTRAITS", "titre_sommaire": "A NOTE ON THREE SCENOGRAPHERS : WITH THREE PORTRAITS", "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": "115", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.43", "debut_caractere": 0, "fin_caractere_exclue": 3655, "texte": "A NOTE ON THREE\nSCEN OGRAPHERS\nWITH THREE PORTRAITS.\nFRANCESCO GALLI DA BIBIENA was born\non Friday December 12th 1659 and was\nthe second son of Giovanni Maria Galli and\nOrsola Possenti, being two years younger than\nhis somewhat more famous brother Ferdinando.\nFrancesco in his youth was a very hand-\nsome fellow as the Autoritratto in the Galleria\ndegli Uffizi at Firenze shows us. He lived\nto the age of eighty, leaving behind him five\nchildren. The engraving of him here shows\nhim well advanced in years, and was pub-\nlished the year of his death which happened\non Saturday January 21st 1739.\nThis family was closely connected with\nthe Theatre, seven of them being architects\nof Theatres or Scenographers, and some of\nthem were both.\nPerhaps the most brilliant of the family\nwas Giuseppe, son of Ferdinando, and assu-\nredly he took after his uncle Francesco.\nNever could anyone say of old Ferdinando\nthat he was brilliant. He was steady, he\nwas gifted; he laboured; he was silent; he\nwas an idealist. Not so Francesco and nephew\nGiuseppe (!). They were chatterboxes and\nrakes. But if they were mercurial they could\nlabour too could labour very hard as the\nfacts show: but they had to cut up in life to\nget through it, and ir art too in order to do\nwell; and this their work and their faces\ntell us.\nSTEFANO ORLANDI, (1681-1760), and\nVITTORIO BIGARI (2), (1692-1776), both Bo-\nlognese, when the two Bibiena Brothers\nFerdinando and Francesco were well into\ntheir stride, were painters of prospettiva. Not\nonly in the Theatre was this playful craft\npractised but in the small courtyards of the\nPalaces of Italy, especially in those of Ro-\nmagna; and the value of these perspectives\nis best guaged today by looking into these\ncourtyards as you pass the big gates of the\npalaces of Bologna. Large and small pain-\ntings of Perspectives were also much loved,\nand two of their best today hang in the\nPinacoteca of Bologna and are certainly\nfantastic, likeable, and very theatrical.\nOrlandi was more often occupied in sce-\nnical things than Bigari, and in 1713 when\nhe was the pupil of Pompeo Aldrovandini,\nwent to Roma to paint some sceneries for\nthe Teatro Capranica.\nFilippo Juvarra was then doing marvels\nof scenic work in Roma, and Orlandi must\nhave seen some of it for he stayed there for\ntwo years and eight months.\nThese two, Bigari and Orlandi, collabo-\nrated upon many a canvas together, Orlandi\npainting the architecture and Bigari the fi-\ngures; and it is a fortunate collaboration for\nthey assuredly work together like one man.\nOrlandi was a very able, useful, man, for\nhe acted not only as assistant to Aldrovandini\nand Bigari but also to Orsoni for seven years,\nassisting him in painting scenes and the audito-\nriums of Theatres in Bologna, Lucca and\nTorino. It was in Lucca and Torino that\nJuvarra worked about the same time, so that\nhe seems often to have been near that master.\nNATURE CONTAINS THE ELEMENTS, IN COLOUR\nAND FORM, OF ALL PICTURES, AS THE KEY-\nBOARD CONTAINS THE NOTES OF ALL MUSIC.\nBUT THE ARTIST IS BORN TO PICK AND CHOOSE,\nAND GROUP WITH SCIENCE, THOSE ELEMENTS,\nTHAT THE RESULT MAY BE BEAUTIFUL.... AS THE\nMUSICIAN GATHERS HIS NOTES, AND FORMS MIS\nCHORDS, UNTIL HE BRINGS FORTH FROM CHAOS,\nGLORIOUS HARMONY. TO SAY TO THE BAINTER\nTHAT NATURE IS TO BE TAKEN AS SHE IS, IS TO\nSAY TO THE PLAYER, THAT HE MAY SIT ON THE\nPIANO. Whistler.\nTHE AIM OF ART IS NOT TO COPY NATURE, BUT\nTO EXPRESS IT. Balzac.\n(1) A portait of Giuseppe Bibiena with a brief Note on\nhis life, appeared in \" The Mask \" January 1926.\n(2) Vittorio Bigari must not be confused with Francesco\nBigari, a decorator of Theatres who flourished in Bologna\nabout 1760,"}]}, {"article_id": "bm-bmtnaau-1927-07-01-c037", "article_bluemountain": "bmtnaau_1927-07_01#c037", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "116", "page_fin": "116", "image_debut": 44, "image_fin": 44, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.2.21", "titre_corps": "CORRESPONDENCE", "titre_sommaire": "CORRESPONDENCE", "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": "116", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.44", "debut_caractere": 0, "fin_caractere_exclue": 5029, "texte": "CORRESPONDENCE.\n\nUNFORTUNATE MR. IVOR BROWN.\nJ. S.\nThe following is a private letter written by Mr. Gor-\ndon Craig to Ihe Mask Editor in reply to some com-\nments on an article in \" The Saturday Review May 21\nby Mr. Ivor Brown respecting The Mask and its staff.\nBeing a private letter we have perhaps taken a liberty\nin printing it ; but as it touches the spot we have thought\nwell to publish.\n\nE. G. C.\nMY dear Semar :\nDon't ask me what I think ought to be written\nin reply to Mr. Ivor Brown's columns about \" The Mask \"\nin \"The Saturday Review\". These articles are writ-\nten week by week ; a dramatic critic has a dog's life of\nit: if he yelp, snarl or whine, I am never surprised.\nWhat else can he do ? Yes, he can write well—some\nof them do. Brown seems to me to write well. Don't\nbe cross with him because he hasn't troubled to read\nthe things I wrote when he was a boy : don't hurl\na brick at him because he never heard of my rough-\ning it and producing plays under the most exaspera-\nting difficulties. He's not alone in being too much out of\nsympathy with what I've done and what I do to bother\nabout reporting me correctly. And why should he ? ....if\nour London public isn't alive to the value of Shakespeare,\nCongreve and Wycherley, if it has not sufficient pride to\ndemand a fine Theatre architecture, magnificent players\nand popular prices, and English opera and a palace to\nhouse it in, it won t mind what it's dramatic criticism is\nlike : it will ask young Brown to do his worst and our\ndear old Ervine to do anything he pleases.\nIt's this little English public (some 100,000 or so out\nof millions) that is the trouble. This little group is a\nselfish group and thinks Britain was made for it to play\nwith. If there arrives a Bolschevic Ballet from Lenin-\ngrad it thinks it has come solely to delight a rare few :\nif an airman flies twice round the world in six hours this\nlittle public goes out to meet him, pushing and pulling\neach other; the individuals of this little group cry \" Bravo \"\nand are quite assured that they have settled the whole\nmatter:—if they say \"Bravo \" Bravo it is.\nAnd Brown has to serve this group : if he didn't\nhe'd be sacked and lose a small salary, which I trust has\nbeen raised since he kicked at the shins of \" The Mask *•\nNow, be reasonable! Just forgive Brown and thank\nGod you are not tied as he is to any public: try to\nrealize that you would lose nothing if you sacked yourself,\nfor you get nothing for working about twice as hard as\nBrown.\nIf Brown thinks you and your staff are \" Florentine\nexquisites \" and happy-go-lucky idiots, let him : if he en-\nvies you, why should you object. If he takes you for an\nidler, what on earth does it matter to you. His readers\nthink he is far too kind, for they have already put you\ndown as a thief, a sponger, a drunkard or a what-not.\nYou live in Florence ! that's enough I I But if anyone wants\nto throw mud at Florence they will have the Fascisti to\ndeal with—your position, remember, is that of a guest.\n\" Damn them \" you say of such a public—l know ;\n-—damn them by all means, but don't bother about the\nmen who write for them.\nNever bother about anyone who writes in papers for\na gang. Wait till you are pressed into that service and\nthen curse yourself for an idiot.\nThe mind of that public is like the minds of the same\nlittle group in Paris, New York, Berlin, everywhere, and\neven in Florence remember.\nif you ever read the works of Monsieur Bombet\nyou would know that in 1808 and in 1814 the mind of\nthe French public was a weak blank in regard to all the\narts; and our Public in England—this small section of\nthe British Public—is as blank, as weak, and almost as\nobjectionable.\nIf you say you once saw a cat cross a road their\nminds busy around in the hope of finding the offal the\ncat may have picked up or passed by. If they can't find\nit they will invent some offal, and there you are. It's their\nway you see; they are that sick lot that was here in\nItaly some years ago, always drawling out their discon-\ntent with all things. You recall how sick it was: Mus-\nsolini told it so and began to prescribe. It has vanished :\n—perhaps it's only hiding, but at any rate here in Italy\nwe are not any longer pestered by the dirty little thing.\nIt made life \" unendurable\"—as it makes life in\nLondon and Pans and Berlin and New York \" unendu-\nrable \". Still, in those great centres this sick portion of\nthe public is tolerated to an astounding degree, the huge\npublic actually finding something amusing in its antics.\nDo forget, when feeling too bitter about Mr. Brown\nand Mr. Agate and those who seem to you to \" mis-\nrepresent \"all \" The Mask \" is doing, that they are the\nslaves of this group and simply cannot help it.\nDo you see ? It's a sort of penance that Mr. Ivor Brown\nhas to undergo ; not for any sin of his own for I'm sure\nhe is guileless and quite unspotted by the world; but\nthere you are again. The guileless generally have to\nsuffer when they take and the guileless labourer\nalways tries to be worthy of his hire.\nYours"}]}, {"article_id": "bm-bmtnaau-1927-07-01-c039", "article_bluemountain": "bmtnaau_1927-07_01#c039", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "116", "page_fin": "116", "image_debut": 44, "image_fin": 44, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.2.21.2", "titre_corps": "UNFORTUNATE MR. IVOR BROWN", "titre_sommaire": "UNFORTUNATE MR. IVOR BROWN", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 44, "page_imprimee": "116", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.44", "debut_caractere": 17, "fin_caractere_exclue": 392, "texte": "UNFORTUNATE MR. IVOR BROWN.\nJ. S.\nThe following is a private letter written by Mr. Gor-\ndon Craig to Ihe Mask Editor in reply to some com-\nments on an article in \" The Saturday Review May 21\nby Mr. Ivor Brown respecting The Mask and its staff.\nBeing a private letter we have perhaps taken a liberty\nin printing it ; but as it touches the spot we have thought\nwell to publish."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c040", "article_bluemountain": "bmtnaau_1927-07_01#c040", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "116", "page_fin": "116", "image_debut": 44, "image_fin": 44, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.2.21.3", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "E. G. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 44, "page_imprimee": "116", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.44", "debut_caractere": 394, "fin_caractere_exclue": 5029, "texte": "E. G. C.\nMY dear Semar :\nDon't ask me what I think ought to be written\nin reply to Mr. Ivor Brown's columns about \" The Mask \"\nin \"The Saturday Review\". These articles are writ-\nten week by week ; a dramatic critic has a dog's life of\nit: if he yelp, snarl or whine, I am never surprised.\nWhat else can he do ? Yes, he can write well—some\nof them do. Brown seems to me to write well. Don't\nbe cross with him because he hasn't troubled to read\nthe things I wrote when he was a boy : don't hurl\na brick at him because he never heard of my rough-\ning it and producing plays under the most exaspera-\nting difficulties. He's not alone in being too much out of\nsympathy with what I've done and what I do to bother\nabout reporting me correctly. And why should he ? ....if\nour London public isn't alive to the value of Shakespeare,\nCongreve and Wycherley, if it has not sufficient pride to\ndemand a fine Theatre architecture, magnificent players\nand popular prices, and English opera and a palace to\nhouse it in, it won t mind what it's dramatic criticism is\nlike : it will ask young Brown to do his worst and our\ndear old Ervine to do anything he pleases.\nIt's this little English public (some 100,000 or so out\nof millions) that is the trouble. This little group is a\nselfish group and thinks Britain was made for it to play\nwith. If there arrives a Bolschevic Ballet from Lenin-\ngrad it thinks it has come solely to delight a rare few :\nif an airman flies twice round the world in six hours this\nlittle public goes out to meet him, pushing and pulling\neach other; the individuals of this little group cry \" Bravo \"\nand are quite assured that they have settled the whole\nmatter:—if they say \"Bravo \" Bravo it is.\nAnd Brown has to serve this group : if he didn't\nhe'd be sacked and lose a small salary, which I trust has\nbeen raised since he kicked at the shins of \" The Mask *•\nNow, be reasonable! Just forgive Brown and thank\nGod you are not tied as he is to any public: try to\nrealize that you would lose nothing if you sacked yourself,\nfor you get nothing for working about twice as hard as\nBrown.\nIf Brown thinks you and your staff are \" Florentine\nexquisites \" and happy-go-lucky idiots, let him : if he en-\nvies you, why should you object. If he takes you for an\nidler, what on earth does it matter to you. His readers\nthink he is far too kind, for they have already put you\ndown as a thief, a sponger, a drunkard or a what-not.\nYou live in Florence ! that's enough I I But if anyone wants\nto throw mud at Florence they will have the Fascisti to\ndeal with—your position, remember, is that of a guest.\n\" Damn them \" you say of such a public—l know ;\n-—damn them by all means, but don't bother about the\nmen who write for them.\nNever bother about anyone who writes in papers for\na gang. Wait till you are pressed into that service and\nthen curse yourself for an idiot.\nThe mind of that public is like the minds of the same\nlittle group in Paris, New York, Berlin, everywhere, and\neven in Florence remember.\nif you ever read the works of Monsieur Bombet\nyou would know that in 1808 and in 1814 the mind of\nthe French public was a weak blank in regard to all the\narts; and our Public in England—this small section of\nthe British Public—is as blank, as weak, and almost as\nobjectionable.\nIf you say you once saw a cat cross a road their\nminds busy around in the hope of finding the offal the\ncat may have picked up or passed by. If they can't find\nit they will invent some offal, and there you are. It's their\nway you see; they are that sick lot that was here in\nItaly some years ago, always drawling out their discon-\ntent with all things. You recall how sick it was: Mus-\nsolini told it so and began to prescribe. It has vanished :\n—perhaps it's only hiding, but at any rate here in Italy\nwe are not any longer pestered by the dirty little thing.\nIt made life \" unendurable\"—as it makes life in\nLondon and Pans and Berlin and New York \" unendu-\nrable \". Still, in those great centres this sick portion of\nthe public is tolerated to an astounding degree, the huge\npublic actually finding something amusing in its antics.\nDo forget, when feeling too bitter about Mr. Brown\nand Mr. Agate and those who seem to you to \" mis-\nrepresent \"all \" The Mask \" is doing, that they are the\nslaves of this group and simply cannot help it.\nDo you see ? It's a sort of penance that Mr. Ivor Brown\nhas to undergo ; not for any sin of his own for I'm sure\nhe is guileless and quite unspotted by the world; but\nthere you are again. The guileless generally have to\nsuffer when they take and the guileless labourer\nalways tries to be worthy of his hire.\nYours"}]}, {"article_id": "bm-bmtnaau-1927-07-01-c042", "article_bluemountain": "bmtnaau_1927-07_01#c042", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "117", "page_fin": "117", "image_debut": 45, "image_fin": 45, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.2.22", "titre_corps": "FOREIGN NOTES", "titre_sommaire": "FOREIGN NOTES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "117", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 6649, "texte": "FOREIGN NOTES.\n\nGLASGOW.\nPETER PATTISON.\nWE have occasional longings for our own Drama and Thea-\ntre here, for a Scottish Theatre, and a Scotch Drama.\nIt never gets very far, but it will get further some\nday. Meantime the Oxford Players have been here. You\nmay at first discover little connexion twixt the Oxford\nPlayers and the Scottish Theatre : Later that\nthe two are inseparably linked by Tchekov, Strindberg,\nPirandello, and Bernard Shaw. To fail to discern how\nItaly, Stockholm, Moscow and London link Oxford and\nGlasgow here, is to admit here one is an ignoramus, so\nwe all nod our heads, and w th a volume of Tchekov in\none pocket, and our Burns in the other, we go about\nhoping for the best.\nThe coming of the Oxford Players was announced\nas though that was going to settle it once and for all:\nWell, they have come and gone.\nThe financial result was apparently satisfactory to those\nbehind the visit, although, of course, it was by no means\nthe most interesting of plays that received the best support.\nThe probability now seems to be that we shall have\nanother •• Commercial \" theatre added to our existing houses\n—an actual repertory theatre or a Scots theatre directed\nwith imagination still seems as far off as ever.\nPerhaps an outline of the situation here would interest you.\nBefore the war there was a Glasgow Repertory Thea-\ntre which was begining to pay its way and gain ground\nwhen 1914 put an end to its career. After the war\nthose who had been interested in it had either died off\nor had got beyond caring whether there was a serious\ndrama or not ; it was not resumed. Instead, however,\nthere had oecured an impetus towards a national expres-\nsion gtnd, when things began to shake down towards a\nmore or less normal, one form this took was the institution\nof a Scottish National Theatre which started as an off-\nspring of the St. Andrew's Society of Scotland.\nYou can see what that meant; the impulse towards\na theatre was captured by the tartan-waving brigade. It\nseems dubious from the begining, but it was supported by\nthe Press and those who had hopes that it might even-\ntually shake itself free from this influence. It has not\ndone so ; it continues to be dominated by a group who\nare limited *to a Burns-supper outlook ; its products are\nchiefly of two kinds—Lowland comedy in which the range\nis from a type that corresponds to ihe pre-war Manchester\nproduct to something not so deft in its appeal to popula-\nrity but similar in genre to the \" Bunty Pulls the Strings\nand Highland sorrow drama framed on the Synge recipe,\nwhich we have christened the 4< Ochone— Ochee School\nAt their best these might quite please a wandering En-\nglishman who would see in them something unsophistica-\nted and natural, something that would correspond to his\ncaricature idea of a Scotsman as a sentimental elder with\na whisky bottle in his pocket, or a gentleman sorrowing\nby the sea in a kilt. But, if they ever did, they no lon-\nger represent the true Scotland.\nAnd anyway was there ever any good came out of a\ndeliberate national literature? When we get to trying to\ndo that, is it not a sign that we have passed the mark,\nthat we are fighting a lost cause ? It seems to me that\nthe product of such an impulse must naturally be the\nbloodless bric-brac, its appeal to the sentimental and the\nantiquar'an.\nYou are in the position to have an international mind,\nis that true or is it not ?\nI know, of course, that we must fight out our own\nbattles, but when one is a porpoise in a school the rest\nof whi ch are chasing tartan fish one cannot help wonde-\nring if the lure one follows is a phantom.\nTo the Scottish National Players must be added a\nnew influence which is making itself felt in a group cal-\nling themselyes The Scottish Renaissance Group. Of a\nhigher artistic purpose and with a wider outlook than the\nPlayers they too are wedded to the dialect and the idea\nof a deliberate national literature. So far as regards their\nstage-work, they have given two or three separate perfor-\nmances of one-act plays of Scottish-life. They have as\ntheir guiding light Mr. C. M. Grieve, who is regarded as\nsomething of a firebrand in Scottish literature circles, and\nfor producer Mr R. F. Pollock, who works on the as-\nsumption that the Scot is by nature a taciturn fellow,\nwho, he holds, cannot be faithfully represented by verbal\neloquence. For words he would substitute gesture, move-\nment, intonation, rhythm. To obtain the effect of real\nlife he introduces a wealth of gesture and movement,\nwhich seem, to a mind accustomed to the economy of\nthe commercial stage, to be irrelevant, but which has the\neffect of holding the attention closely. So far he has\nworked on a limited stage and with one-act pieces which\ndid not suit his purpose too well. His methods of pro-\nduction include the numbering of each movement, and by\nthis means, he says, he has a highly effective control over\nhis actors. That is to say that by a Number 1 125, for in-\nstance, both he and his company know the exact positions\nof each character. He is thus able to take up rehearsal\nat any point, and although I have seen but his one set of\nplays I must say that his actors, small-town people, were not\nonly word perfect but had an ease on the stage that would\nnot have shamed an experienced professional company.\nOne more dramatic fluttering remains to be touched\nupon. Last year the British Drama League extended its\norganization to Scotland and instituted the first dramatic\nfestival which was held in Glasgow. You will probably\nbe able to imagine better than I can describe what it\nwas like. Anyway it ran true to type. It will stimulate\nacting in the country, but I do not think can improve the\nstandard of acting and production until there is an estab-\nlished headquarter theatre, either in Glasgow or Edin-\nburgh, from which they can draw on for ideas and expe-\nrience.\n\nAMSTERDAM.\nX.\nIN the State Museum here was held last month a large\nexhibition of Mr. Gordon Craig's designs and woodcuts\nand books. The rooms were arranged by the architect\nH. Th. Wijdeveld, who cannot touch anything, even a\nlittle thing like a catalogue, without adorning it. This one is\nalready a rare item with collectors, printed in black and\ngold on white with a Foreword by the Dutch poet\nWerumens Buning. The poster in brown and white was\ndesigned by Herman Kloppers, the actor.\nThe exhibition was a spontaneous tribute to the ar-\ntist by his Dutch friends, all the woodcuts having been\npurchased by them before they were exhibited.\nThe greater number came from the collection of\nJ. Mees P. Rzn.\nThe exhibition remained open for a month and was\nvisited by about two thousand people."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c043", "article_bluemountain": "bmtnaau_1927-07_01#c043", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "117", "page_fin": "117", "image_debut": 45, "image_fin": 45, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.2.22.1", "titre_corps": "GLASGOW", "titre_sommaire": "GLASGOW", "signature_source": "PETER PATTISON", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "117", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.45", "debut_caractere": 16, "fin_caractere_exclue": 5858, "texte": "GLASGOW.\nPETER PATTISON.\nWE have occasional longings for our own Drama and Thea-\ntre here, for a Scottish Theatre, and a Scotch Drama.\nIt never gets very far, but it will get further some\nday. Meantime the Oxford Players have been here. You\nmay at first discover little connexion twixt the Oxford\nPlayers and the Scottish Theatre : Later that\nthe two are inseparably linked by Tchekov, Strindberg,\nPirandello, and Bernard Shaw. To fail to discern how\nItaly, Stockholm, Moscow and London link Oxford and\nGlasgow here, is to admit here one is an ignoramus, so\nwe all nod our heads, and w th a volume of Tchekov in\none pocket, and our Burns in the other, we go about\nhoping for the best.\nThe coming of the Oxford Players was announced\nas though that was going to settle it once and for all:\nWell, they have come and gone.\nThe financial result was apparently satisfactory to those\nbehind the visit, although, of course, it was by no means\nthe most interesting of plays that received the best support.\nThe probability now seems to be that we shall have\nanother •• Commercial \" theatre added to our existing houses\n—an actual repertory theatre or a Scots theatre directed\nwith imagination still seems as far off as ever.\nPerhaps an outline of the situation here would interest you.\nBefore the war there was a Glasgow Repertory Thea-\ntre which was begining to pay its way and gain ground\nwhen 1914 put an end to its career. After the war\nthose who had been interested in it had either died off\nor had got beyond caring whether there was a serious\ndrama or not ; it was not resumed. Instead, however,\nthere had oecured an impetus towards a national expres-\nsion gtnd, when things began to shake down towards a\nmore or less normal, one form this took was the institution\nof a Scottish National Theatre which started as an off-\nspring of the St. Andrew's Society of Scotland.\nYou can see what that meant; the impulse towards\na theatre was captured by the tartan-waving brigade. It\nseems dubious from the begining, but it was supported by\nthe Press and those who had hopes that it might even-\ntually shake itself free from this influence. It has not\ndone so ; it continues to be dominated by a group who\nare limited *to a Burns-supper outlook ; its products are\nchiefly of two kinds—Lowland comedy in which the range\nis from a type that corresponds to ihe pre-war Manchester\nproduct to something not so deft in its appeal to popula-\nrity but similar in genre to the \" Bunty Pulls the Strings\nand Highland sorrow drama framed on the Synge recipe,\nwhich we have christened the 4< Ochone— Ochee School\nAt their best these might quite please a wandering En-\nglishman who would see in them something unsophistica-\nted and natural, something that would correspond to his\ncaricature idea of a Scotsman as a sentimental elder with\na whisky bottle in his pocket, or a gentleman sorrowing\nby the sea in a kilt. But, if they ever did, they no lon-\nger represent the true Scotland.\nAnd anyway was there ever any good came out of a\ndeliberate national literature? When we get to trying to\ndo that, is it not a sign that we have passed the mark,\nthat we are fighting a lost cause ? It seems to me that\nthe product of such an impulse must naturally be the\nbloodless bric-brac, its appeal to the sentimental and the\nantiquar'an.\nYou are in the position to have an international mind,\nis that true or is it not ?\nI know, of course, that we must fight out our own\nbattles, but when one is a porpoise in a school the rest\nof whi ch are chasing tartan fish one cannot help wonde-\nring if the lure one follows is a phantom.\nTo the Scottish National Players must be added a\nnew influence which is making itself felt in a group cal-\nling themselyes The Scottish Renaissance Group. Of a\nhigher artistic purpose and with a wider outlook than the\nPlayers they too are wedded to the dialect and the idea\nof a deliberate national literature. So far as regards their\nstage-work, they have given two or three separate perfor-\nmances of one-act plays of Scottish-life. They have as\ntheir guiding light Mr. C. M. Grieve, who is regarded as\nsomething of a firebrand in Scottish literature circles, and\nfor producer Mr R. F. Pollock, who works on the as-\nsumption that the Scot is by nature a taciturn fellow,\nwho, he holds, cannot be faithfully represented by verbal\neloquence. For words he would substitute gesture, move-\nment, intonation, rhythm. To obtain the effect of real\nlife he introduces a wealth of gesture and movement,\nwhich seem, to a mind accustomed to the economy of\nthe commercial stage, to be irrelevant, but which has the\neffect of holding the attention closely. So far he has\nworked on a limited stage and with one-act pieces which\ndid not suit his purpose too well. His methods of pro-\nduction include the numbering of each movement, and by\nthis means, he says, he has a highly effective control over\nhis actors. That is to say that by a Number 1 125, for in-\nstance, both he and his company know the exact positions\nof each character. He is thus able to take up rehearsal\nat any point, and although I have seen but his one set of\nplays I must say that his actors, small-town people, were not\nonly word perfect but had an ease on the stage that would\nnot have shamed an experienced professional company.\nOne more dramatic fluttering remains to be touched\nupon. Last year the British Drama League extended its\norganization to Scotland and instituted the first dramatic\nfestival which was held in Glasgow. You will probably\nbe able to imagine better than I can describe what it\nwas like. Anyway it ran true to type. It will stimulate\nacting in the country, but I do not think can improve the\nstandard of acting and production until there is an estab-\nlished headquarter theatre, either in Glasgow or Edin-\nburgh, from which they can draw on for ideas and expe-\nrience."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c044", "article_bluemountain": "bmtnaau_1927-07_01#c044", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "117", "page_fin": "117", "image_debut": 45, "image_fin": 45, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.2.22.2", "titre_corps": "AMSTERDAM", "titre_sommaire": "AMSTERDAM", "signature_source": "X", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "117", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.45", "debut_caractere": 5860, "fin_caractere_exclue": 6649, "texte": "AMSTERDAM.\nX.\nIN the State Museum here was held last month a large\nexhibition of Mr. Gordon Craig's designs and woodcuts\nand books. The rooms were arranged by the architect\nH. Th. Wijdeveld, who cannot touch anything, even a\nlittle thing like a catalogue, without adorning it. This one is\nalready a rare item with collectors, printed in black and\ngold on white with a Foreword by the Dutch poet\nWerumens Buning. The poster in brown and white was\ndesigned by Herman Kloppers, the actor.\nThe exhibition was a spontaneous tribute to the ar-\ntist by his Dutch friends, all the woodcuts having been\npurchased by them before they were exhibited.\nThe greater number came from the collection of\nJ. Mees P. Rzn.\nThe exhibition remained open for a month and was\nvisited by about two thousand people."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c045", "article_bluemountain": "bmtnaau_1927-07_01#c045", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "118", "page_fin": "129", "image_debut": 46, "image_fin": 57, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.2.23", "titre_corps": "BOOK REVIEWS", "titre_sommaire": "BOOK REVIEWS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 46, "page_imprimee": "118", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.46", "debut_caractere": 0, "fin_caractere_exclue": 6127, "texte": "BOOK REVIEWS.\n\nTHE THREE SITWELLS. A Bio-\ngraphical and Critical Study. By\nR. L. Megroz. The Richards Press.\nPrice 8/6 net.\nUNFORTUNATELY I have never\nhad the pleasure of meeting one\nof the clever Siiwells, Almost every-\none but I seems to know the Sit-\nwells: even actors lunch with them.\nAnd I am pretty sure of this ; that if\nI knew the Sit wells I would write of\nthem far more sympathetically than I\nintend to do, for not only have I\nheard from their friends that they are\nthe most winning of persons, but they\nhave no foes to say the contrary.\nAnd I suppose I should have had\nthe pleasure of meeting the Sitweils\nand been charmed by them had I\nnot been an ordinary book-reviewer—\nmainly of Theatrical books; a reviewer\nof the old school, and, I may add, of\nthe old coat and old hat.\nBut it is not the school, the hat or\nthe coat that must be blamed ; and if\nI am behind the times, it is mainly\nbecause of the Theatre : it is due to the\nfact that I am so often behind the\nscenes when I should be out at up-to-\ndate teas, at luncheon parties, popping\nin here, there, everywhere. Had I\ndone that I should then have been\nalways coming across the Sitweils and\ncould have agreed with everyone else\nthat they really were the life and soul\nof the party. For 'tis the modern recipe\nfor being a success to be all over the shop.\nPut him in his little bed\nSure to fall out on his head\nIn one place he never could stop\nHe was herey there, everywhere—\nall over the shop.\nI Perhaps these lines, (sung so often\n| as you remember by Maestro Tich)\nhave influenced people more than\n| we suppose: perhaps they have in-\nj fluenced the Sit wells ; they ought to\nj have influenced me; only, as I say,\nj I am so very often tied to one place\n| —behind the scenes. To me the Fub-\n| he is something on the move seen\n| through a hole in the curtain : it is a\nthing, not a lot of persons : it is not\npossible to meet it casually ; it is only\nencountered face to face and then —a\ntough fight. This is the ancient way\nof estimating the others if you are one\nof the ones.. ... by that I mean one of\nthe workers.\nAnd in my day we had but a single\nambition—not to be one of the others.\nThis is a particularly theatrical fail-\ning ....confession or boast. To us the\nstage is the world and the world a\nrather poor stage. We are the only\npeople really alive—the others out\nin the stalls, pit and gallery, have\ncome to our playhouse to get a breath\nof fresh air. Our theatre can give\nthem that, for it is more immense\nthan the narrow little world in which\nthey dwell. A bell rings—the lights\nare dimmed—the audience out there\nobey the signals; the great curtain\nrises; the souls of the spectators are\nreleased.\nIt may seem strange to the reader\nof these lines that I, (an ordinary re-\nviewer of books) should write as\nthough I belonged to the theatre : but\nso I do, and that is not difficult to\nexplain. I am what is called a\nsupernumary ; I walk on. The manager\nof the fine playhouse whose boards I\ntread at night does not know that I\nam a reviewer of books: it would not\nconcern him if he did; the arts do\nnot concern us much in the Theatre.\nWhat concerns us is our profession—\nand getting it over. And this I have\ncome to learn during the run of many\nfine pieces. I may say I am a great\nadmirer of the old Pro, his sole aim\nbeing to get it over, to bring down\nthe house, to help a brother ark-floater\nin need when he is forced to spout\nbilly. They say they are pretentious\nfolk, these actors: it is not true : for\nan actor is only really himself when\non the stage and off it he does not\nreally exist.\nOff the stage he has to be often\ndoing things he hates doing. He is\nnot like the other artists : is he quite\nan artist ? is he not rather an artiste ?\nThese other artists are the poets, the\ncomposers, the architects: and the pain-\nters are artists, and the sculptors and\nthe novelists, and the writers of all\nkinds (all but reviewers). These are\nthe lucky ones: we theatre folk are\nnot lucky. What I mean exactly by\nthat I will attempt to tell you.\nIt is lucky—very lucky—not being\nforced to keeP incessantly before the\npublic : how lucky it is to be able to\ngo away to write, to go away to paint,\nto go away to compose, to mix with\nthat world which people believe exists\noutside and beyond a theatre while\navoiding that trash..,, the gang-made\npublics of the cities ; that trash which\nknows everything; that trash which\ndecides and shapes all things for a\nshort time—for about twenty years an\ninnings. How lucky for the good\nartists I have named to be able to be\nas it were invisible and pass through\nthis sweating sweated crowd and get\naway from it— so as to shape and de-\ncide little things which last for ever\nand bless for ever those who find\nthem. What matter that today one\nof the crowd from which he escaped\ndamns Chopin to exalt Ravel; these\ntwo alone count, and the crowd and\nits damned gangs are of no ,account\nwhatever.\nBut we of the stage are not so lucky\nand there is no \" escape \" for us, so\nwe stay behind, and, in defence, we\nthrow up barriers—the old footlights\nfor example. On this side of them we\nare entrenched, on that side there are\n\" the others \" ; they are no longer in-\ndividuals they are a thing—they are\nthe Public. To the thing as an idea\nwe doff our caps ; we are its \" loving\nand obedient servants The indivi-\nduals have faded into the distance\nand have become but a wave of the sea.\nWe \" artistes 0) —am I never co-\nming back to the Sitweils—ever since\nthe time of Thespis have had to work\nunder certain disadvantages, the chief\nof these being,\n(1) we had to appear personally in\nfront of the public;\n(2) and at fixed hours ;\n(3) we had to advertise ourselves\nand our show;\n(4) we had to risk the quick dis-\npleasure of the public and suffer\nor enjoy its approval.\nAll this being a distinct handicap\nto us (and a terrible ordeal for our\nwork), we were allowed certain com-\npensations. We alone were allowed\nthem by grace of some unwritten law\nand we are still allowed a few of\nthem. Cursed with the responsabili-\nlies of publicity we were recompen-\nsed by the privileges.\n\n(i) Perhaps a still better title is\n\" performers \"."}, {"page_pdf": 47, "page_imprimee": "119", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 6879, "texte": "(1) We were not expected to mix\nin society :\n(2) We were excepted from atten-\nding regularly at church on\nSundays:\n(3) We were able to escape recei-\nving invitations to lunch, tea or\ndinner for we were forced to eat\nand drink when we could, not at\nthe proper fixed hours :\n(4) Our photographs were taken and\nexhibited free of charge and we\nwere given any copies we needed :\n(5) We were always able to pass\nfreely into any entertainment from\nthe Opera to the Zoo :\n(6) We had the special privilege of\ngiving a few free seats in our\ntheatre to friends :\nPoor privileges but our own.\nBut nowadays these privileges are\nno longer ours alone, for a great num-\nber of persons who 44 do things \"\ntoday claim the right to all these pri-\nvileges without accepting any of the\ngrim responsabilities. Everyone claims\nthe right to get and give away to\nothers our tickets, to get free entrance\nto all entertainments, to have their\nphotographs taken and put in the pa-\npers, to go to the Zoo free of charge,\nto avoid high teas and toppling lun-\ncheons and so forth.\nPerhaps today certain dilettante\npoets, painters and those others who\ndabble in the fine arts have been fa-\ntally stung by the realization that\nTennyson, Browning, Swinburne, Ros-\nsetti and so many fine writers and\npainters of the Victorian age passed prac-\ntically unnoticed by the crowd, where-\nas the performers (snorting thought I)\nIrving, Toole, Hare, Bancroft, Tree,\nthe Kendalls. Ellen Terry, Lily Lang-\ntry, were known far and wide in our\nIsland and their pictures were in a\nthousand shop windows, their doings\nrecorded in every journal, their slightest\nmovements chronicled. And this seem-\ned just the very thing to arouse en-\nthusiasm in the public for their idols\nand to attract the said public to the\ntheatres.\nPerhaps to a dilettante poet of today\nthe notion of being forced to sit or\nstroll quietly at Farringford, down\nChelsea way or up in Putney holds\nsomeihing chilling and forbidding in it.\nIt certainly was an ordeal in those\ndays to be a great Poet And then\nsuddenly the Press came to the rescue,\nand released the poets and artists, who\nnever wanted to be released at all, by\nturning them adrift loose in the field\nwhere the actors and other 44 artistes \"\nmunched at the marigolds and mangle-\nwurzels.\nT I T - B I T ART.\nTOWARDS the end of the Victo-\nrian era it became more and\nmore difficult for an artist to live for\nhis work, or to get even a little no-\ntice, because a newer journalism was\nfeeding the mind of the public with\nsuch a quantity of Tit-Bits, Scraps, and\nAnswers to hundreds of questions it\nhad never asked :\n44 How to make a rabbit-hutch out\nof a soap box; how to write a short\nstory ; how to act; how to paint \" :\n-—and every ore began on the rabbit\nhutch, until he found that acting,\nwriting and painting in bits was far\neasier. Then he took to the arts and\nno longer troubled so much about the\nsuccess of Penley or Irving because\nhe too could make just as much stir\nas they did, with a very little trouble,\nThe next thing the new recruits had\nto learn was how to sell these tit-bits\nof work. But there again advertise-\nment helped.\nA\nAdvertisers asked for the rubbish\nand got it : 44 We want short stories \"f\n44 Actors wanted A minimum of\nexperience sufficient And now not\nonly tenth-rate wqrk is held to be\nbetter than first-rate work but is ad-\nvertised as first-rate, even as every\nlittle afternoon-tea is heralded by trum-\npets as though it were some state\nDrawing-Room at Buckingham Palace.\nIs this not true ?—open the half-\npenny paper and see for your self.\nIf Mrs. Mc J ones the charming little\nnobody takes a walk, photographs of\nher walking are despatched to all the\njournals in Europe and America: if\nthe cat of the Countess Posh dies it\nis photographed and we all see it\nbeing lowered into its homemade tomb :\n44 the design for this and for the coffin\nwas made by the Countess herself,\nwho is as clever at sculpture as EP-\nstein. She made this small nest for\nher loved little Trixie out of an ordi-\nnary Sunlight soap box \". And if to-\nday a young poet writes a tit-bit of a\npoem (provided it is not anything so\nsolemn as the poems of Francis Thomp-\nson), by Jingo, then there's a stir\namong the London amateur press\nagents... provided that some other poet\nat the same time fails to supply a\nmore trivial poem.\nThese amateur press agencies I need\nnot picture to you : you can see them\nany day by the hundred.\nAs you know, on many of the\ndoors of Cavendish Square, Port man\nSquare, Belgrave Square, St. James's\nSquare and Grosvenor Square, on the\ndoors of many of the most swagger\nhouses of London today the word\n44 PUSH - is to be seen outside and\ninside.\nTwenty years ago, so they tell me,\nthis same PUSH was a word found\nonly in the city on its office doors:\nand in Fleet Street, and on the doors\nof all business houses, professional press\nagencies, advertising agencies and so\nforth.\nBut with the growth of tit-bit art\nand the development of the amateur\npress agencies there has been born in\nBelgravia and Mayfair the desire to\npush that art, to keep it before the\npublic, to advertise it and those who\ndo it; and even, when possible, to sell\nthese bits in their drawing-rooms.\nTHE AMATEUR.\nI rather like the amateur : but I think\nI like him only so long as he acts\nlike one Many a lady and more\ngentlemen have in the past been ama-\nteurs. Some wrote verse, others wrote\nprose ; some have painted, others have\nacted ; a few took up architecture and\nplayed quite prettily with it; more\ninclined towards music and did that\nwell. I don't mean sold well,—that\nwas not the aim of the amateurs yes-\nterday. They loved the things they\ntried to create and loved to practise\nhow to perfect them when amongst\nthemselves. Some of them would give\na great deal of time to their acting,\nsinging, verse-writing; and some would\nspend quite a little fortune preparing\nlittle performances of big plays or con-\ncerts for their special group ; ... but\nthey always respected the professional\nand never robbed him of a paragraph\nor a penny: today they do.\nNowadays an amateur comes out as\nquickly as possible before the general\npublic, and behind him come a hun-\ndred and more press agents—his per-\nsonal friends-—pushing and cackling like\npeople on the Bourse.\nThen they all begin to make money\nout of their job.\nSome make a great deal—especially\nthose who, on the strength of being a\nsocial celebrity and pretty or charming,\ntake up the stage and, at an hour's\nnotice, submit to being pushed into\nroles a professional actress does not\nlook to fill, or to fill successfully, for\nat least ten years.\nFor certain Jews bent on exploiting\nour Theatres are ever on the alert\n44 gallantly '* snapping up such people.\nThe fact that they are Jews is to\ntheir credit but no one supposes that\nthese Jews represent that ancient race\nas it likes to be represented. And if\nthe three Sitwells bad gone in for"}, {"page_pdf": 48, "page_imprimee": "120", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 6797, "texte": "theatricals rather than for verse-writing,\nwe should be hearing of their triumphs\nin plays of the kind that Professor\nReinhardt, assisted by Gest the agent,\nlikes to juggle with in America. His\nability, his capacity to make a silk\npurse out of] an amateur's ear, is re-\nmarkable— and he makes a feature of\nthe trick.\nI think that were I a famous pro-\nducer, and if I held my profession at\nall in honour, I would keep amateurs\nin their place if I had any such ladies\nor gentlemen working with me. I think\nthere is probably a good deal of hope\nin the amateur;—but I for one would\nhelp him and her to keep their place.\n1 his would not only bring them finally\nto be rid of the last marks of ama-\nteurism, but it would be the very least I\nshould owe to my profession and my\nprofessional associates.\nNow though I cannot feel that the\nSitwells have been so ill-advised or so\njuggled with by their impresarios as\nhave the few amateur performers of\nunfortunate celebrity, I do feel that\nthey are running a big risk by too\nhastily coming out with a blare of\npublicity and all for rather too little.\nThe risk they run is that of being\nshortly forgotten.\nThis book about the trio has made\nme feel that the Sitwells are not par-\nticularly important. Which is too bad\nof the book.\nTheir work is pretty enough here\nand there, and quite curiously well-\nknown considering the short time they\nhave been writing.\nMR. R. L . MEGROZ.\nAND now Mr. Megroz comes for-\nward with his book in which he\nexplains the meaning? of these writings.\nI wonder why that is necessary ?It\nmay be because they have not been\nat it long enough that their work\nstands in such need of explanation.\nMr. R. L. Megroz probably offered\nto explain it to the Public and the\nSitwells said he might: but when he\nhas explained I am left feeling any-\nthing but happy it all.\nVerse which needs explaining coup-\nlet by couplet had better have been\nrewritten before it was subjected to the\ncontempt of authorized explanation.\nSome of the Sitwell verses need\nno word of help from Mr. Megroz,\nas, for example, these perfectly clear\nlines :\nThe countess sit and plays fantan\nBeneath the portrait of great Queen\nAnne.\nThat is perfectly clear—all but the\nuncertainty as to whether it was a\nsingle. Countess who sit or several who\nplays.\nNext I\nThe shuffled cards like the tail of a bird\nUnfolding its shining plumes are heard.\nMr. Megroz, after quoting these\nfour lines, proceeds to make us wise\nabout it all, the notion being that after\nwe have had it explained to us we\nother amateur verse-makers can all go\naway and, pointing out the effects to\nour special circle in our own words,\ncan have a shot at something like it\nourselves thus showing how clever we\nare : that will help the boom.\nThis is what Mr. Megroz writes:\n\" In this remote music may be heard\nthe preludings of the unfaltering de-\nlicacy of the 4 Elegy on Dead Fas~\nhion '. The fluent phenomenal uni-\nverse of nature is seen stilled and\nremote in a diminishing mirror while\nthe still, inanimate objects are re-\nanimated with a vitality transferred\nfrom the world of living things '*.\nIt now only remains for one of the\nSitwells to explain the meanings of\nMr. Megroz. I love a far fetched joke,\nbut only if it last a short time; so if\nthis book by the Spanish gentleman be\na joke, it only fails because it is too\nlong and too cumbersome. But to go on.\nWhile the Countess or Countesses\nplays cards:\n4< The maid in her poivder-closet soon\nBeneath the fire of the calm full moon\nWhose sparkles) rubies, sapphires spill\nFor her tipon the window sill\nWill nod her head, grown sleepy, I wis\nAs Alaciel or Semiramis,\nPasiphae or the lady lsis\nEmbalmed in the precious air like spices.\nThe Sitwells are too much and not\nenough.\nThree is too many—and they seem\nto have lost the formula for stopping\nthe machine, and so come out with\nverses, verselets, couplets; there is no\nstopping them. And who would want\nit to cease if the voices were sufficient.\nThey are insufficient; but this is not\nbecause each Sitwell is not in away\na poet in him or herself, but is mainly\nbecause there are three Sitwells instead\nof one and the three are blatantly\nand clumsily over-boomed.\nLet one of them call himself Smith,\nanother Jones, and leave, to the best of\nthe three, the honourable name of\nSitwel!. Then we shall be able to\nhear him as he sings. As it is we\nare rather inclined to laugh at the way\nthe amateur reclame agents have mud-\ndled the whole show for these young\npeople. It is these agents, not the\nyoung artists, who are to blame. It\nis the agents who have allowed three\nof the same name to be billed toge-\nther, even encouraging them to sing close\nupon one another, and the result is a\nracket.\nIt is typical of most amateurs, this\nignorance of the business,—how to do\nit and how not to.\nIf the Sitwells were acrobats they\nwould form a charming group. They\nwould out-Voke the remembrance of\nthe Vokes family.\nIn their spangled livery I see this agile\ntrio swinging from the trapeze to the\nhushed orchestral tunes they surely love\nso much. But would these vivid crea-\ntures submit to the necessary disci-\npline ? i\nIt would take even three Sitwells at\nleast six or seven years* training to\nshape a little show out of their com-\nbined activities ; but it would he a\nshow—three as one—a little group\ndoing a single act. As it is it is din\nand a blunder.\nAnd this book which unites them as\n\" the Sitwells \" commits the very same\nblunder as do the young poets them-\nselves.\nHad Mr. Megroz divided his work\ninto three parts—and had he skipped\nall the unnecessary showman introduc-\ntion about the \" Londesboroughs and\nthe Beauforts \" Sir George Sit-\nwell and \" the meaning of Sitwel-\nlism \", he would anyhow have done\nsomething.\nI do not believe that the young poets\ntake themselves half as seriously as he\ndoes, and, as I turn back to some of the\nmany verses quoted in this book, so as\nto see whether I have not been utterly\nunjust about them, I feel I am far\nmore just than ever Mr. Megroz has\nbeen. For anyhow can I say that\nall this promises something.\nIt is a calamity that three such in-\ntelligent beings should have been en-\ncouraged to adopt the actors* and\nshowmen's tactics, to blunder over these,\nto appear under the one name, to sing\nthe same song in three different keys ;\nand to fail to entertain. But the future\nholds promises.\nI think I can see through the dust\nraised that, should Mr. Osbert Sitwell\nbe engaged by a good circus manager\nand do his turn alone, he will after\nmuch practice really do something worth\nwhile.... if only his brother and sister\nwill stop it and sit still. The distin-\nguished-looking sister Sitwell too would\nshine brilliantly, be seen and even heard,\nif only the two brothers wouldn't keep\nhopping around and raising such a din.\nAs for Mr. Sacheverell Sitwell, .„»well,"}, {"page_pdf": 49, "page_imprimee": "121", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 6906, "texte": "he is bound to do something some day\nvery worth while:—but then his sister\nand brother must first be far off shining\nquietly, not disturbing us or him : and\nthus their brother's pitch will not be\nqueered.\n\n<IT MI U r 111111111 ■■(■■ll———mmmuanarnmnmm IMJ. -HI mm maMmmammmmgamammMaam\nSCARLET AND BLACK, A C/iro-\nnicle of the 19th Century. Stendhal.\nTranslated by C K. Scott Moncrieff.\n2 Vols. Chatto & Windus. Price\n7j6 each.\nOH, to be Mr St. John Ervine for\nonce ! for here is something good,\nand I utterly incapable of damning it.\nI may not praise I may not pull\nit to pieces—it is far too perfect ; but\nwere I St. John Ervine I could do it\n1927 parochial justice;—l could sus-\npect it. Seeing it so very fine I could\nside with the public, that often, but\nnot always, sound thing : that anyhow\nbig and fearsome thing : I could, per-\nsuaded by them, doubt my senses : and\nis that not pretty St. John's way.\nI take it to be the hall-mark of jour-\nnalistic honesty, this way of refusing to\nbe fooled at the suggestion of the many.\n44 What's that you say—God wai-\nting to see me - tell him to wait.\nTill I have consulted the public\nThe audacity is very small, the assump-\ntion no more than that which can be\nput on with a little spirit gum—the\nnet result pathetic in the extreme ; yet\nthe whole performance naturally im-\npresses some five to ten thousand\nreaders who perhaps believe him a\ndescendant of the great English actor\nand speak of him as 44 courageous\nMr. Herving \".\nWould 1 could be courageous in\nhis way after having read 44 Scarlet\nand Black \", so that, by putting Sten-\ndhal in his place, I could find a seat\nfor myself.\nAll I can do is to admit that my\ndelight has been so great that, were\nthe book packed with faults, I am ut-\nterly unable to see one of them.\nHe does invite one to pause and\ncriticise : woe betide him who should\nseize that opportunity; the muses\nwould rend him as they did Pentheus.\nAnd on second thoughts perhaps I\n<lon't regret not being St John Ervine\na regular Pentheus - one who has\nhis head screwed on the right way,\n~,.but will ultimately forfeit it if I\nknow the muses:\nA Life of Stendhal I have not\nread ; I do not know if he has yet\ncome to his own but I gather he has\nnot. Yet he was born in 1783,\ndying in 1842 ; knew and loved Italy\ndeeply, and is a product of the Na-\npoleonic times. It is exactly a hun-\ndred and four years ago that he\nwrote 44 Scarlet and Black \" so that if\nhe is not yet well known it is a pity.\nIt is a pity we should have come to\nknow the work of his imitators and that\nwe should have troubled to dislike them\nonly because we saw a vague some-\nthing behind all their work, which\nwasn't genuinely of them.\nDoubtless we are always being chea-\nted of the best by this process. But\nwhat has delayed this translation so\nlong ? Probably the fact that Mr. Scott\nMoncrieff was not born earlier,—is it\nthat?—is he the only living English-\nman who can translate these master-\npieces ? Possibly no one else in our\nislands ever read them in French - but\nhaving read them why hesitate to get\nthem translated ?\n\" That remarkable man who,\nwith a Napoleonic tempo, traversed\nhis Europe, in fact several centuries of\nthe European soul, as its surveyor\nand discoverer\", wrote Nietzsche of\nStendhal; and Nietzsche not given to\nover praise; adding 44 it has required\ntwo generations to overtake him one\nway or other.... he had the most pro-\nfound eyes and ears of any Frenchman\nof this century\nYet in certain centres there is a\nloud call raised today for Fascist art\n—for a sign of art created with a\nMussolini tempo. We can be happy\nif in a hundred years we even observe\nthat: it will be with us soon, but we\nshall not see it.\nWe shall have ninety others of in-\nferior gifts thrust under our eyes by\nthe coming Ervines. Stendhal him-\nself predicted that he would have a\nlittle success about the year 1880—\nmeaning he would be read by about\nthat date. Bless him for a sceptical\nenthusiast.\nTaine said he had read 41 Scarlet\nand Black \" thirty to forty times. No\nsooner read but you want to re-read it.\nDoes that explain the intense excite-\nment that is in the book ?\nHis better known work 44 La Cha-\ntreuse de Par me \" is as wonderful a\nthing 8s this book 44 Le Rouge et Le\nNoir \" if what you call wonderful is\na stunning good story so alive that you\npass out of this age and enter into the\nother, know the people, and, mixing\nwith them, are hurried breathlessly\nthrough the adventures which speed\nalong like a perfect working film,\nonly it is far more exciting than any\nfilm you have ever seen—the breath-\nlessness is not artificial; it's the ge-\nnuine thing.\nBut we have to realize that it is\nnot for his religion, his satire, his\nmastery of psychology or for any of\nthe things for display of which we\nover-praise our Shaws, Pirandellos and\nthe rest, but for the way he does his\nwork—for his touch-for being Stendhal,\nthat we delight in him and all great\nwriters, and it is for this reason that\n1 predict what many a better critic\nalready knows ; that in 1960 or 1980\nit is Beerbohm who will be held high\nand Shaw and Co forgotten.\n\nMUSIC. Classical, Romantic and\nModern, by Eaglefield Hull. Dent\n& Sons. / 0/6.\nTHIS big book of almost 500 pages\nis very unreadable: by that I\ndo not mean mischief but I mean that\nunless you are a composer, or a con-\nductor, or a musician, or a musical\ncritic you cannot follow it. They can,\nfor they can correct it as they go\nalong with their 44 Ah, he likes Cho-\npin \" or 44 Oh, he dislikes Debussy \"\nand that to these signifies something\ndefinite. I cannot see what he likes\nor dislikes and if I did, it would sig-\nnify nothing, so I am the very man\nto have a say about 44 Music, Clas-\nsical, Romantic and Modern \" and i\nwill say straight away that the title is\nmisleading. Modern music may be\nClassical or Romantic or bolh; Ro-\nmantic music may be classical and the\nclassics of music as we know are mo-\ndern, more than up to date, right\nahead of the times. ....Monteverdi for\nexample, at least so they tell me.\nThe author is a sane man and\nsides with the angels. Says he 44 We\nbelieve with Bizet that there are only\ntwo kinds of music, good and bad \" :\nthen why, I ask myself, did he not\ncall his book Music : good and bad ?\npresumably because he objects to say\n44 this is bad music \"or 44 that is bad\nmusic \" and always prefers to say it\nis good even when bad.\nHe writes of Preclassical, Classical,\nthe Rococo, Romanticism, Realism, of\nneo-primitivisrn, neo-classicism, impres-\nsionism, expressionism, atonality, bi-\ntonality, and of politonality.\nThese labels are a nuisance and\nI have rarely heard a serious musician\nwho used them : they are made to amuse\nthe beginners who invent them. Who\ninvented the term Expressionism ? as-\nsuredly not Kandinsky or Schonberg ;\nsome budding journalist perhaps, clever\ndog. I have never heard any of the\nmusic of Schonberg ; it is my task to\nwrite about music not to listen to it."}, {"page_pdf": 50, "page_imprimee": "122", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 6816, "texte": "When forced to listen, 1 like the worst,\nbut I will come to M. Darius Mil-\nhaud by and by.\n1 was somewhat alarmed about\nSchonberg one day in London in, I\nthink, the year 1912 or *l3 ; it was\nreported to me one day from a reliable\nsource that M. DiagelLw had asked\nCraig to stage a ballet with music by\nSchonberg. It seems to have occurred\nto the Russian that the Englishman's\nmise-en-scene and the Viennese music\nwould outrage London society. That\nis what alarmed me.\nI for one have never found any\nsense in Craig's scenes : they simply\ndont appeal to me ; but I see nothing\nin them to flutter the dove coteries at\nCovent Garden. And so I wondered\nwhether Schonberg's music v/as not\njust as ordinary as Ciaig's scenes. In\nfact I was disappointed to think that\nthis Austrian music (which I had ne-\nver heard) might be quite good; I\nmean by that quite reasonable.\nMr Hull, (the author of this book)\nhas quite a little to say about Schon-\nberg, his 44 ugliness \", his theories, his\nfreedom, and his restless mind. He\ncalls him a 4 4 ferocious innovator \" and,\nreferring to the first part of his 44 Pier-\nrot Lumaire \", calls it 44 miraculously\ndistorted I do not care what he\ncalls him, cr it, but I like to hear that\nafter Schonberg had written it (in\n1912) the composer abstained from\nwriting music altogether for eight years.\nWhat I like about Schonberg is that\nhis whole progress has been one of\nthrowing things overboard because peo-\nple would perch on them like birds\nand like birds misbehave. Naturally\nhe throws things overboard. He likes\nto go on quietly and not in a mess.\nThe publicity of journalism assisted by\nprivate curiosity are all against that:\nno sooner has Schonberg seated him-\nself at piano, at table, or in a caf£\nthen up start two journalists or three\nbusy-bodies and ask 44 Do you believe\nin utterly destroying G Sharp \" ? On\ngetting the brief reply, they tender\ntheir effusive thanks and go home and\ntry to find the word in a dictionary.\nAs they cannot find it they decide\nthat it must be an expressionism.... as\nindeed it is.\nBut 44 bad \" words lead to a lot of\nbother like 44 bad \" music and here I\ncome as 1 promised to M. Darius\nMiihaud.\nI have heard some of his music :\nI think it is the most horrific music\nin the world, and I like it very much.\nI know I like it, because I want to\nhear the same piece again. 1 regret\nthat Mr Hull, (the author of this\nbook) does not inform his reader\nabout 44 Les Malheurs \".\nThis short opera Mr Hull does not\nmention ; did he not dare to ? I dare,\nand indeed confess to a longing to\nhear it many times until I come to\nknow it. I am as you see on the\nhigh road towards turning my back on\nit as old stuff, but how do that, I ask\nyou, until I know it, oh so well.\nOn first hearing it I began to spy\nits one weakness ; I found myself being\nenchanted by the dirge sung by the\nanimals as they carried Eurydice to her\ntomb. I said to myself 44 that's good \" •\nthat was a bad sign and I want to\nhear it over and over again so as to\ncome to say of the whole piece 44 that's\ngood and that is good \" and then good\nbye 44 Orph6e \". And what else, I\nask you gende reader, is art for except\nto be rid of it and pass on to newer\nart (1).\nThere is much dissonance in this\nopera; I wont say too much disson-\nnance until I come to know it through\nand through, but there is certainly not\nenough blue sky in it from which to\nmake a sailor a pair of breeches, and\nyou must admit that the sky was made\nand then dyed blue for that very\npurpose.\nM. Miihaud does not want his\nopera to be cut up to make blue bags\nfor anyone, and if you will pause for\na moment you will recall that the aim\nof mankind is always to use art for its\nown exalted purposes.... the exalted\npurposes of mankind.\nThis book by Mr Hull will help\nto thwart mankind, so 1 admire it,\nnay, more, I love it for that. The\nmore books which talk of neo-policy\nand semi-pottery, and pre -expressions -\ntical mysteries the better. Thwarts for\nthwarters say I, but if I say it quickly\nsix times running I shall make myself\nridiculous.... so you say it for me.\n\nHAKLUYTS VOYAGES, with //-\nlustrations. Volumes 1, 2, 3& 4.\n/. M. Dent & Sons, Prices 7/6 a\nVolume (for the complete 8 volumes\nwhen issued £ 3).\nWHILE attractively illustrated by\nold and new designs, some by\nThomas Derrick, and with an Intro-\nduction by Mr. John Masefield, who\ngives a great deal of interesting infor-\nmation on the structure and equipment\nof Elizabethan ships, there ought to\nbe many people to sit down to read\nfrom end to end the full eight volumes,\nin their charming old English; but\nanyhow it is a book into which\nmany more will dip with ever renewed\ndelight, and wherever they shall put\nin a thumb they can be fairly sure of\npulling out a plum.\nThe chapter headings themselves are\nrich in promise; as, for example,\n44 The voyage of Sir Hugh Willoughby\nknight, wherein he unfortunately peri-\nshed at Arzina Reca in Lapland,\nAnno 1553 \", or 44 The voyage of\nM. Anthony Jenkinson into Russia the\nthird time, Anno 1566 \", and pre-\nsently *4 A briefe rehearsall of all the\ntravailes of M. Anthony Jenkinson \"\nand 44 A note of all the necessary\ninstruments and appurtanances belon-\nging to the killing of the Whale \".\nIn short, a rich and genuine work,\nand we look forward to the issue of\nthe remaining four volumes.\n(i) If there be any one who knows\nanother use for it will he communicate\nit to me. My name is Jones —B. O. Jones,\nC|o The Mask, Box 444, Florence.\n\nLE MASQUE ET L'ENCENSOIR.\nGaston Baty. Blond et Gay. Paris.\nPrice 16 Francs.\nM GASTON BATY is one of the\n• energetic men in the French Thea-\ntre whose energy is doubtless looked on\nwith anything but favour in those\ntheatric circles where energy is held to\nbe rather deplorable, I allude to energy\nof mind, vivacity of fancy not to beefy\nenergy. That, thank heaven, still com-\nmands respect—if not exactly the respect\nit deserves.\nLet us never despise beefy c nergy :\nthere are men who have proved its value\non every stage. I wouldn't disparage\nMr. Seymour Hicks for worlds: M.\nGrettilat has my lasting reverence;\n44 Here we are again so long as\nthe lungs can stick it, is never to be\ndenied. Let physical energy and its\naccompaniment of seeming mental energy\nbe ever welcome : why, for all I know,\nM. Gaston Baty has that too.\nAnyhow, he is alive ; alive in other\nways. Born in 1885 he is but foity-\ntwo. Always a lover of the theatre,\nhe aimed to be metteur en scene, not\nactor, not author.\nA curious aim. Melteur en scene\nis what we call producer ;—but abroad\nit means producer with ideas—not a\npicker-up of notions. It is a position*\na rather creative mind can fill.\nWe often read the careless (or de-\nliberate) paragraphs about such and\nsuch a man producing, let us say,\n44 The Miracle \". Only last week I\nsaw the name of Mr. Morris Gest\ndown as having \" produced \" that"}, {"page_pdf": 51, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 6868, "texte": "production, which all the world well\nknows was turned out by Reinhardt's\nGroup. Groups produce and creative\nindividuals produce; theatrical agents\nlike Gest never do.\nM. Baty seems to be no group.\nHe is, with Jacques Copeau, Dullin\nand Pitoeff, one of the promising indivi-\nduals of the avant-garde in Paris.\nHe is then to some extent a fol-\nlower of Mr. Gordon Craig, which is\nall to the good ; —but—and here he\nwill find support today and lose it to-\nmorrow— he \" n'accepte pas toutes les\ndoctrines \" writes M. Brillant in his\nlong and interesting Preface to this\nbook. Which means that M. Baty\nwill accept all he can understand and\nthat is more than most theatre folk do.\nThey mostly accept the ideas they can\nturn into dollars, marks and francs.\nM. Brillant quotes a passage from\nMr. Craig's \"On the Art of the\nTheatre \" (1911) where the English-\nman tells the younger men to take\ncare not to suppose that the founda-\ntion of two or three little Theatres in\nParis, Berlin or London will bring\nabout a renaissance—for only by the\ndiscovery of the Laws of the Theatre\nwill this be brought about.\n\" J'ai !a conviction 99 adds M. Bril-\nlant, \" que Baty a ' decouvert * ces\nlois et c'est pourquoi j'ai confidence en\nson succ&s et dans la fecondite de son\neffort \".\nBut M. Baty has not yet defined\nthese laws 4f decouvert \". In his\nbook which is full of spirit and many\na good thing he tells us about /Es-\nchylus and the Mystery plays of the\nmiddle ages, and does not deny that\nit is something besides the script that\nis the play. We still wait to hear\nwhat are his ideas as to the Laws ;\nand there is no reason to suppose he\ncan not tell us,—nay, more, contribute\nsomething towards their interpretation.\n\nPIETER BRUEGEL THE ELDER,\nby Virgil Barker, with 55 Illustra-\ntions. The Arts Publishing Corpo-\nration, New York* Price $ 2.\nI IAViNG no name, and he more\n1 1 than two days old, this painter\nof the north, waiting in vain for some\none to name him, named himself.\nBreugel was his village and he sup-\nposed that he had crept out of that\nvillage like one of those temptations\ntroubling Saint Anthony.\nUnknown is the date of his birth,\nand his parents equally unknown.\nThey say he was a proud, over-\nbearing, kindly, preposterous, level-\nheaded man, this son of a village;\nand that while people tolerated his\ngenerosity they bridled if he laughed\nat their stupidity.—Where do I get\nmy facts? ....why, from an Archive\nof course.\nHis first master was Coeck—and I\nshould like to quote extensively from\nMr. Virgil Barker's account of his pro-\ngress. But if you do not get the bcok\nand read it every word for yourself\nwhy should I help you to a few\ncrumbs ; and if you do you won't need\nthe crumbs from me. That you will\nget it I do not for a moment doubt.\nIt is the only book in English on this\ngreat painter, this moving artist, and\nis well illustrated. The fifty-five repro-\nductions will last you your life-time :\nhave no fear that you will tire of them.\nYou cannot tire of them because there\nis not a square centimetre in anyone\nof the fifty-five pictures that is not a\ndelight. I almost added \" to the eye \" :\nbut I stopped in time, knowing how\ncontemptible is the eye to so many\ndramatic critics of the hour.\nThese queer folk suppose that the\neye is a kind of inferior brain, or a\njoint of the tail. They are puzzled\nhow intelligent people can descend to\nenjoy things through the eye. That\nthey are defective in that sense they\nwill not admit: they prefer to find the\ndefect in their brother's eye and dis-\nparage this little organ of the soul.\n\" Sensual, I call it \", they mutter.\nIn pictures it's permissable, in Thea-\ntricals, it's not : Pictures are the work\nof painters, and painters \" have no\nminds \" as Mr. Tom Craven of Ame-\nrica said but recently. And when peo-\nple have no minds how far is it then\nto Tipperary.\nSome of our Dramatic critics make\na great to do with their superior snif-\nfing about the detestable eye of the\nspectators in a theatre. These spec-\ntators enjoy spectacle ; that is enough\nfor the Dramatic critics. Such men\nwould have asked Disraeli to leave\nthe theatre because he rather liked the\nscenical and was always saying so.\nIt appeals \" only to the eye \" is\nthe bald utterance of an Ervine and\nhis prompters. Pluck it out, Ervine,\nbut pluck your own out first. Then\nyou will no more see to pluck out\nours—and you will no more see the\ntrees, or the sunlight, or the sea; and\nyou will not see these beautiful dra-\nmatic pictures by Bruegel, pictures\nwhich are full of the things actors still\nneed to learn, and stage directors are\nalready learning.\nBruegel lived in the days of Rabe-\nlais and Lucas Cranach, ana died ac-\ncording to Garollo in 1569. Married\nin 1563, he had two sons, Jean and\nPierre, who were also painters.\nMr. Virgil Barker claims for him\nthe company of Shakespeare, Cervan-\ntes and Montaigne; (what will Ervine\nsay?) and indeed, but for the awful\ndefect of appealing to the eye, he\nwould deserve that place.\nFor my part, remembering Goethe's\nwords expressing a desire to cease from\nwords and to depict things only, I\nplace him above these three.\nBut to do so you have to be prejudi-\nced : to be cross with a pack of Pu-\nritans and, as that's not worth it, let\nus leave the old painter with those\ngreat men of letters and rest assured\nthat the good sack or wine will prove\nthat after all when all's said all's one.\n\nMAN—AN INDICTMENT, by\nA. M. Ludovici. Constable S\" Co.\nPrice 14/- net.\nTO begin with, this book could\nhave been brought out at far less\nthan fourteen shillings ; and yet do you\nblame the power seated in the office of\nthe firm Constable and Co. for wish-\ning to rake in a few more shillings if\npossible ? 1 for one cannot indict the\npower—Cannot, ....what am I saying ?\n.... I will not; not because it would\nbe of no earthly good, not because 1\nam a Christian with a sense of humour\n(vide Mr. Ludovici, Page 214) but\nbecause, if not a Jew, I am Jewishly\ninclined. I admit it without any hag-\nfling—l am strongly under the in-\nfluence of Jewry.\nAnd so I rather like this book,\nwhich is an indictment of some Eng-\nlishmen.\nIts title is quite an exaggeration, for\nno man in his senses indicts MAN;\nand Mr. Ludovici is in his senses.\nBut while I agree with the writer\nthat English men, French men, German\nmen and so forth all need the big\nstick as Mussolini administers it, I do\nnot think they deserve the little switch\nof the pedant, and that's all I could\nadminister were I put in authority,\nand really I'm not sure whether Mr\nLudovici could do more either.\nThe worst of an indictment is that\nthe wrong people come bustling along\nwith theories of Reform. And even\nAction too. \" Why I could do it\nbetter myself vide Mr Hannen Swaf-\nfer's article on late James White.\nI see nothing about Mussolini or\nmodern Italy in this book - and how\nthe author could have gone on wri-\nting while Mussolini was doing all he"}, {"page_pdf": 52, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.52", "debut_caractere": 0, "fin_caractere_exclue": 6625, "texte": "advocates, and not refer to him, is\nnot a little staggering,\nMr. Ludovici is urged to call for a\nMasculine Renaissance. Italy has amongst\nother things been giving rebirth to her\nmasculinity. They who live in Eng-\nland and only hear vaguely about the\nnew Italy, cannot be expected to un-\nderstand that the Mussolini renaissance\nis something outside and very far beyond\npolitics.\nThere is far too much in this book\nabout ladies and their everchanging\npoint of view regarding males. Who\nis and who is not masculine enough\nfor ladies the world will always hear.\nHush! In 1927 James is not mas-\nculine enough and he is a bit of a\nfool, I admit. Zitta! in 1929 Peter\nis not masculine enough, and he ob-\nviously awfully masculine—and rich.\nIn 1931 Walter is tried (and sorely\ntoo). Poor Walter, he did so well,\nsuch a strong athletic sort of being—\ngetting paler and paler e!/ery day—\nnot masculine enough. In 1933 ....but\nlet us hope that by that time there\nwill be a new book and I will sug-\ngest the title 44 Some Men and some\nWomen : An Apology \".\nBut I won't write it—unless I have\ngrown silly or discontented with life\nand the other fools who make up such\na diverse and, taken all in all, such a\nkind and merry party, ....even if the\nwhispering confidante and the confider\nare as arrant a pair of rascals as ever.\n\nTHE STORY OF NAPLES by\nCecil Headlam. Mediaeval Towns\nSeries. /. M. Dent & Sons. Price\n5/6 net.\nEACH addition to this useful and\nwell-known series is welcome, and\nNaples has so varied and sparkling a\nhistory that the story of the city's many\nvicissitudes makes good reading. The\nbook is illustrated with photographs,\nplans, and with drawings by Benton\nFletcher.\nThe rabid student of the stage will\nwish that a little more space had been\nallotted to theatre matters, both as re-\ngards the city of Naples itself, and in\nthe section devoted to Pompeii, consi-\ndering how very important a part\ndrama and spectacle played in the life\nof these southern people.\nMarionnettes, we are told, 44 still\nflourish in a tiny theatre near the Sta-\nzione Centrale (Via Foria, Via A. Poe-\nrio), in spite of the competition of the\nCinema 4fe Probably \", adds Mr\nHeadiam, \" the scene and the au-\ndience will prove more interesting than\nthe story of the Reali di Francia,\nwhich the dolls, still arrayed in their\ngorgeous traditional costumes, perform\nso well. Your visit to this house—it\nis just a room with two low galleries\nbuilt into it—will probably be a short\none, For you will find it crowded\nwith fellow-creatures—and others—and\nthe atmosphere is unendurable \".\nThese conditions are often endured\nby those who adore the Cinemas, the\npit of any theatre, and an afternoon\ntea in Mayfair, so I cannot see that\nMr. Headiam had anything to worry\nabout.\n\nEURIPIDES THE IDEALIST by\nR. B. Appleton, M. A. : Dent &\nSons. Price 6/~ net.\n44 r 1 \"HE great and growing interest in\nA Euripides, the most modern of\nGreek dramatists, makes the appea-\nrance of this book particularly oppor-\ntune \", says the announcement on the\nwrapper.\nI should have supposed the interest\nto be diminishing —compared, for in-\nstance, with the interest in the Cinema.\nAnd though I do not compare the\nTheatre of today with the Cinema\n(for reasons which I hope the Editor\nof 44 The Mask \" will allow me soon\nto state), I do compare a big modern\nentertainment with a big entertainment\nof the past.\nThese Euripides plays and those by the\nother famous playmakers of those times\nwere the big entertainment of the past.\nI have nothing I wish to say about\nthose who were the entertainers but I\nwish I had thirty pages that I might\nfill them with stories, facts, pictures\nand what not about the entertained.\nThere were flappers in those days....\nbut flappers ! ! Gee! I know so little\nabout flappers; I even do not quite\nknow what the term signifies in all its\nramifications; but 1 take it to stand\nfor charming young ladies or less of\nabout sixteen to twenty-0ne.... who\nalways know what they want and\nsometimes get it.\nIn the far-off days of Euripides pre-\nsumably there were admirable flappers\nwho wanted his plays.... he seems\nto have written down to the flappers\nof his time. Darker /Eschyius sternly\ndenied their existence, his only great\nflapper being represented as a crazy\nwoman—l allude to the divine Cas-\nsandra.\nWhat an age ! What a number of\nastounding women lived in those days;\nand tell me?—was not the vote given\nto those excellent girls.\nEuripides, who was the the Barrie\nof Greece, was a mild graceful heart\ncompared with his sterner predecessors\nand contemporaries. Aristophanes de-\nrided him but that was only his fun ;\nhe really envied Euripides, as he who\nwrites down to his public always is\nenvied. Ihe two of them dwelt in the\nAdelphi at Athens.\nMr. Appleton devotes a good deal\nof his space to the politics and phi-\nlosophy of Euripides and his religion\nand eke his defense of women. This\nseems to us unkind of Mr Appleton.\nFor a playwright has his duties and\nshould not waste his strength and his\npeculiar privileges. The whole strength\nof a playwright is in his inability to\ntake sides. Shall he support the strong,\nor attack them. Shall he deride the\nweak, or ever sympathise with them ?\nHe lifts veils—we may see the whole\nof humanity if he be dexterous in his\nplay, on his stage.\nIt is this, it is this that I dread\nabout play-writers who are not play-\nWrights, ....that they will not stick to\ntheir trade and its immense privi-\nleges.\nSo to tell me that Euripides the\narch-entertainer of the city of Athens,\nwas for or was against this and that\nis to destroy another of my old dreams.\nAnd then does not my interest in Eu-\nripides grow less and does not my in-\nterest in the Cinema grow more ?\n\nTHE LIFE OF CHARLES\nDICKENS by John Forster. Everyman\nSeries. Dent & Sons. 2 Vols. Price\n2f each.\nTHE more I see of the Everyman\nSeries the better I like it (0 ; and\nwhen I think that for two shillings a\nvolume you can get almost any of the\nmost readable books in the English\nlanguage, in a volume you can hold\neasily and read clearly and which\ndoesn't break after you've read it five\nor six times, I am astonished, and\nwonder how the House of Dent has\ndone it.\nIt's no explanation to say that the\nLife of Dickens is no longer copyright,\nnor the Life of Mozart nor the Diary\nof John Evelyn ; for, if these were free\nto the Dents they were free to anyone\nelse who wanted to reprint. But then\nno one else has had quite the clever-\nness to plan out so perfectly a series\n\n(i) Twenty more volumes have recently\nappeared, iucluding Vasari's u Lives\nBlake's poems ; Sternes Sentimental Jour-\nney ; The Life of Abraham Lincoln and\nother useful works."}, {"page_pdf": 53, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.53", "debut_caractere": 0, "fin_caractere_exclue": 2480, "texte": "which has so many attractive qualities.\nThese two volumes by Forster are\npacked with good things.\nTo one who does not like to be\nobliged to carry large books about\nwith him when slipping from his rooms\n(mine are off Fleet Street) into his\nchop-house (where 1 do most of my\nwork of reading after I have lunched)\nsuch light little booklets full of solid\ngood stuff are a blessing. A not quite\nperfect Index helps me to find what\nreaders of 44 The Mask \" know I\nalways seek for in all books—-a word\nabout the Stage.\nDickens loved theatricals and,\nwhat is never amiss, theatrical people.\nSome there are who adore theatricals\nand are bored by theatrical people*\nDickens visits Madame Viardot\nthe sister of Malibran in Paris.\n44 The Viardots have a house away\n44 in the new part of Paris, which\n44 looks exactly as if they had moved\n44 into it last week and Were going\n44 away next, Notwithstanding which,\n44 they had lived in it eight years.\n44 The opera is the very last thing\n44 on earth you would associate with\n44 the family. Piano not even opened.\n44 Her husband's an extremely good\n44 fellow, and she is as natural as it\n44 is possible to be \".\nWhat a charming thing to have\nsaid of one if one were of a theatrical\nfamily instead of being merely a re-\nviewer of theatric literature in Fleet\nStreet.\n\nA FLORENTINE DIARY from\n1450 to 1516 by Luca Landucci,\nTranslated from the Italian by Alice\nde Rosen fervis. /. M. Dent. & Sons.\nPrice 7/6 net.\nTHIS is an excellent translation of\nthe book of daily jottings, set\ndown in laconic and forceful style by\nLuca Landucci between the years\n1450 and 1516, and continued by an\nanonymous writer who carries on the\nrecord till 1 542.\nPerhaps the very terseness renders\nthe effect of these daily everyday\nevents the more sensational, and Lan-\nducci would have made an excellent\ncontributor to the Daily Mail of his\nday. No editor could accuse him\nof wasting space or being verbose.\nHe deals with battle, murder and sud-\nden death, pestilence, famine, upheavals\nof government, in paragraphs of a few\nwords or a few lines, and, as he lived\nin stirring times, he had plenty to\nrecord.\nFor students of Florentine life of\nthe period this new translation, well\nannotated, will be of value, while for\nany who like genuine records of actual\ndoings narrated in an entertaining way,\nit affords good reading, and throws\nmuch light on the doings and reactions to\ncircumstances of many a man and wo-\nman, obscure or illustrious, of five\nhundred years ago."}, {"page_pdf": 54, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.54", "debut_caractere": 2895, "fin_caractere_exclue": 2914, "texte": "THE FALSE RED NOSE."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c047", "article_bluemountain": "bmtnaau_1927-07_01#c047", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "118", "page_fin": "121", "image_debut": 46, "image_fin": 49, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.2.23.2", "titre_corps": "THE THREE SITWELLS by R.L. Mégroz", "titre_sommaire": "THE THREE SITWELLS by R.L. Mégroz", "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": "118", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.46", "debut_caractere": 15, "fin_caractere_exclue": 6127, "texte": "THE THREE SITWELLS. A Bio-\ngraphical and Critical Study. By\nR. L. Megroz. The Richards Press.\nPrice 8/6 net.\nUNFORTUNATELY I have never\nhad the pleasure of meeting one\nof the clever Siiwells, Almost every-\none but I seems to know the Sit-\nwells: even actors lunch with them.\nAnd I am pretty sure of this ; that if\nI knew the Sit wells I would write of\nthem far more sympathetically than I\nintend to do, for not only have I\nheard from their friends that they are\nthe most winning of persons, but they\nhave no foes to say the contrary.\nAnd I suppose I should have had\nthe pleasure of meeting the Sitweils\nand been charmed by them had I\nnot been an ordinary book-reviewer—\nmainly of Theatrical books; a reviewer\nof the old school, and, I may add, of\nthe old coat and old hat.\nBut it is not the school, the hat or\nthe coat that must be blamed ; and if\nI am behind the times, it is mainly\nbecause of the Theatre : it is due to the\nfact that I am so often behind the\nscenes when I should be out at up-to-\ndate teas, at luncheon parties, popping\nin here, there, everywhere. Had I\ndone that I should then have been\nalways coming across the Sitweils and\ncould have agreed with everyone else\nthat they really were the life and soul\nof the party. For 'tis the modern recipe\nfor being a success to be all over the shop.\nPut him in his little bed\nSure to fall out on his head\nIn one place he never could stop\nHe was herey there, everywhere—\nall over the shop.\nI Perhaps these lines, (sung so often\n| as you remember by Maestro Tich)\nhave influenced people more than\n| we suppose: perhaps they have in-\nj fluenced the Sit wells ; they ought to\nj have influenced me; only, as I say,\nj I am so very often tied to one place\n| —behind the scenes. To me the Fub-\n| he is something on the move seen\n| through a hole in the curtain : it is a\nthing, not a lot of persons : it is not\npossible to meet it casually ; it is only\nencountered face to face and then —a\ntough fight. This is the ancient way\nof estimating the others if you are one\nof the ones.. ... by that I mean one of\nthe workers.\nAnd in my day we had but a single\nambition—not to be one of the others.\nThis is a particularly theatrical fail-\ning ....confession or boast. To us the\nstage is the world and the world a\nrather poor stage. We are the only\npeople really alive—the others out\nin the stalls, pit and gallery, have\ncome to our playhouse to get a breath\nof fresh air. Our theatre can give\nthem that, for it is more immense\nthan the narrow little world in which\nthey dwell. A bell rings—the lights\nare dimmed—the audience out there\nobey the signals; the great curtain\nrises; the souls of the spectators are\nreleased.\nIt may seem strange to the reader\nof these lines that I, (an ordinary re-\nviewer of books) should write as\nthough I belonged to the theatre : but\nso I do, and that is not difficult to\nexplain. I am what is called a\nsupernumary ; I walk on. The manager\nof the fine playhouse whose boards I\ntread at night does not know that I\nam a reviewer of books: it would not\nconcern him if he did; the arts do\nnot concern us much in the Theatre.\nWhat concerns us is our profession—\nand getting it over. And this I have\ncome to learn during the run of many\nfine pieces. I may say I am a great\nadmirer of the old Pro, his sole aim\nbeing to get it over, to bring down\nthe house, to help a brother ark-floater\nin need when he is forced to spout\nbilly. They say they are pretentious\nfolk, these actors: it is not true : for\nan actor is only really himself when\non the stage and off it he does not\nreally exist.\nOff the stage he has to be often\ndoing things he hates doing. He is\nnot like the other artists : is he quite\nan artist ? is he not rather an artiste ?\nThese other artists are the poets, the\ncomposers, the architects: and the pain-\nters are artists, and the sculptors and\nthe novelists, and the writers of all\nkinds (all but reviewers). These are\nthe lucky ones: we theatre folk are\nnot lucky. What I mean exactly by\nthat I will attempt to tell you.\nIt is lucky—very lucky—not being\nforced to keeP incessantly before the\npublic : how lucky it is to be able to\ngo away to write, to go away to paint,\nto go away to compose, to mix with\nthat world which people believe exists\noutside and beyond a theatre while\navoiding that trash..,, the gang-made\npublics of the cities ; that trash which\nknows everything; that trash which\ndecides and shapes all things for a\nshort time—for about twenty years an\ninnings. How lucky for the good\nartists I have named to be able to be\nas it were invisible and pass through\nthis sweating sweated crowd and get\naway from it— so as to shape and de-\ncide little things which last for ever\nand bless for ever those who find\nthem. What matter that today one\nof the crowd from which he escaped\ndamns Chopin to exalt Ravel; these\ntwo alone count, and the crowd and\nits damned gangs are of no ,account\nwhatever.\nBut we of the stage are not so lucky\nand there is no \" escape \" for us, so\nwe stay behind, and, in defence, we\nthrow up barriers—the old footlights\nfor example. On this side of them we\nare entrenched, on that side there are\n\" the others \" ; they are no longer in-\ndividuals they are a thing—they are\nthe Public. To the thing as an idea\nwe doff our caps ; we are its \" loving\nand obedient servants The indivi-\nduals have faded into the distance\nand have become but a wave of the sea.\nWe \" artistes 0) —am I never co-\nming back to the Sitweils—ever since\nthe time of Thespis have had to work\nunder certain disadvantages, the chief\nof these being,\n(1) we had to appear personally in\nfront of the public;\n(2) and at fixed hours ;\n(3) we had to advertise ourselves\nand our show;\n(4) we had to risk the quick dis-\npleasure of the public and suffer\nor enjoy its approval.\nAll this being a distinct handicap\nto us (and a terrible ordeal for our\nwork), we were allowed certain com-\npensations. We alone were allowed\nthem by grace of some unwritten law\nand we are still allowed a few of\nthem. Cursed with the responsabili-\nlies of publicity we were recompen-\nsed by the privileges.\n\n(i) Perhaps a still better title is\n\" performers \"."}, {"page_pdf": 47, "page_imprimee": "119", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 6879, "texte": "(1) We were not expected to mix\nin society :\n(2) We were excepted from atten-\nding regularly at church on\nSundays:\n(3) We were able to escape recei-\nving invitations to lunch, tea or\ndinner for we were forced to eat\nand drink when we could, not at\nthe proper fixed hours :\n(4) Our photographs were taken and\nexhibited free of charge and we\nwere given any copies we needed :\n(5) We were always able to pass\nfreely into any entertainment from\nthe Opera to the Zoo :\n(6) We had the special privilege of\ngiving a few free seats in our\ntheatre to friends :\nPoor privileges but our own.\nBut nowadays these privileges are\nno longer ours alone, for a great num-\nber of persons who 44 do things \"\ntoday claim the right to all these pri-\nvileges without accepting any of the\ngrim responsabilities. Everyone claims\nthe right to get and give away to\nothers our tickets, to get free entrance\nto all entertainments, to have their\nphotographs taken and put in the pa-\npers, to go to the Zoo free of charge,\nto avoid high teas and toppling lun-\ncheons and so forth.\nPerhaps today certain dilettante\npoets, painters and those others who\ndabble in the fine arts have been fa-\ntally stung by the realization that\nTennyson, Browning, Swinburne, Ros-\nsetti and so many fine writers and\npainters of the Victorian age passed prac-\ntically unnoticed by the crowd, where-\nas the performers (snorting thought I)\nIrving, Toole, Hare, Bancroft, Tree,\nthe Kendalls. Ellen Terry, Lily Lang-\ntry, were known far and wide in our\nIsland and their pictures were in a\nthousand shop windows, their doings\nrecorded in every journal, their slightest\nmovements chronicled. And this seem-\ned just the very thing to arouse en-\nthusiasm in the public for their idols\nand to attract the said public to the\ntheatres.\nPerhaps to a dilettante poet of today\nthe notion of being forced to sit or\nstroll quietly at Farringford, down\nChelsea way or up in Putney holds\nsomeihing chilling and forbidding in it.\nIt certainly was an ordeal in those\ndays to be a great Poet And then\nsuddenly the Press came to the rescue,\nand released the poets and artists, who\nnever wanted to be released at all, by\nturning them adrift loose in the field\nwhere the actors and other 44 artistes \"\nmunched at the marigolds and mangle-\nwurzels.\nT I T - B I T ART.\nTOWARDS the end of the Victo-\nrian era it became more and\nmore difficult for an artist to live for\nhis work, or to get even a little no-\ntice, because a newer journalism was\nfeeding the mind of the public with\nsuch a quantity of Tit-Bits, Scraps, and\nAnswers to hundreds of questions it\nhad never asked :\n44 How to make a rabbit-hutch out\nof a soap box; how to write a short\nstory ; how to act; how to paint \" :\n-—and every ore began on the rabbit\nhutch, until he found that acting,\nwriting and painting in bits was far\neasier. Then he took to the arts and\nno longer troubled so much about the\nsuccess of Penley or Irving because\nhe too could make just as much stir\nas they did, with a very little trouble,\nThe next thing the new recruits had\nto learn was how to sell these tit-bits\nof work. But there again advertise-\nment helped.\nA\nAdvertisers asked for the rubbish\nand got it : 44 We want short stories \"f\n44 Actors wanted A minimum of\nexperience sufficient And now not\nonly tenth-rate wqrk is held to be\nbetter than first-rate work but is ad-\nvertised as first-rate, even as every\nlittle afternoon-tea is heralded by trum-\npets as though it were some state\nDrawing-Room at Buckingham Palace.\nIs this not true ?—open the half-\npenny paper and see for your self.\nIf Mrs. Mc J ones the charming little\nnobody takes a walk, photographs of\nher walking are despatched to all the\njournals in Europe and America: if\nthe cat of the Countess Posh dies it\nis photographed and we all see it\nbeing lowered into its homemade tomb :\n44 the design for this and for the coffin\nwas made by the Countess herself,\nwho is as clever at sculpture as EP-\nstein. She made this small nest for\nher loved little Trixie out of an ordi-\nnary Sunlight soap box \". And if to-\nday a young poet writes a tit-bit of a\npoem (provided it is not anything so\nsolemn as the poems of Francis Thomp-\nson), by Jingo, then there's a stir\namong the London amateur press\nagents... provided that some other poet\nat the same time fails to supply a\nmore trivial poem.\nThese amateur press agencies I need\nnot picture to you : you can see them\nany day by the hundred.\nAs you know, on many of the\ndoors of Cavendish Square, Port man\nSquare, Belgrave Square, St. James's\nSquare and Grosvenor Square, on the\ndoors of many of the most swagger\nhouses of London today the word\n44 PUSH - is to be seen outside and\ninside.\nTwenty years ago, so they tell me,\nthis same PUSH was a word found\nonly in the city on its office doors:\nand in Fleet Street, and on the doors\nof all business houses, professional press\nagencies, advertising agencies and so\nforth.\nBut with the growth of tit-bit art\nand the development of the amateur\npress agencies there has been born in\nBelgravia and Mayfair the desire to\npush that art, to keep it before the\npublic, to advertise it and those who\ndo it; and even, when possible, to sell\nthese bits in their drawing-rooms.\nTHE AMATEUR.\nI rather like the amateur : but I think\nI like him only so long as he acts\nlike one Many a lady and more\ngentlemen have in the past been ama-\nteurs. Some wrote verse, others wrote\nprose ; some have painted, others have\nacted ; a few took up architecture and\nplayed quite prettily with it; more\ninclined towards music and did that\nwell. I don't mean sold well,—that\nwas not the aim of the amateurs yes-\nterday. They loved the things they\ntried to create and loved to practise\nhow to perfect them when amongst\nthemselves. Some of them would give\na great deal of time to their acting,\nsinging, verse-writing; and some would\nspend quite a little fortune preparing\nlittle performances of big plays or con-\ncerts for their special group ; ... but\nthey always respected the professional\nand never robbed him of a paragraph\nor a penny: today they do.\nNowadays an amateur comes out as\nquickly as possible before the general\npublic, and behind him come a hun-\ndred and more press agents—his per-\nsonal friends-—pushing and cackling like\npeople on the Bourse.\nThen they all begin to make money\nout of their job.\nSome make a great deal—especially\nthose who, on the strength of being a\nsocial celebrity and pretty or charming,\ntake up the stage and, at an hour's\nnotice, submit to being pushed into\nroles a professional actress does not\nlook to fill, or to fill successfully, for\nat least ten years.\nFor certain Jews bent on exploiting\nour Theatres are ever on the alert\n44 gallantly '* snapping up such people.\nThe fact that they are Jews is to\ntheir credit but no one supposes that\nthese Jews represent that ancient race\nas it likes to be represented. And if\nthe three Sitwells bad gone in for"}, {"page_pdf": 48, "page_imprimee": "120", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 6797, "texte": "theatricals rather than for verse-writing,\nwe should be hearing of their triumphs\nin plays of the kind that Professor\nReinhardt, assisted by Gest the agent,\nlikes to juggle with in America. His\nability, his capacity to make a silk\npurse out of] an amateur's ear, is re-\nmarkable— and he makes a feature of\nthe trick.\nI think that were I a famous pro-\nducer, and if I held my profession at\nall in honour, I would keep amateurs\nin their place if I had any such ladies\nor gentlemen working with me. I think\nthere is probably a good deal of hope\nin the amateur;—but I for one would\nhelp him and her to keep their place.\n1 his would not only bring them finally\nto be rid of the last marks of ama-\nteurism, but it would be the very least I\nshould owe to my profession and my\nprofessional associates.\nNow though I cannot feel that the\nSitwells have been so ill-advised or so\njuggled with by their impresarios as\nhave the few amateur performers of\nunfortunate celebrity, I do feel that\nthey are running a big risk by too\nhastily coming out with a blare of\npublicity and all for rather too little.\nThe risk they run is that of being\nshortly forgotten.\nThis book about the trio has made\nme feel that the Sitwells are not par-\nticularly important. Which is too bad\nof the book.\nTheir work is pretty enough here\nand there, and quite curiously well-\nknown considering the short time they\nhave been writing.\nMR. R. L . MEGROZ.\nAND now Mr. Megroz comes for-\nward with his book in which he\nexplains the meaning? of these writings.\nI wonder why that is necessary ?It\nmay be because they have not been\nat it long enough that their work\nstands in such need of explanation.\nMr. R. L. Megroz probably offered\nto explain it to the Public and the\nSitwells said he might: but when he\nhas explained I am left feeling any-\nthing but happy it all.\nVerse which needs explaining coup-\nlet by couplet had better have been\nrewritten before it was subjected to the\ncontempt of authorized explanation.\nSome of the Sitwell verses need\nno word of help from Mr. Megroz,\nas, for example, these perfectly clear\nlines :\nThe countess sit and plays fantan\nBeneath the portrait of great Queen\nAnne.\nThat is perfectly clear—all but the\nuncertainty as to whether it was a\nsingle. Countess who sit or several who\nplays.\nNext I\nThe shuffled cards like the tail of a bird\nUnfolding its shining plumes are heard.\nMr. Megroz, after quoting these\nfour lines, proceeds to make us wise\nabout it all, the notion being that after\nwe have had it explained to us we\nother amateur verse-makers can all go\naway and, pointing out the effects to\nour special circle in our own words,\ncan have a shot at something like it\nourselves thus showing how clever we\nare : that will help the boom.\nThis is what Mr. Megroz writes:\n\" In this remote music may be heard\nthe preludings of the unfaltering de-\nlicacy of the 4 Elegy on Dead Fas~\nhion '. The fluent phenomenal uni-\nverse of nature is seen stilled and\nremote in a diminishing mirror while\nthe still, inanimate objects are re-\nanimated with a vitality transferred\nfrom the world of living things '*.\nIt now only remains for one of the\nSitwells to explain the meanings of\nMr. Megroz. I love a far fetched joke,\nbut only if it last a short time; so if\nthis book by the Spanish gentleman be\na joke, it only fails because it is too\nlong and too cumbersome. But to go on.\nWhile the Countess or Countesses\nplays cards:\n4< The maid in her poivder-closet soon\nBeneath the fire of the calm full moon\nWhose sparkles) rubies, sapphires spill\nFor her tipon the window sill\nWill nod her head, grown sleepy, I wis\nAs Alaciel or Semiramis,\nPasiphae or the lady lsis\nEmbalmed in the precious air like spices.\nThe Sitwells are too much and not\nenough.\nThree is too many—and they seem\nto have lost the formula for stopping\nthe machine, and so come out with\nverses, verselets, couplets; there is no\nstopping them. And who would want\nit to cease if the voices were sufficient.\nThey are insufficient; but this is not\nbecause each Sitwell is not in away\na poet in him or herself, but is mainly\nbecause there are three Sitwells instead\nof one and the three are blatantly\nand clumsily over-boomed.\nLet one of them call himself Smith,\nanother Jones, and leave, to the best of\nthe three, the honourable name of\nSitwel!. Then we shall be able to\nhear him as he sings. As it is we\nare rather inclined to laugh at the way\nthe amateur reclame agents have mud-\ndled the whole show for these young\npeople. It is these agents, not the\nyoung artists, who are to blame. It\nis the agents who have allowed three\nof the same name to be billed toge-\nther, even encouraging them to sing close\nupon one another, and the result is a\nracket.\nIt is typical of most amateurs, this\nignorance of the business,—how to do\nit and how not to.\nIf the Sitwells were acrobats they\nwould form a charming group. They\nwould out-Voke the remembrance of\nthe Vokes family.\nIn their spangled livery I see this agile\ntrio swinging from the trapeze to the\nhushed orchestral tunes they surely love\nso much. But would these vivid crea-\ntures submit to the necessary disci-\npline ? i\nIt would take even three Sitwells at\nleast six or seven years* training to\nshape a little show out of their com-\nbined activities ; but it would he a\nshow—three as one—a little group\ndoing a single act. As it is it is din\nand a blunder.\nAnd this book which unites them as\n\" the Sitwells \" commits the very same\nblunder as do the young poets them-\nselves.\nHad Mr. Megroz divided his work\ninto three parts—and had he skipped\nall the unnecessary showman introduc-\ntion about the \" Londesboroughs and\nthe Beauforts \" Sir George Sit-\nwell and \" the meaning of Sitwel-\nlism \", he would anyhow have done\nsomething.\nI do not believe that the young poets\ntake themselves half as seriously as he\ndoes, and, as I turn back to some of the\nmany verses quoted in this book, so as\nto see whether I have not been utterly\nunjust about them, I feel I am far\nmore just than ever Mr. Megroz has\nbeen. For anyhow can I say that\nall this promises something.\nIt is a calamity that three such in-\ntelligent beings should have been en-\ncouraged to adopt the actors* and\nshowmen's tactics, to blunder over these,\nto appear under the one name, to sing\nthe same song in three different keys ;\nand to fail to entertain. But the future\nholds promises.\nI think I can see through the dust\nraised that, should Mr. Osbert Sitwell\nbe engaged by a good circus manager\nand do his turn alone, he will after\nmuch practice really do something worth\nwhile.... if only his brother and sister\nwill stop it and sit still. The distin-\nguished-looking sister Sitwell too would\nshine brilliantly, be seen and even heard,\nif only the two brothers wouldn't keep\nhopping around and raising such a din.\nAs for Mr. Sacheverell Sitwell, .„»well,"}, {"page_pdf": 49, "page_imprimee": "121", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 204, "texte": "he is bound to do something some day\nvery worth while:—but then his sister\nand brother must first be far off shining\nquietly, not disturbing us or him : and\nthus their brother's pitch will not be\nqueered."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c048", "article_bluemountain": "bmtnaau_1927-07_01#c048", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "121", "page_fin": "121", "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=bmtnaau192707-01.2.23.3", "titre_corps": "SCARLET AND BLACK. A Chronicle of the 19th Century. Stendhal", "titre_sommaire": "SCARLET AND BLACK. A Chronicle of the 19th Century. Stendhal", "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": "121", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.49", "debut_caractere": 206, "fin_caractere_exclue": 5080, "texte": "<IT MI U r 111111111 ■■(■■ll———mmmuanarnmnmm IMJ. -HI mm maMmmammmmgamammMaam\nSCARLET AND BLACK, A C/iro-\nnicle of the 19th Century. Stendhal.\nTranslated by C K. Scott Moncrieff.\n2 Vols. Chatto & Windus. Price\n7j6 each.\nOH, to be Mr St. John Ervine for\nonce ! for here is something good,\nand I utterly incapable of damning it.\nI may not praise I may not pull\nit to pieces—it is far too perfect ; but\nwere I St. John Ervine I could do it\n1927 parochial justice;—l could sus-\npect it. Seeing it so very fine I could\nside with the public, that often, but\nnot always, sound thing : that anyhow\nbig and fearsome thing : I could, per-\nsuaded by them, doubt my senses : and\nis that not pretty St. John's way.\nI take it to be the hall-mark of jour-\nnalistic honesty, this way of refusing to\nbe fooled at the suggestion of the many.\n44 What's that you say—God wai-\nting to see me - tell him to wait.\nTill I have consulted the public\nThe audacity is very small, the assump-\ntion no more than that which can be\nput on with a little spirit gum—the\nnet result pathetic in the extreme ; yet\nthe whole performance naturally im-\npresses some five to ten thousand\nreaders who perhaps believe him a\ndescendant of the great English actor\nand speak of him as 44 courageous\nMr. Herving \".\nWould 1 could be courageous in\nhis way after having read 44 Scarlet\nand Black \", so that, by putting Sten-\ndhal in his place, I could find a seat\nfor myself.\nAll I can do is to admit that my\ndelight has been so great that, were\nthe book packed with faults, I am ut-\nterly unable to see one of them.\nHe does invite one to pause and\ncriticise : woe betide him who should\nseize that opportunity; the muses\nwould rend him as they did Pentheus.\nAnd on second thoughts perhaps I\n<lon't regret not being St John Ervine\na regular Pentheus - one who has\nhis head screwed on the right way,\n~,.but will ultimately forfeit it if I\nknow the muses:\nA Life of Stendhal I have not\nread ; I do not know if he has yet\ncome to his own but I gather he has\nnot. Yet he was born in 1783,\ndying in 1842 ; knew and loved Italy\ndeeply, and is a product of the Na-\npoleonic times. It is exactly a hun-\ndred and four years ago that he\nwrote 44 Scarlet and Black \" so that if\nhe is not yet well known it is a pity.\nIt is a pity we should have come to\nknow the work of his imitators and that\nwe should have troubled to dislike them\nonly because we saw a vague some-\nthing behind all their work, which\nwasn't genuinely of them.\nDoubtless we are always being chea-\nted of the best by this process. But\nwhat has delayed this translation so\nlong ? Probably the fact that Mr. Scott\nMoncrieff was not born earlier,—is it\nthat?—is he the only living English-\nman who can translate these master-\npieces ? Possibly no one else in our\nislands ever read them in French - but\nhaving read them why hesitate to get\nthem translated ?\n\" That remarkable man who,\nwith a Napoleonic tempo, traversed\nhis Europe, in fact several centuries of\nthe European soul, as its surveyor\nand discoverer\", wrote Nietzsche of\nStendhal; and Nietzsche not given to\nover praise; adding 44 it has required\ntwo generations to overtake him one\nway or other.... he had the most pro-\nfound eyes and ears of any Frenchman\nof this century\nYet in certain centres there is a\nloud call raised today for Fascist art\n—for a sign of art created with a\nMussolini tempo. We can be happy\nif in a hundred years we even observe\nthat: it will be with us soon, but we\nshall not see it.\nWe shall have ninety others of in-\nferior gifts thrust under our eyes by\nthe coming Ervines. Stendhal him-\nself predicted that he would have a\nlittle success about the year 1880—\nmeaning he would be read by about\nthat date. Bless him for a sceptical\nenthusiast.\nTaine said he had read 41 Scarlet\nand Black \" thirty to forty times. No\nsooner read but you want to re-read it.\nDoes that explain the intense excite-\nment that is in the book ?\nHis better known work 44 La Cha-\ntreuse de Par me \" is as wonderful a\nthing 8s this book 44 Le Rouge et Le\nNoir \" if what you call wonderful is\na stunning good story so alive that you\npass out of this age and enter into the\nother, know the people, and, mixing\nwith them, are hurried breathlessly\nthrough the adventures which speed\nalong like a perfect working film,\nonly it is far more exciting than any\nfilm you have ever seen—the breath-\nlessness is not artificial; it's the ge-\nnuine thing.\nBut we have to realize that it is\nnot for his religion, his satire, his\nmastery of psychology or for any of\nthe things for display of which we\nover-praise our Shaws, Pirandellos and\nthe rest, but for the way he does his\nwork—for his touch-for being Stendhal,\nthat we delight in him and all great\nwriters, and it is for this reason that\n1 predict what many a better critic\nalready knows ; that in 1960 or 1980\nit is Beerbohm who will be held high\nand Shaw and Co forgotten."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c049", "article_bluemountain": "bmtnaau_1927-07_01#c049", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "121", "page_fin": "122", "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=bmtnaau192707-01.2.23.4", "titre_corps": "MUSIC by Eaglefield Hull", "titre_sommaire": "MUSIC by Eaglefield Hull", "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": "121", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.49", "debut_caractere": 5082, "fin_caractere_exclue": 6906, "texte": "MUSIC. Classical, Romantic and\nModern, by Eaglefield Hull. Dent\n& Sons. / 0/6.\nTHIS big book of almost 500 pages\nis very unreadable: by that I\ndo not mean mischief but I mean that\nunless you are a composer, or a con-\nductor, or a musician, or a musical\ncritic you cannot follow it. They can,\nfor they can correct it as they go\nalong with their 44 Ah, he likes Cho-\npin \" or 44 Oh, he dislikes Debussy \"\nand that to these signifies something\ndefinite. I cannot see what he likes\nor dislikes and if I did, it would sig-\nnify nothing, so I am the very man\nto have a say about 44 Music, Clas-\nsical, Romantic and Modern \" and i\nwill say straight away that the title is\nmisleading. Modern music may be\nClassical or Romantic or bolh; Ro-\nmantic music may be classical and the\nclassics of music as we know are mo-\ndern, more than up to date, right\nahead of the times. ....Monteverdi for\nexample, at least so they tell me.\nThe author is a sane man and\nsides with the angels. Says he 44 We\nbelieve with Bizet that there are only\ntwo kinds of music, good and bad \" :\nthen why, I ask myself, did he not\ncall his book Music : good and bad ?\npresumably because he objects to say\n44 this is bad music \"or 44 that is bad\nmusic \" and always prefers to say it\nis good even when bad.\nHe writes of Preclassical, Classical,\nthe Rococo, Romanticism, Realism, of\nneo-primitivisrn, neo-classicism, impres-\nsionism, expressionism, atonality, bi-\ntonality, and of politonality.\nThese labels are a nuisance and\nI have rarely heard a serious musician\nwho used them : they are made to amuse\nthe beginners who invent them. Who\ninvented the term Expressionism ? as-\nsuredly not Kandinsky or Schonberg ;\nsome budding journalist perhaps, clever\ndog. I have never heard any of the\nmusic of Schonberg ; it is my task to\nwrite about music not to listen to it."}, {"page_pdf": 50, "page_imprimee": "122", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 4059, "texte": "When forced to listen, 1 like the worst,\nbut I will come to M. Darius Mil-\nhaud by and by.\n1 was somewhat alarmed about\nSchonberg one day in London in, I\nthink, the year 1912 or *l3 ; it was\nreported to me one day from a reliable\nsource that M. DiagelLw had asked\nCraig to stage a ballet with music by\nSchonberg. It seems to have occurred\nto the Russian that the Englishman's\nmise-en-scene and the Viennese music\nwould outrage London society. That\nis what alarmed me.\nI for one have never found any\nsense in Craig's scenes : they simply\ndont appeal to me ; but I see nothing\nin them to flutter the dove coteries at\nCovent Garden. And so I wondered\nwhether Schonberg's music v/as not\njust as ordinary as Ciaig's scenes. In\nfact I was disappointed to think that\nthis Austrian music (which I had ne-\nver heard) might be quite good; I\nmean by that quite reasonable.\nMr Hull, (the author of this book)\nhas quite a little to say about Schon-\nberg, his 44 ugliness \", his theories, his\nfreedom, and his restless mind. He\ncalls him a 4 4 ferocious innovator \" and,\nreferring to the first part of his 44 Pier-\nrot Lumaire \", calls it 44 miraculously\ndistorted I do not care what he\ncalls him, cr it, but I like to hear that\nafter Schonberg had written it (in\n1912) the composer abstained from\nwriting music altogether for eight years.\nWhat I like about Schonberg is that\nhis whole progress has been one of\nthrowing things overboard because peo-\nple would perch on them like birds\nand like birds misbehave. Naturally\nhe throws things overboard. He likes\nto go on quietly and not in a mess.\nThe publicity of journalism assisted by\nprivate curiosity are all against that:\nno sooner has Schonberg seated him-\nself at piano, at table, or in a caf£\nthen up start two journalists or three\nbusy-bodies and ask 44 Do you believe\nin utterly destroying G Sharp \" ? On\ngetting the brief reply, they tender\ntheir effusive thanks and go home and\ntry to find the word in a dictionary.\nAs they cannot find it they decide\nthat it must be an expressionism.... as\nindeed it is.\nBut 44 bad \" words lead to a lot of\nbother like 44 bad \" music and here I\ncome as 1 promised to M. Darius\nMiihaud.\nI have heard some of his music :\nI think it is the most horrific music\nin the world, and I like it very much.\nI know I like it, because I want to\nhear the same piece again. 1 regret\nthat Mr Hull, (the author of this\nbook) does not inform his reader\nabout 44 Les Malheurs \".\nThis short opera Mr Hull does not\nmention ; did he not dare to ? I dare,\nand indeed confess to a longing to\nhear it many times until I come to\nknow it. I am as you see on the\nhigh road towards turning my back on\nit as old stuff, but how do that, I ask\nyou, until I know it, oh so well.\nOn first hearing it I began to spy\nits one weakness ; I found myself being\nenchanted by the dirge sung by the\nanimals as they carried Eurydice to her\ntomb. I said to myself 44 that's good \" •\nthat was a bad sign and I want to\nhear it over and over again so as to\ncome to say of the whole piece 44 that's\ngood and that is good \" and then good\nbye 44 Orph6e \". And what else, I\nask you gende reader, is art for except\nto be rid of it and pass on to newer\nart (1).\nThere is much dissonance in this\nopera; I wont say too much disson-\nnance until I come to know it through\nand through, but there is certainly not\nenough blue sky in it from which to\nmake a sailor a pair of breeches, and\nyou must admit that the sky was made\nand then dyed blue for that very\npurpose.\nM. Miihaud does not want his\nopera to be cut up to make blue bags\nfor anyone, and if you will pause for\na moment you will recall that the aim\nof mankind is always to use art for its\nown exalted purposes.... the exalted\npurposes of mankind.\nThis book by Mr Hull will help\nto thwart mankind, so 1 admire it,\nnay, more, I love it for that. The\nmore books which talk of neo-policy\nand semi-pottery, and pre -expressions -\ntical mysteries the better. Thwarts for\nthwarters say I, but if I say it quickly\nsix times running I shall make myself\nridiculous.... so you say it for me."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c050", "article_bluemountain": "bmtnaau_1927-07_01#c050", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "122", "page_fin": "122", "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=bmtnaau192707-01.2.23.5", "titre_corps": "HAKLUYT'S VOYAGES", "titre_sommaire": "HAKLUYT'S VOYAGES", "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": "122", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.50", "debut_caractere": 4061, "fin_caractere_exclue": 5440, "texte": "HAKLUYTS VOYAGES, with //-\nlustrations. Volumes 1, 2, 3& 4.\n/. M. Dent & Sons, Prices 7/6 a\nVolume (for the complete 8 volumes\nwhen issued £ 3).\nWHILE attractively illustrated by\nold and new designs, some by\nThomas Derrick, and with an Intro-\nduction by Mr. John Masefield, who\ngives a great deal of interesting infor-\nmation on the structure and equipment\nof Elizabethan ships, there ought to\nbe many people to sit down to read\nfrom end to end the full eight volumes,\nin their charming old English; but\nanyhow it is a book into which\nmany more will dip with ever renewed\ndelight, and wherever they shall put\nin a thumb they can be fairly sure of\npulling out a plum.\nThe chapter headings themselves are\nrich in promise; as, for example,\n44 The voyage of Sir Hugh Willoughby\nknight, wherein he unfortunately peri-\nshed at Arzina Reca in Lapland,\nAnno 1553 \", or 44 The voyage of\nM. Anthony Jenkinson into Russia the\nthird time, Anno 1566 \", and pre-\nsently *4 A briefe rehearsall of all the\ntravailes of M. Anthony Jenkinson \"\nand 44 A note of all the necessary\ninstruments and appurtanances belon-\nging to the killing of the Whale \".\nIn short, a rich and genuine work,\nand we look forward to the issue of\nthe remaining four volumes.\n(i) If there be any one who knows\nanother use for it will he communicate\nit to me. My name is Jones —B. O. Jones,\nC|o The Mask, Box 444, Florence."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c051", "article_bluemountain": "bmtnaau_1927-07_01#c051", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "122", "page_fin": "123", "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=bmtnaau192707-01.2.23.6", "titre_corps": "LE MASQUE ET L'ENCENSOIR. Gaston Baty", "titre_sommaire": "LE MASQUE ET L'ENCENSOIR. Gaston Baty", "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": "122", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.50", "debut_caractere": 5442, "fin_caractere_exclue": 6816, "texte": "LE MASQUE ET L'ENCENSOIR.\nGaston Baty. Blond et Gay. Paris.\nPrice 16 Francs.\nM GASTON BATY is one of the\n• energetic men in the French Thea-\ntre whose energy is doubtless looked on\nwith anything but favour in those\ntheatric circles where energy is held to\nbe rather deplorable, I allude to energy\nof mind, vivacity of fancy not to beefy\nenergy. That, thank heaven, still com-\nmands respect—if not exactly the respect\nit deserves.\nLet us never despise beefy c nergy :\nthere are men who have proved its value\non every stage. I wouldn't disparage\nMr. Seymour Hicks for worlds: M.\nGrettilat has my lasting reverence;\n44 Here we are again so long as\nthe lungs can stick it, is never to be\ndenied. Let physical energy and its\naccompaniment of seeming mental energy\nbe ever welcome : why, for all I know,\nM. Gaston Baty has that too.\nAnyhow, he is alive ; alive in other\nways. Born in 1885 he is but foity-\ntwo. Always a lover of the theatre,\nhe aimed to be metteur en scene, not\nactor, not author.\nA curious aim. Melteur en scene\nis what we call producer ;—but abroad\nit means producer with ideas—not a\npicker-up of notions. It is a position*\na rather creative mind can fill.\nWe often read the careless (or de-\nliberate) paragraphs about such and\nsuch a man producing, let us say,\n44 The Miracle \". Only last week I\nsaw the name of Mr. Morris Gest\ndown as having \" produced \" that"}, {"page_pdf": 51, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 1702, "texte": "production, which all the world well\nknows was turned out by Reinhardt's\nGroup. Groups produce and creative\nindividuals produce; theatrical agents\nlike Gest never do.\nM. Baty seems to be no group.\nHe is, with Jacques Copeau, Dullin\nand Pitoeff, one of the promising indivi-\nduals of the avant-garde in Paris.\nHe is then to some extent a fol-\nlower of Mr. Gordon Craig, which is\nall to the good ; —but—and here he\nwill find support today and lose it to-\nmorrow— he \" n'accepte pas toutes les\ndoctrines \" writes M. Brillant in his\nlong and interesting Preface to this\nbook. Which means that M. Baty\nwill accept all he can understand and\nthat is more than most theatre folk do.\nThey mostly accept the ideas they can\nturn into dollars, marks and francs.\nM. Brillant quotes a passage from\nMr. Craig's \"On the Art of the\nTheatre \" (1911) where the English-\nman tells the younger men to take\ncare not to suppose that the founda-\ntion of two or three little Theatres in\nParis, Berlin or London will bring\nabout a renaissance—for only by the\ndiscovery of the Laws of the Theatre\nwill this be brought about.\n\" J'ai !a conviction 99 adds M. Bril-\nlant, \" que Baty a ' decouvert * ces\nlois et c'est pourquoi j'ai confidence en\nson succ&s et dans la fecondite de son\neffort \".\nBut M. Baty has not yet defined\nthese laws 4f decouvert \". In his\nbook which is full of spirit and many\na good thing he tells us about /Es-\nchylus and the Mystery plays of the\nmiddle ages, and does not deny that\nit is something besides the script that\nis the play. We still wait to hear\nwhat are his ideas as to the Laws ;\nand there is no reason to suppose he\ncan not tell us,—nay, more, contribute\nsomething towards their interpretation."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c052", "article_bluemountain": "bmtnaau_1927-07_01#c052", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "123", "page_fin": "123", "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=bmtnaau192707-01.2.23.7", "titre_corps": "PIETER BRUEGEL THE ELDER by Virgil Barker", "titre_sommaire": "PIETER BRUEGEL THE ELDER by Virgil Barker", "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": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.51", "debut_caractere": 1704, "fin_caractere_exclue": 5362, "texte": "PIETER BRUEGEL THE ELDER,\nby Virgil Barker, with 55 Illustra-\ntions. The Arts Publishing Corpo-\nration, New York* Price $ 2.\nI IAViNG no name, and he more\n1 1 than two days old, this painter\nof the north, waiting in vain for some\none to name him, named himself.\nBreugel was his village and he sup-\nposed that he had crept out of that\nvillage like one of those temptations\ntroubling Saint Anthony.\nUnknown is the date of his birth,\nand his parents equally unknown.\nThey say he was a proud, over-\nbearing, kindly, preposterous, level-\nheaded man, this son of a village;\nand that while people tolerated his\ngenerosity they bridled if he laughed\nat their stupidity.—Where do I get\nmy facts? ....why, from an Archive\nof course.\nHis first master was Coeck—and I\nshould like to quote extensively from\nMr. Virgil Barker's account of his pro-\ngress. But if you do not get the bcok\nand read it every word for yourself\nwhy should I help you to a few\ncrumbs ; and if you do you won't need\nthe crumbs from me. That you will\nget it I do not for a moment doubt.\nIt is the only book in English on this\ngreat painter, this moving artist, and\nis well illustrated. The fifty-five repro-\nductions will last you your life-time :\nhave no fear that you will tire of them.\nYou cannot tire of them because there\nis not a square centimetre in anyone\nof the fifty-five pictures that is not a\ndelight. I almost added \" to the eye \" :\nbut I stopped in time, knowing how\ncontemptible is the eye to so many\ndramatic critics of the hour.\nThese queer folk suppose that the\neye is a kind of inferior brain, or a\njoint of the tail. They are puzzled\nhow intelligent people can descend to\nenjoy things through the eye. That\nthey are defective in that sense they\nwill not admit: they prefer to find the\ndefect in their brother's eye and dis-\nparage this little organ of the soul.\n\" Sensual, I call it \", they mutter.\nIn pictures it's permissable, in Thea-\ntricals, it's not : Pictures are the work\nof painters, and painters \" have no\nminds \" as Mr. Tom Craven of Ame-\nrica said but recently. And when peo-\nple have no minds how far is it then\nto Tipperary.\nSome of our Dramatic critics make\na great to do with their superior snif-\nfing about the detestable eye of the\nspectators in a theatre. These spec-\ntators enjoy spectacle ; that is enough\nfor the Dramatic critics. Such men\nwould have asked Disraeli to leave\nthe theatre because he rather liked the\nscenical and was always saying so.\nIt appeals \" only to the eye \" is\nthe bald utterance of an Ervine and\nhis prompters. Pluck it out, Ervine,\nbut pluck your own out first. Then\nyou will no more see to pluck out\nours—and you will no more see the\ntrees, or the sunlight, or the sea; and\nyou will not see these beautiful dra-\nmatic pictures by Bruegel, pictures\nwhich are full of the things actors still\nneed to learn, and stage directors are\nalready learning.\nBruegel lived in the days of Rabe-\nlais and Lucas Cranach, ana died ac-\ncording to Garollo in 1569. Married\nin 1563, he had two sons, Jean and\nPierre, who were also painters.\nMr. Virgil Barker claims for him\nthe company of Shakespeare, Cervan-\ntes and Montaigne; (what will Ervine\nsay?) and indeed, but for the awful\ndefect of appealing to the eye, he\nwould deserve that place.\nFor my part, remembering Goethe's\nwords expressing a desire to cease from\nwords and to depict things only, I\nplace him above these three.\nBut to do so you have to be prejudi-\nced : to be cross with a pack of Pu-\nritans and, as that's not worth it, let\nus leave the old painter with those\ngreat men of letters and rest assured\nthat the good sack or wine will prove\nthat after all when all's said all's one."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c053", "article_bluemountain": "bmtnaau_1927-07_01#c053", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "123", "page_fin": "124", "image_debut": 51, "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=bmtnaau192707-01.2.23.8", "titre_corps": "MAN—AN INDICTMENT, by A.M. Ludovici", "titre_sommaire": "MAN—AN INDICTMENT, by A.M. Ludovici", "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": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.51", "debut_caractere": 5364, "fin_caractere_exclue": 6868, "texte": "MAN—AN INDICTMENT, by\nA. M. Ludovici. Constable S\" Co.\nPrice 14/- net.\nTO begin with, this book could\nhave been brought out at far less\nthan fourteen shillings ; and yet do you\nblame the power seated in the office of\nthe firm Constable and Co. for wish-\ning to rake in a few more shillings if\npossible ? 1 for one cannot indict the\npower—Cannot, ....what am I saying ?\n.... I will not; not because it would\nbe of no earthly good, not because 1\nam a Christian with a sense of humour\n(vide Mr. Ludovici, Page 214) but\nbecause, if not a Jew, I am Jewishly\ninclined. I admit it without any hag-\nfling—l am strongly under the in-\nfluence of Jewry.\nAnd so I rather like this book,\nwhich is an indictment of some Eng-\nlishmen.\nIts title is quite an exaggeration, for\nno man in his senses indicts MAN;\nand Mr. Ludovici is in his senses.\nBut while I agree with the writer\nthat English men, French men, German\nmen and so forth all need the big\nstick as Mussolini administers it, I do\nnot think they deserve the little switch\nof the pedant, and that's all I could\nadminister were I put in authority,\nand really I'm not sure whether Mr\nLudovici could do more either.\nThe worst of an indictment is that\nthe wrong people come bustling along\nwith theories of Reform. And even\nAction too. \" Why I could do it\nbetter myself vide Mr Hannen Swaf-\nfer's article on late James White.\nI see nothing about Mussolini or\nmodern Italy in this book - and how\nthe author could have gone on wri-\nting while Mussolini was doing all he"}, {"page_pdf": 52, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.52", "debut_caractere": 0, "fin_caractere_exclue": 1312, "texte": "advocates, and not refer to him, is\nnot a little staggering,\nMr. Ludovici is urged to call for a\nMasculine Renaissance. Italy has amongst\nother things been giving rebirth to her\nmasculinity. They who live in Eng-\nland and only hear vaguely about the\nnew Italy, cannot be expected to un-\nderstand that the Mussolini renaissance\nis something outside and very far beyond\npolitics.\nThere is far too much in this book\nabout ladies and their everchanging\npoint of view regarding males. Who\nis and who is not masculine enough\nfor ladies the world will always hear.\nHush! In 1927 James is not mas-\nculine enough and he is a bit of a\nfool, I admit. Zitta! in 1929 Peter\nis not masculine enough, and he ob-\nviously awfully masculine—and rich.\nIn 1931 Walter is tried (and sorely\ntoo). Poor Walter, he did so well,\nsuch a strong athletic sort of being—\ngetting paler and paler e!/ery day—\nnot masculine enough. In 1933 ....but\nlet us hope that by that time there\nwill be a new book and I will sug-\ngest the title 44 Some Men and some\nWomen : An Apology \".\nBut I won't write it—unless I have\ngrown silly or discontented with life\nand the other fools who make up such\na diverse and, taken all in all, such a\nkind and merry party, ....even if the\nwhispering confidante and the confider\nare as arrant a pair of rascals as ever."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c054", "article_bluemountain": "bmtnaau_1927-07_01#c054", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "124", "page_fin": "124", "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=bmtnaau192707-01.2.23.9", "titre_corps": "THE STORY OF NAPLES by Cecil Headlam", "titre_sommaire": "THE STORY OF NAPLES by Cecil Headlam", "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": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.52", "debut_caractere": 1314, "fin_caractere_exclue": 2747, "texte": "THE STORY OF NAPLES by\nCecil Headlam. Mediaeval Towns\nSeries. /. M. Dent & Sons. Price\n5/6 net.\nEACH addition to this useful and\nwell-known series is welcome, and\nNaples has so varied and sparkling a\nhistory that the story of the city's many\nvicissitudes makes good reading. The\nbook is illustrated with photographs,\nplans, and with drawings by Benton\nFletcher.\nThe rabid student of the stage will\nwish that a little more space had been\nallotted to theatre matters, both as re-\ngards the city of Naples itself, and in\nthe section devoted to Pompeii, consi-\ndering how very important a part\ndrama and spectacle played in the life\nof these southern people.\nMarionnettes, we are told, 44 still\nflourish in a tiny theatre near the Sta-\nzione Centrale (Via Foria, Via A. Poe-\nrio), in spite of the competition of the\nCinema 4fe Probably \", adds Mr\nHeadiam, \" the scene and the au-\ndience will prove more interesting than\nthe story of the Reali di Francia,\nwhich the dolls, still arrayed in their\ngorgeous traditional costumes, perform\nso well. Your visit to this house—it\nis just a room with two low galleries\nbuilt into it—will probably be a short\none, For you will find it crowded\nwith fellow-creatures—and others—and\nthe atmosphere is unendurable \".\nThese conditions are often endured\nby those who adore the Cinemas, the\npit of any theatre, and an afternoon\ntea in Mayfair, so I cannot see that\nMr. Headiam had anything to worry\nabout."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c055", "article_bluemountain": "bmtnaau_1927-07_01#c055", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "124", "page_fin": "124", "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=bmtnaau192707-01.2.23.10", "titre_corps": "EURIPIDES THE IDEALIST by R.B. Appleton", "titre_sommaire": "EURIPIDES THE IDEALIST by R.B. Appleton", "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": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.52", "debut_caractere": 2749, "fin_caractere_exclue": 5680, "texte": "EURIPIDES THE IDEALIST by\nR. B. Appleton, M. A. : Dent &\nSons. Price 6/~ net.\n44 r 1 \"HE great and growing interest in\nA Euripides, the most modern of\nGreek dramatists, makes the appea-\nrance of this book particularly oppor-\ntune \", says the announcement on the\nwrapper.\nI should have supposed the interest\nto be diminishing —compared, for in-\nstance, with the interest in the Cinema.\nAnd though I do not compare the\nTheatre of today with the Cinema\n(for reasons which I hope the Editor\nof 44 The Mask \" will allow me soon\nto state), I do compare a big modern\nentertainment with a big entertainment\nof the past.\nThese Euripides plays and those by the\nother famous playmakers of those times\nwere the big entertainment of the past.\nI have nothing I wish to say about\nthose who were the entertainers but I\nwish I had thirty pages that I might\nfill them with stories, facts, pictures\nand what not about the entertained.\nThere were flappers in those days....\nbut flappers ! ! Gee! I know so little\nabout flappers; I even do not quite\nknow what the term signifies in all its\nramifications; but 1 take it to stand\nfor charming young ladies or less of\nabout sixteen to twenty-0ne.... who\nalways know what they want and\nsometimes get it.\nIn the far-off days of Euripides pre-\nsumably there were admirable flappers\nwho wanted his plays.... he seems\nto have written down to the flappers\nof his time. Darker /Eschyius sternly\ndenied their existence, his only great\nflapper being represented as a crazy\nwoman—l allude to the divine Cas-\nsandra.\nWhat an age ! What a number of\nastounding women lived in those days;\nand tell me?—was not the vote given\nto those excellent girls.\nEuripides, who was the the Barrie\nof Greece, was a mild graceful heart\ncompared with his sterner predecessors\nand contemporaries. Aristophanes de-\nrided him but that was only his fun ;\nhe really envied Euripides, as he who\nwrites down to his public always is\nenvied. Ihe two of them dwelt in the\nAdelphi at Athens.\nMr. Appleton devotes a good deal\nof his space to the politics and phi-\nlosophy of Euripides and his religion\nand eke his defense of women. This\nseems to us unkind of Mr Appleton.\nFor a playwright has his duties and\nshould not waste his strength and his\npeculiar privileges. The whole strength\nof a playwright is in his inability to\ntake sides. Shall he support the strong,\nor attack them. Shall he deride the\nweak, or ever sympathise with them ?\nHe lifts veils—we may see the whole\nof humanity if he be dexterous in his\nplay, on his stage.\nIt is this, it is this that I dread\nabout play-writers who are not play-\nWrights, ....that they will not stick to\ntheir trade and its immense privi-\nleges.\nSo to tell me that Euripides the\narch-entertainer of the city of Athens,\nwas for or was against this and that\nis to destroy another of my old dreams.\nAnd then does not my interest in Eu-\nripides grow less and does not my in-\nterest in the Cinema grow more ?"}]}, {"article_id": "bm-bmtnaau-1927-07-01-c056", "article_bluemountain": "bmtnaau_1927-07_01#c056", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "124", "page_fin": "125", "image_debut": 52, "image_fin": 53, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.2.23.11", "titre_corps": "THE LIFE OF CHARLES DICKENS by John Forster", "titre_sommaire": "THE LIFE OF CHARLES DICKENS by John Forster", "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": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.52", "debut_caractere": 5682, "fin_caractere_exclue": 6625, "texte": "THE LIFE OF CHARLES\nDICKENS by John Forster. Everyman\nSeries. Dent & Sons. 2 Vols. Price\n2f each.\nTHE more I see of the Everyman\nSeries the better I like it (0 ; and\nwhen I think that for two shillings a\nvolume you can get almost any of the\nmost readable books in the English\nlanguage, in a volume you can hold\neasily and read clearly and which\ndoesn't break after you've read it five\nor six times, I am astonished, and\nwonder how the House of Dent has\ndone it.\nIt's no explanation to say that the\nLife of Dickens is no longer copyright,\nnor the Life of Mozart nor the Diary\nof John Evelyn ; for, if these were free\nto the Dents they were free to anyone\nelse who wanted to reprint. But then\nno one else has had quite the clever-\nness to plan out so perfectly a series\n\n(i) Twenty more volumes have recently\nappeared, iucluding Vasari's u Lives\nBlake's poems ; Sternes Sentimental Jour-\nney ; The Life of Abraham Lincoln and\nother useful works."}, {"page_pdf": 53, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.53", "debut_caractere": 0, "fin_caractere_exclue": 1299, "texte": "which has so many attractive qualities.\nThese two volumes by Forster are\npacked with good things.\nTo one who does not like to be\nobliged to carry large books about\nwith him when slipping from his rooms\n(mine are off Fleet Street) into his\nchop-house (where 1 do most of my\nwork of reading after I have lunched)\nsuch light little booklets full of solid\ngood stuff are a blessing. A not quite\nperfect Index helps me to find what\nreaders of 44 The Mask \" know I\nalways seek for in all books—-a word\nabout the Stage.\nDickens loved theatricals and,\nwhat is never amiss, theatrical people.\nSome there are who adore theatricals\nand are bored by theatrical people*\nDickens visits Madame Viardot\nthe sister of Malibran in Paris.\n44 The Viardots have a house away\n44 in the new part of Paris, which\n44 looks exactly as if they had moved\n44 into it last week and Were going\n44 away next, Notwithstanding which,\n44 they had lived in it eight years.\n44 The opera is the very last thing\n44 on earth you would associate with\n44 the family. Piano not even opened.\n44 Her husband's an extremely good\n44 fellow, and she is as natural as it\n44 is possible to be \".\nWhat a charming thing to have\nsaid of one if one were of a theatrical\nfamily instead of being merely a re-\nviewer of theatric literature in Fleet\nStreet."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c057", "article_bluemountain": "bmtnaau_1927-07_01#c057", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "125", "page_fin": "125", "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=bmtnaau192707-01.2.23.12", "titre_corps": "A FLORENTINE DIARY by Lucas Landucci", "titre_sommaire": "A FLORENTINE DIARY by Lucas Landucci", "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": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.53", "debut_caractere": 1301, "fin_caractere_exclue": 2480, "texte": "A FLORENTINE DIARY from\n1450 to 1516 by Luca Landucci,\nTranslated from the Italian by Alice\nde Rosen fervis. /. M. Dent. & Sons.\nPrice 7/6 net.\nTHIS is an excellent translation of\nthe book of daily jottings, set\ndown in laconic and forceful style by\nLuca Landucci between the years\n1450 and 1516, and continued by an\nanonymous writer who carries on the\nrecord till 1 542.\nPerhaps the very terseness renders\nthe effect of these daily everyday\nevents the more sensational, and Lan-\nducci would have made an excellent\ncontributor to the Daily Mail of his\nday. No editor could accuse him\nof wasting space or being verbose.\nHe deals with battle, murder and sud-\nden death, pestilence, famine, upheavals\nof government, in paragraphs of a few\nwords or a few lines, and, as he lived\nin stirring times, he had plenty to\nrecord.\nFor students of Florentine life of\nthe period this new translation, well\nannotated, will be of value, while for\nany who like genuine records of actual\ndoings narrated in an entertaining way,\nit affords good reading, and throws\nmuch light on the doings and reactions to\ncircumstances of many a man and wo-\nman, obscure or illustrious, of five\nhundred years ago."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c059", "article_bluemountain": "bmtnaau_1927-07_01#c059", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "126", "page_fin": "129", "image_debut": 54, "image_fin": 57, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.2.23.13", "titre_corps": "THE FALSE RED NOSE", "titre_sommaire": "THE FALSE RED NOSE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 54, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.54", "debut_caractere": 2895, "fin_caractere_exclue": 2914, "texte": "THE FALSE RED NOSE."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c060", "article_bluemountain": "bmtnaau_1927-07_01#c060", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "126", "page_fin": "127", "image_debut": 54, "image_fin": 55, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.2.23.13.1", "titre_corps": "THREE PLAYS by William Archer", "titre_sommaire": "THREE PLAYS 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": 54, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.54", "debut_caractere": 2916, "fin_caractere_exclue": 6810, "texte": "THREE PLAYS William Archer.\nConstable. Price / 0[- net.\nTHE Preface which Mr. Bernard\nShaw has written to this book Is\nwithout any jocularity, is charged with\ngreat tenderness (and there is a touch of\nfun too), and is, if one can speak so\nhappily of anything so sad, delightful.\nArcher wore an unsympathetic mask\nand 44 the air of a stoic\" ; but Mr. Shaw\nawakens all our sympathies for him.\nThe mask slips off by Shaw's express\nwish, and it is a beautiful thing in\nmany ways that we see, and I am left\nwondering. What on earth, I won-\nder, made Archer,... but all is explained\nby Mr. Shaw who, besides winning\nall our affection (rather too late) for\nthis dear old Archer, who certainly\ndid shoot at frogs, wins a large si ice of\nit for himself.\nWhat are they all doing, one muses.\nWhat are they at masquerading in Lon-\ndon like this ? One did not suspect mas-\nquerade : one thought it all real. One\nsaid to oneself, ....the red nose, that's\nreal: first finger flat against side of nose,\n....that too is a real gesture : state of calm\nbordering on deathliness, or exuberant\nkick-a'bouts,—both are real, surely :\nalmost everything one had held was\nreal in this solemn pageant: and now\nShaw shows us it was all put on by\nsheer force of character.\n44 Howl Howl Howl \"—how does\nit go: go how it may, what is it all\nabout, this masquerading in broad\ndaylight,—doing it all in such an un-\ngainly fashion—no expense about it—-\nbless us, ...no, bless them, bless them\nfor muddlers ;—God sent, perhaps, God\npossessed, but lunatic muddlers assu-\nredly.\nFor if you feel—if you be really\nhuman —if you have hearts, you have\nthings worthy to be seen. Brains, lo-\ngic, and quiet control of even the best\nof red noses supplied hy the wig-\nmaker cannot avail —they lead nowhere\nexcept towards the climax of an awful\npractical joke.\nHere lies poor Archer dead, and\nonly now does anyone tell him to\nlake off his stupid mask of a stoic.\n44 No wonder he seemed a monster\nof insensibility to those who did not\nknow him very intimately \".\nBut why did he wear that thing of\nNovember sth ? ...why did any of\nhis friends let him wear it ? Why\ndid they join him in the deadly mas-\nquerading ?\nI think these plays of Archer are\njolly good. What was friend B, and\nfriends C and D, doing that they de-\nnied it while he was living ? Why\ndidn't they produce them, shame Ar-\ncher, and turn him from the accursed\npath of dramatic criticism into the\ngayer one of dramatic writer ? No.\nProvidence had nothing to do with it,\nnor his friends either; something else\nit is which makes these humans in\nEngland pretend to be dour stoics,\nred-nosed socialists and all the other\nsilly and quite badly-done masquera-\ndings.\nThese plays I shall read and re-read\nso as to see the real Archer, and also\nwhen ever I wish to be reminded of\nthe crass silliness of the kind of jest\nwhich England believes is so useful,\nand which is of all things the most\nuseless—and the most harmful.\nWas Walkley Walkley? 1 ask myself,\nwas he a great fool, writing not so\nill, vain to a degree, convinced that\nthe theatre without him could not go\nstraight, elaborate in his thoughts, fussy\nyet calm, pompous, utterly vile as a\nguide about theatrical things —was he\nall this or a plain excellent natural good\nfellow ?\nYes, he was a plain excellent natural\ngood fellow, and damme, he too put on a\nred nose ; he too was frightened with\nsomething and disguised rather than be\nhimself. He played the role of dra-\nmatic critic in the ghastly manner we\nall know so well; and all for what\nreason ? Explain, at length if you like,\nbut by every law of humanity explain;\nout with it and then let it stop.\nFor these people, so charming, and\nso able in some hidden way, are so\n\n(i) Sheridan's humor, or rather wit,\nwas always saturnine, and sometimes sa-\nvage. He never laughed (at least that I\nsaw—and I watched him) but George\nColman did Byron in a letter to\nGeorge Colman."}, {"page_pdf": 55, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 539, "texte": "hideously poisonous to simple public\nopinion when they turn dramatic\ncritic.\nNow I begin to think of St. John\nErvine, of A.gate ; these two who are\nquite impossible, writing nonsensically\nwith the air of pontiffs, these are possibly\nborn playwrights of an eccentric kind\nperhaps—perhaps of a noble kind ;\nlike Archer, perhaps really born to do\nmelodramas well after some practice—\nand prevented by the fatuous notion\nof the readers of Sunday papers that\nDramatic Criticism is of any worth\nat all.\nBut anyhow this is a lovely thing\nby Shaw."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c062", "article_bluemountain": "bmtnaau_1927-07_01#c062", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "127", "page_fin": "128", "image_debut": 55, "image_fin": 56, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.2.23.13.2", "titre_corps": "THE COMPLETE LIMERICK BOOK by Langford Reed", "titre_sommaire": "THE COMPLETE LIMERICK BOOK by Langford Reed", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 55, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.55", "debut_caractere": 4251, "fin_caractere_exclue": 5775, "texte": "THE COMPLETE LIMERICK\nBOOK by Lang ford Reed. Jarrolds.\nPrice 7/6 net.\nTHIS is a second and more com-\nplete edition of the complete book\nwhich appeared in 1924 by the au-\nthor of a number of highly successful\nscreen plays and other amusing works.\nI had heard much of this book\nfrom the London papers and I sup-\nposed it would be a jolly little pocket\nvolume one could take out with one\nwhen going to tea or to one of the\nmore literary theatres or in a train;\nand it turns out to be the size of a\nsmall portmanteau. But it is full of\nfun instead of ties so no one will\nmind.\nMy favourite in this book is that\nby Mr. Arthur Stanley illustrated by\nH. M. B.\nThere was a faith-healer of Deal\nWho said, \" Although pain isn't real,\nIf I sit on a pin\nAnd it punctures my skin,\nI dislike what I fancy I feel\".\nAnother by George du Maurier who,\nwe must remind our readers of 1927,\nwas the father of Sir George du Mau-\nrier, is of a 48 different order \" and\npretty good,\ntl II existe un'Espinsteie a Tours\nUn peu vite ; et qui porte toujours\nUn ulsteur petiu-de-phoque,\nUn chapeau bilicoque\nEt des nicrebocquers en velours 5\nAn able Introduction gives weight\nto the book.\nWe are told that Tom Moore is\nthe father of the Limerick. We also\nlearn that writing these kind of jingles\nis a favourite pastime with some par-\nsons and bishops, and that Mr. Ber-\nnard Shaw doesn't and Sir Arthur\nPinero couldn't. That they should be,\nas Mr. Shaw says, 88 left for oral tra-\ndition \" is, like much that Mr. Shaw\nsays, correct. This book certainly"}, {"page_pdf": 56, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 328, "texte": "seems to prove it. For this reason\nthe size of the volume is all wrong.\nA little affair on thin paper would\nhave been quite enough, price 2/6 net.\nI would draw Mr. Reed's attention\nto a series of Limericks by M. B. on\n\" The Characters of Shakespeare \"\nwhich appeared in \" The Mask \" in\n1924 for he has evidently never seen\nthem."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c064", "article_bluemountain": "bmtnaau_1927-07_01#c064", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "128", "page_fin": "128", "image_debut": 56, "image_fin": 56, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.2.23.13.3", "titre_corps": "LA R. ACCADEMIA DEGLI IMMOBILI ED IL SUO TEATRO \"LA PERGOLA\" by Ugo Morini", "titre_sommaire": "LA R. ACCADEMIA DEGLI IMMOBILI ED IL SUO TEATRO \"LA PERGOLA\" by Ugo Morini", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.56", "debut_caractere": 330, "fin_caractere_exclue": 3196, "texte": "LA R. ACCADEMIA DEGLI IM-\nMOBILI ED IL SUO TEATRO\n\"LA PERGOLA \" (1649-1925)\nby Ugo Morini. Pisa. Privately prin-\nted. Price not given.\nTHERE is no index in this, the first\nattempt to prepare a definitive\nCronistoria of the celebrated Teatro\ndeila Pergola of Firenze. It is printed\non a very inferior class of paper: it\nis, for such a theatre, insufficiently il-\nlustrated : there are some serious omis-\nsions, and the book was printed in\nPisa instead of in Firenze, ... perhaps\nbecause the author lives in Pisa which\nis, after all, sufficient reason.\nAs a rule Italian cities great and\nsmall do better than this for their\nTheatres. I have the books on the\nTheatres of Pistoia, Milano, Napoli,\nBologna and some more; so I am\nable to judge from these what is the\nItalian standard for such a book.\nI see that in every case an Index\nis required, excellent paper used, and\nthe book printed in the city of which\nit treats ; and in most case~, when the\ncity has archives, illustrations of the\nmost documentary kind are supplied.\nThis book on the Florentine theatre\nis not comparable with that on the\nTheatre of Pistoia, a neighbouring city\nand very much smaller.\nThe Florentine book has more il-\nlustrations but these are not selected\nwith sufficient care and some are ill\nprinted or the blocks carelessly made.\no r»e omission is a plan of the buil-\nding. We give one herein Plate 12.\nThis plan seems to have escaped the\nnotice of every one in Italy.\nThere is another omission on page\n194; \" The famous lady Virginia de\nBlast's \" is referred to as having sung at\nthe Pergola in April 1838, but not a\nword is said of her having died the\nsame year—in May or June, I forget\nwhich for the moment—nor is it recal-\nled that on June 15 th there was\nperformed in this same Teatro deila\nPergola a cantata written especially to\ncelebrate her by Andrea Nencini.\nPresumably the manuscript of this\ncantata and the plan of the building\nhave been lost or .they would have\nbeen noted amongst the cimeli which\nare \" preserved and guarded with jealous\ncare in the Archives of the Accademia\ndegli Immobili the Academy which\nhas owned this theatre since it was built\n(1652-1657) by Ferdinando Tacca.\nThis has to be said for the\nauthcr, that he has done his work\nvery well; but I fancy that the con-\nditions under which he laboured were\nnot all that could be desired.\nIn his Preface, addressing Signor\nConte Bali Albert deila Gherardesca\npresident of the Academy of the Im-\nmobili, he gracefully hopes 44 that my\nmodest work tnay attain the end\nwhich you had in view when you or-\ndered its publication This then is\na done-to-order work. Looked at as\nsuch it does not say very much for\nthose who ordered it. The ship has\nbeen spoiled for a ha*porth of tar;\n—but I for one am very grateful to\nthe author for the effort he has made\nto supply us with the best possible\nbook under the circumstances."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c065", "article_bluemountain": "bmtnaau_1927-07_01#c065", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "128", "page_fin": "128", "image_debut": 56, "image_fin": 56, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.2.23.13.4", "titre_corps": "ELOCUTION FOR TEACHERS AND STUDENTS by Rose I. Patry", "titre_sommaire": "ELOCUTION FOR TEACHERS AND STUDENTS by Rose I. Patry", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.56", "debut_caractere": 3198, "fin_caractere_exclue": 6922, "texte": "ELOCUTION FOR TEACHERS\nAND STUDENTS by Rose /.\nPatry. George Allen and Unwin\nLtd. Price 46.\nTHERE are some who beg the elo-\ncutionist to recite and others who\nfind the elocutionist an impossible per-\nson because, 44 If you ask her to re-\ncite she gets up and does so ! \"\nAnd after all it is so much easier\nnot to. Elocutionists generally seem to\nbe intense enthusiasts who think that\nwhatever they can't do they can at any\nrate speak, and so they pour a measure\nof boundless zeal into the study of\nhow to turn their speech into an art,\nthus inverting Browning's process of\n44 Using nature that's an art to\nothers\nStill Irving's recitation of The Dream\nof Eugene Aram showed that there\nare great things to be done in this\nline. Producing the effect it did, there\nmust have been something which was\nanalysable even as JJhere is something\nwhich the critic of painting and of\nmusic may analyse. Experts who\nwrite handbooks on the art of the\nreciter may reasonably be looked to\nfor some intelligent appreciation of the\nmasterpieces of the art. But that is\nnot what Miss Rose I. Patry gives us\nin this, her second book on Elo-\ncution.\nShe has all the familiar enthusiasm\nof the reciter. One of her conclusions,\non the art of Public Speaking, is that,\n44 A real enthusiasm for the subject\nchosen, and a bright and interesting\nmanner, will go far in securing the at-\ntention of those present In reciting\nthis same enthusiasm of the performer\ntoo frequently smothers the design of\nthe \" piece Nothing is expressed\nexcept the personal emotion of the\nreciter which is quite another thing\nfrom the expression of the 44 ecstacy\nremembered in calm \" of the poet.\nMiss Patry opens her book with a\nchapter in the examination-paper form\nof question and answer. This has the\nmerit of being direct. The questions\nare all very well but the answers gi-\nven cannot be awarded full marks by\nthe examiner. 44 What is Rhythm ? \"\nMiss Patry asks, and answers (with\nacknowledgements to somebody's dic-\ntionary), 44 Measured motion ; division\nof time into short portions by a regu-\nlar succession of motions, impulses,\nsounds, producing an agreable effect\nThis won't do, for a rhythm may be\nas long as an aeon, it may be irregu-\nlar and produce a very disagreable\neffect. No question is asked about\nMetre (which may properly be de-\nscribed as measured motion) but a few\nexamples of English measures are given\nwith the classical Greek terminology\nwhich is now better discarded. It is\na puzzle to know why certain other\nthings are included in the book. For\ninstance, three pages of definitions of\nthe Figures of Speech are extracted\nfrom an ordinary Grammar book and\ngiven here without any comment on\nthem from the elocutionary standpoint.\nSeven pages of 44 Difficult Words and\ntheir Meanings \" are thrown in without\nany remark on their pronounciation\nwhich might justify their inclusion in a\nhandbook devoted to speech.\nExercises consisting of consonant and\nvowel combinations by the page make\nup the greater part of two chapters.\nThese are recommended for stamme-\nrers and other defectives. Any ordi-\nnarily able person would be capable\nof combining the sounds in as many\nvarieties as need be without the help\nof Miss Patry's columns of SHEESH-\nSHASH - SHAHSH - SHAWSH -\nSHOHSH-SHOOSH.\nSome of the exercises include the\ninstruction to draw strokes which form\na couple of mountains, a hat with a\nfeather, a stalk with a cherry, an en-\nvelope with a seal, triangles, figures,\nand letters, simultaneously with the\npronunciation of certain sounds : it looks\na little like a parlour-game, but Miss\nPatry assures us in her Introduction\nthat all the exercises 44 which are the\nresult of many years' experience in\nteaching, have been of real practical\n»»\nuse ."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c066", "article_bluemountain": "bmtnaau_1927-07_01#c066", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "129", "page_fin": "129", "image_debut": 57, "image_fin": 57, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.2.23.13.5", "titre_corps": "COSTUME AND FASHION by Herbert Norris", "titre_sommaire": "COSTUME AND FASHION by Herbert Norris", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 57, "page_imprimee": "129", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 3788, "texte": "COSTUME AND FASHION, Vo-\nlume 2. Senlac to Bosworth. / 066-\n1485. By Herbert Norris. Illustra-\nfed. /. M Den/ (S* Sons Price 31 /6 nef.\nI have not had the advantage of\nseeing the first volume of this very\nuseful and most entertaining work on\nCostume, but in a Foreword the au-\nthor tells me that it had a 44 gratifying\nreception...... particularly in America \".\nI am sorry England lost this little\ntussle. We should begin to see to it that\nall comments about gratifying reception\nend up with 44 particularly in England \".\nI think that when completed it will\nbe one of our most complete studies\nof Historical Costume, and we have\nnot very many in our language.\nUntil now the French and Germans\nhave done this preparatory Theatre\nwork exhaustively. Viollet-le-Duc and\nRacinet, Hottenrcdt and others run\ntheir books into five or six volumes\napiece,—and I always regret that the\niirst had not covered as much ground\nas did Racinet, who starts with the\nyear one and goes on till he reaches\nhis own day.\nFrom Racinet Mr. Norris takes no-\nthing ; but from Vioilet-le-Duc he\ntakes a good deal, as indeed every-\none must who deals with the Costume\nbetween 1066 and 1400.\nDr. Fischel s studies always in-\nterest me, and Fairholt and Blanche\nare ever useful; but Mr. Norris knows\nof many more sources than ever I shall,\nand into these he has dipped and\ntaken something to add to his own\nknowledge which must be staggering.\nHe has prepared his book with\ngreat care and a with diligence extraor-\ndinary. before each chapter is placed\na list of contemporary historical events,\na sensible thing to do, omitted as a\nrule from too many books on special\nsubjects. So that on seeing the pic-\nture of 44 a Norman noble \" (page 4)\nand wondering how on earth anyone\nin poor old England in 1066 could\nafford such luxuries as he is trapped\nout in, one turns to the list of events\nand is reminded that since these fo-\nreigners the Normans were rich enough\nto buy the country, they were rich\nenough to have their stuffs and jewels\nand the rest sent over from France.\nI had forgotten that England passed\nout of the hands of the English in 1066\nand Mr. Norris has reminded me.\nAs a Theatre book it is a valuable\nmine of information for Professional\nas well as Amateur performers, for\nMr. Norris gives us hundreds of cuts for\ncloaks, gowns, cottes, sleeves, hose, (a\nvery useful cut this one), pelicons, mantels,\nfoot gear, and in short for everything\nwe need when producing a Historical\nplay. Crowns are not forgotten, nor\nany lordly ornaments and we even\nhave patterns of stuffs handed to us.\nHe explains everything—each term,\nas well as the use of each piece of\neach dress ; and his drawings help us\nto understand what can't be explained.\nSometimes in his diagrams he lets a\ncertain something escape which I miss :\nfor example, in his 44 circular mantle \"\nFig. 294. This he has of course co-\npied from Viollet-le-Duc, but he has\nmade it podgy whereas Vioilet-le-Duc\nmade it elegant spite of the fulness.\nIt is all doubtless very historically\naccurate, and now and again, as on\npage 358 where he shows us 44 the \"\nline 44 desired by all fashionable men\nin Henry Vl's reign \" he is accurate\nto important ends.\nIn some rare instances I have found\nsome of those queer contradictions the\nfortunate reviewer loves to spot, and\nI cannot conceive how it is that the\ncrown of Henry VI should be one\nthing on page 383 and quite another\non page 455, unless he had one crown\nfor workdays and another for Sundays.\nThere are 24 full page colour plates\nand 682 black and white diagrams\nand sketches, and these drawings are\nmuch more carefully drawn than those\nwe find in Blanche or Fairholt, and\nare essentially done with a view to\nhelping us who make costumes, not so\nthat the artist can show off his skill as\na pen draughtsman."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c068", "article_bluemountain": "bmtnaau_1927-07_01#c068", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "129", "page_fin": "129", "image_debut": 57, "image_fin": 57, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.2.23.13.6", "titre_corps": "RIVISTA MUSICALE ITALIANA", "titre_sommaire": "RIVISTA MUSICALE ITALIANA", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 57, "page_imprimee": "129", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.57", "debut_caractere": 6286, "fin_caractere_exclue": 6930, "texte": "RIVISTA MUSICALE ITALIA-\nNA; Anno XXXIV. Fasdcolo I. Fra-\ntelli Bocca. Torino. 30 lire a copy.\nTHIS has ever been one of the very\nbest Reviews published in Europe.\nThe present issue contains the se-\ncond chapter of an interesting series of\n44 Lettres de Must dens ecrites en fran-\ncats da XV aa XX siecle some by\nAuber, Herold, Ha!£vy and Adolphe\nAdam being in the number; 44 Un\ncodice piemontese di teorici musicali\ndel Medioevo\": two or three other\nuseful articles, and the usual excellent\nbook reviews.\nThe price is about 6/9 of our En-\nglish money, for which we get 168\npages of serious writing on most en-\ntertaining or instructive themes."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c069", "article_bluemountain": "bmtnaau_1927-07_01#c069", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "130", "page_fin": "130", "image_debut": 58, "image_fin": 58, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.2.27", "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": 58, "page_imprimee": "130", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 6251, "texte": "EDITORIAL NOTES.\n\nFER TILIZERS.\n\" The music-hall, the circus, Ame-\nrican negro orchestras, all fertilize an\nartist to a degree equal to that of\nlife Jean Cocteau.\nTHE cross between American negro\norchestra and an artist—what sort\nof brat is that?\nThe Circus we know was fertile\nthe Romans developed a real Circus.\nThe Music-Flail has attracted some\nof our European artists; Sickert, Lau-\ntrec and a dozen others who have\nloved its artifice.\nBut we must not misapply M. Coc-\nteau's offhand remark, nor over esti-\nmate it. A man of sense, we expect\nhe meant by the term Artists, not the\npainter or the poet, but the music-ball\nartiste, the circus * artiste * and the\nnegro artiste. If so he did well to\nre-state the obvious. The less obvious\nnotion, ie that the circus, music-hall\nand Jazz fertilize musicians, painters,\npoets, architects, sculptors and the\npractitioners in other branches of the\nfine arts \"to a degree equal to that\nof life \" is not acceptable.\nThese things intoxicate like wine\nrather than fertilize, and, very good\nas wine is, it is not yet'equal to life\nitself. Cut off all wine and you still\nhave life. What would life be with-\nout wine ? One must try that for\na month or six to discover. Till then\nhow can one tell ? We are afraid that\nafter all we have to admit that it is\nonly Life itself which fertilizes the artist.\nThat the circus, music-hall and ne-\ngro orchestras have all affected many\nof the younger artists of today to a\nstaggering degree is not to be gainsaid.\nBut then all odd sort of drinks do\nthat especially the mixed ones.\n\nWANTED. A BOOK ON THE\nTHEATRES OF LONDON.\nWHILE Mr. Beresford Chancellor\nis devoting his time to giving\nus remarkable books on London, unrol-\nling for us the whole big panorama, can-\nnot someone else help him with a small\npart of the work ? We want a book\ndealing with all the Theatres of Lon-\ndon (as buildings) since the earliest times.\nWe want all the plans, views, exte-\nrior and interior ; sectional architectural\nplans; views which have been made of\nruins; facades;—we want it all and all\nin two volumes.\nThere was a book issued some years\nago called \" Old Time Aldwych\nwritten by Mr Charles Gordon. There\nis no date to it ; Mr. Fisher Unwin\npublished it.\nIt is just such a book (but this time\ndevoted to London's Theatres from their\nearliest days) that we need, for none\nexists. Some sixty to seventy well chosen\nillustrations made the book we refer to a\ndelight: it was printed on paper which\nwas real paper and not a woolly rab-\nbit skin shaved close; and the fact\nthat it was full of theatrical informa-\ntion makes me wonder whether its\nauthor cannot be persuaded to do this\nbook for us. It would have to be\nsolely topographical and architectural,\nand no talk of what was acted in the\nbuildings, or who acted, or it would\nrun into ten volumes. We suppose\nthat two volumes would cover the\nwhole subject, and, provided we were\ngiven some hundred illustrations in\neach volume, we should be content.\nSuch a work should have a steady\nsale in every European state and in\nAmerica, for the problem of theatre\nbuilding is once more occupying the\nminds of hundreds of men.\nOr turn from \" Old Time Ald-\nwych \" t > \" The London Pleasure\nGardens of the 18th century \" by\nWarwick Wroth assisted by Arthur\nE. Wroth and published by Macmil-\nlan in 1896 : it is another such book\nas the \" Old Aldwych \" volume, only\nrather more detailed and is the kind\nof book needed on Theatres. If Pleasure\ngardens deserve such a book, surely\nour British Theatres deserve no less.\n\nPRETENDERS AND THE\nREAL THING.\nJ. S.\nIF you have attended the Royal\nWelsh National Eisteddfod you\nknow that Drama is not one of its\nweaknesses. That weakness is now to\ncome upon it this August.\nNo Greek play will be performed.\nLet us reassure anyone who believes\nthat the sole thing to do when brea-\nking the ice at a Royal. Eisteddfod\nis a Greek play. Nor will anything\nWelsh be attempted. Ibsen's play \" The\nPretenders \" will be given, with pro-\nbably a German setting and acted by\nRussians.\nWe say probably, because already\na Russian has been invited to produce\nthe piece. It's colossal, this un-British\nway of behaving. Whether the old\nscenes and costumes of 1913 will be\nused is not certain.\nIn 1913 \"The Pretenders\" was\nproduced by Laurence Irving with\ndesigns by Sime. Lord Howard de\nWalden was somehow connected with\nthat production as he is with the\nshow to be given in Wales this autumn.\nThe Pavilion being built will hold,\nit is said, 12,000 people—if 12,000\ncan be found to fill it. Yet surely\nfor the reasons above stated it must be\na safe speculation.\nDrama is not something to have a\nweakness for. Lord Howard de Wal-\nden has a weakness for it. It is some-\nthing to have a very strong passion\nfor, or it is best that you leave it alone.\nIt's only fiddle-faddling to play with\nit as some people now and again play\nwith race horses, yachts and charity.\nAll these things are really best left\nalone unless one can bring a good big\nbit of force into (British work\ntoo—not Russian) and so help them\non to something worth while.\nThe fiddling dilettante \" supporter \"\nwho bears the whole expense of a\nproduction is so often a nuisance be-\ncause he more often than not runs to\n£ 200 if its a Scotch enterprise, may\nbe to £ 2000 if in England, but\nseems not to possess the force to do\nmore. He leaves it to ordinary hard\nworkers like Lord Rothermere who\nassuredly does things properly. Did he\nnot run \" Polly '* in a big way ? Anyhow\nhe buys paintings properly—and generally\nis known to support the arts like a\nconnoisseur. He has wise advisers and\n•>\nlistens to them.\nA short time ago we heard a good\ndeal in The Express, London, of the\nscheme initiated by, we believe, Lord\nBeaverbrook through which he was\ngoing to support the younger artists.\nWhether he did anything is not\nknown to us, but all England learned\nthat Lord Rothermere had bought the\npainting by Mrs Dod Proctor exhibi-\nted at the Royal Academy.\nOne would have expected Lord\nBeaverbrook or Lord Howard de Wal-\nden to have done this, and 10, Lord\nRothermere slips easily past them and,\nwhile the others are talking, he brings\nit off. That's not fiddling—its a little\nstroke of genius.\nBut he's always doing it, and we\nshall always admire that kind of spirit."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c071", "article_bluemountain": "bmtnaau_1927-07_01#c071", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "130", "page_fin": "130", "image_debut": 58, "image_fin": 58, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.2.27.2", "titre_corps": "FERTILIZERS", "titre_sommaire": "FERTILIZERS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 58, "page_imprimee": "130", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.58", "debut_caractere": 18, "fin_caractere_exclue": 1559, "texte": "FER TILIZERS.\n\" The music-hall, the circus, Ame-\nrican negro orchestras, all fertilize an\nartist to a degree equal to that of\nlife Jean Cocteau.\nTHE cross between American negro\norchestra and an artist—what sort\nof brat is that?\nThe Circus we know was fertile\nthe Romans developed a real Circus.\nThe Music-Flail has attracted some\nof our European artists; Sickert, Lau-\ntrec and a dozen others who have\nloved its artifice.\nBut we must not misapply M. Coc-\nteau's offhand remark, nor over esti-\nmate it. A man of sense, we expect\nhe meant by the term Artists, not the\npainter or the poet, but the music-ball\nartiste, the circus * artiste * and the\nnegro artiste. If so he did well to\nre-state the obvious. The less obvious\nnotion, ie that the circus, music-hall\nand Jazz fertilize musicians, painters,\npoets, architects, sculptors and the\npractitioners in other branches of the\nfine arts \"to a degree equal to that\nof life \" is not acceptable.\nThese things intoxicate like wine\nrather than fertilize, and, very good\nas wine is, it is not yet'equal to life\nitself. Cut off all wine and you still\nhave life. What would life be with-\nout wine ? One must try that for\na month or six to discover. Till then\nhow can one tell ? We are afraid that\nafter all we have to admit that it is\nonly Life itself which fertilizes the artist.\nThat the circus, music-hall and ne-\ngro orchestras have all affected many\nof the younger artists of today to a\nstaggering degree is not to be gainsaid.\nBut then all odd sort of drinks do\nthat especially the mixed ones."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c072", "article_bluemountain": "bmtnaau_1927-07_01#c072", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "130", "page_fin": "130", "image_debut": 58, "image_fin": 58, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.2.27.3", "titre_corps": "WANTED. A BOOK ON THE THEATRES OF LONDON", "titre_sommaire": "WANTED. A BOOK ON THE THEATRES OF LONDON", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 58, "page_imprimee": "130", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.58", "debut_caractere": 1561, "fin_caractere_exclue": 3520, "texte": "WANTED. A BOOK ON THE\nTHEATRES OF LONDON.\nWHILE Mr. Beresford Chancellor\nis devoting his time to giving\nus remarkable books on London, unrol-\nling for us the whole big panorama, can-\nnot someone else help him with a small\npart of the work ? We want a book\ndealing with all the Theatres of Lon-\ndon (as buildings) since the earliest times.\nWe want all the plans, views, exte-\nrior and interior ; sectional architectural\nplans; views which have been made of\nruins; facades;—we want it all and all\nin two volumes.\nThere was a book issued some years\nago called \" Old Time Aldwych\nwritten by Mr Charles Gordon. There\nis no date to it ; Mr. Fisher Unwin\npublished it.\nIt is just such a book (but this time\ndevoted to London's Theatres from their\nearliest days) that we need, for none\nexists. Some sixty to seventy well chosen\nillustrations made the book we refer to a\ndelight: it was printed on paper which\nwas real paper and not a woolly rab-\nbit skin shaved close; and the fact\nthat it was full of theatrical informa-\ntion makes me wonder whether its\nauthor cannot be persuaded to do this\nbook for us. It would have to be\nsolely topographical and architectural,\nand no talk of what was acted in the\nbuildings, or who acted, or it would\nrun into ten volumes. We suppose\nthat two volumes would cover the\nwhole subject, and, provided we were\ngiven some hundred illustrations in\neach volume, we should be content.\nSuch a work should have a steady\nsale in every European state and in\nAmerica, for the problem of theatre\nbuilding is once more occupying the\nminds of hundreds of men.\nOr turn from \" Old Time Ald-\nwych \" t > \" The London Pleasure\nGardens of the 18th century \" by\nWarwick Wroth assisted by Arthur\nE. Wroth and published by Macmil-\nlan in 1896 : it is another such book\nas the \" Old Aldwych \" volume, only\nrather more detailed and is the kind\nof book needed on Theatres. If Pleasure\ngardens deserve such a book, surely\nour British Theatres deserve no less."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c073", "article_bluemountain": "bmtnaau_1927-07_01#c073", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "130", "page_fin": "130", "image_debut": 58, "image_fin": 58, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.2.27.4", "titre_corps": "PRETENDERS AND THE REAL THING", "titre_sommaire": "PRETENDERS AND THE REAL THING", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 58, "page_imprimee": "130", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.58", "debut_caractere": 3522, "fin_caractere_exclue": 6251, "texte": "PRETENDERS AND THE\nREAL THING.\nJ. S.\nIF you have attended the Royal\nWelsh National Eisteddfod you\nknow that Drama is not one of its\nweaknesses. That weakness is now to\ncome upon it this August.\nNo Greek play will be performed.\nLet us reassure anyone who believes\nthat the sole thing to do when brea-\nking the ice at a Royal. Eisteddfod\nis a Greek play. Nor will anything\nWelsh be attempted. Ibsen's play \" The\nPretenders \" will be given, with pro-\nbably a German setting and acted by\nRussians.\nWe say probably, because already\na Russian has been invited to produce\nthe piece. It's colossal, this un-British\nway of behaving. Whether the old\nscenes and costumes of 1913 will be\nused is not certain.\nIn 1913 \"The Pretenders\" was\nproduced by Laurence Irving with\ndesigns by Sime. Lord Howard de\nWalden was somehow connected with\nthat production as he is with the\nshow to be given in Wales this autumn.\nThe Pavilion being built will hold,\nit is said, 12,000 people—if 12,000\ncan be found to fill it. Yet surely\nfor the reasons above stated it must be\na safe speculation.\nDrama is not something to have a\nweakness for. Lord Howard de Wal-\nden has a weakness for it. It is some-\nthing to have a very strong passion\nfor, or it is best that you leave it alone.\nIt's only fiddle-faddling to play with\nit as some people now and again play\nwith race horses, yachts and charity.\nAll these things are really best left\nalone unless one can bring a good big\nbit of force into (British work\ntoo—not Russian) and so help them\non to something worth while.\nThe fiddling dilettante \" supporter \"\nwho bears the whole expense of a\nproduction is so often a nuisance be-\ncause he more often than not runs to\n£ 200 if its a Scotch enterprise, may\nbe to £ 2000 if in England, but\nseems not to possess the force to do\nmore. He leaves it to ordinary hard\nworkers like Lord Rothermere who\nassuredly does things properly. Did he\nnot run \" Polly '* in a big way ? Anyhow\nhe buys paintings properly—and generally\nis known to support the arts like a\nconnoisseur. He has wise advisers and\n•>\nlistens to them.\nA short time ago we heard a good\ndeal in The Express, London, of the\nscheme initiated by, we believe, Lord\nBeaverbrook through which he was\ngoing to support the younger artists.\nWhether he did anything is not\nknown to us, but all England learned\nthat Lord Rothermere had bought the\npainting by Mrs Dod Proctor exhibi-\nted at the Royal Academy.\nOne would have expected Lord\nBeaverbrook or Lord Howard de Wal-\nden to have done this, and 10, Lord\nRothermere slips easily past them and,\nwhile the others are talking, he brings\nit off. That's not fiddling—its a little\nstroke of genius.\nBut he's always doing it, and we\nshall always admire that kind of spirit."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c074", "article_bluemountain": "bmtnaau_1927-07_01#c074", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "131", "page_fin": "132", "image_debut": 59, "image_fin": 60, "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=bmtnaau192707-01.2.28", "titre_corps": "LAST WORDS", "titre_sommaire": "LAST WORDS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 59, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.59", "debut_caractere": 0, "fin_caractere_exclue": 6607, "texte": "GEORGE COLMAN AND\nO HIS BROAD GRINS. G\nIN 1871 (it was the Victorian Age) the\nBroad Grins of George Colman the\nyounger were issued (or re-issued) by\nMessrs. ;Chatto & Windus with a Memoir\nof this younger Colman by G. B. B. who-\never that may be.\nThe 44 Grins4' are a collection of\nlate 18th century and early 19th century\nrubbish ; buthnterspersed among them are\na number of facts which are valuable to\nthe historian of the English Stage.\nAlthough the younger Colman was\nthe author of the well-known opera\n44 Inkle and Yarico of 44 The Heir at\nLaw \" and of the melodrama 44 The Iron\nChest 99, the latter played by Edmund\nKean and presumably found to be a va-\nluable asset to his repertory, it would\nseem that he and they have now been\npractically forgotten.\nI have not read either nor seen ei-\nther performed, and I dare say you have\nseldom heard of them ; yet the author\nwas 44 acknowledged as the foremost\ndramatic writer of the age \". So there\nmust have been something in his work\nfor it to be found remarkable.\nDr. Allardyce Nicoll calls him 14 a\ncapable dramatist \" and reminds us that\n44 The Iron Chest \" was one of the\n\" outstanding successes of the 18th cen-\ntury \".\nMankind never wearies of telling us\nthat an outstanding success is what\nshould be striven for, and so again\nthere must be something in this 44 Iron\nChest \".\nColman won a reputation as a pun-\nster rather than a wit and should Jyou\nread 44 Broad Grins \" yon will probably\nfind most of it very dull : nearly all of\nit seems unconscionably dull to me, but\nthere is one gem,—a really good piece\nof brilliant paste.\nWe would hardly reprint it but that\nit has a strong moral tendency, and doubt-\nless it was this which urged Messrs\nChatto & Windus to publish the whole\nbook.\nIt is entitled:\nUNFORTUNATE MISS BAILEY\nI.\nA captain bold in Halifax, that dwelt in country quarters,\nSeduced a maid who hanged herself one morning in her garters :\nHis wicked conscience smited him ; he lost his stomach daily ;\nHe took to drinking ratafia, and thought upon Miss Bailey.\nOh, Miss Bailey ! unfortunate Miss Bailey !\n11.\nOne night betimes he went to rest, for he had caught a fever.\nSays he, il lam a handsome man, but I'm a gay deceiver\".\nHis candle just at twelve o'clock began to burn quite paleley ;\nA ghost stepped up to his bedside, and said. 44 Behold Miss Bailey I\nOh. Miss Bailey ! unfottunate Miss Bailey I\n111.\n44 Avaunt, Miss Bailey / \" then he cried. 44 Your face looks white and mealy I \"\n\" Dear Captain Smith the ghost replied, 44you've used me ungenteelly \".\nThe crowner's quest goes hard with me because Pve acted frailly,\nAnd Parson Biggs wont bury me, though lam dead Miss Bailey \".\nOh, Miss Bailey / unfortunate Miss Bailey I\nIV.\n44 Dear corpse says he, 44 since you and I accounts must once for all close,\nPve got a one-pound note in my regimental small-clothes ;\n44 Twill bribe the sexton for your grave \". The ghost then vanished gaily,\nCrying, 44Bless you, wicked Captain Smith / remember poor Miss Bailey \".\nOh, Miss Bailey I unfortunate Miss Bailey 1\n\nCHI S A . . . .\nM. Balieff told a newspaper corres-\npondant that when the music for the Toy\nSoldier fun began he now was obliged to\nstop his ears as it sent him crazy, $0 often\nhad he heard it.\nBALIEFF voices the unuttered cry of\nthe popular singer of all ages,—Poor\nMalibran—poor Yvette Guilbert.\nYou have to go round from city to\ncity, whether you want to or no. To\nstop would be fatal, perhaps—lo sa.\nThe good Malibran arrives in Mi-\nlano, with her husband M. de Beriot in\nattendance, or comes to London—has to\nsing 44 La Sonnambula gets, it is true,\nsome £ 250 for singing it one evening\n44 payable on the morning of the perfor-\nmance \". But she was most conscien-\ncious- always avoiding when possible dis-\nappointing her audience,—and travelling\naround from city to city singing 44 La\nSonnambula 99 or another of her roles,\narriving tired, beginning to wear a look\nof determination as she sits 011 her boxes\nin the Hotel porch—for the old habit of\nfussing over details best left to her suite\n(and it consists generally of M. de Be-\nriot) still rules in her.\nWhy does she go on?-for money?\npresumably. What she does not do is\nto sing new songs, undertake new roles,\n—why should she ? Yet she hates the\nold ones that she has to repeat and\nrepeat.\nEven as M. Balieff puts cotton wool\nin his ears when the terribly popular\n44 soldier \" tune begins, so would Mali-\nbran-so would every singer who is an\nartist.\nThen tell me why the more popular\nones go on and on and on singing their\nsame old repertoire. Is it the fault of\nM. de Beriot?—the helpful impresario?\nRare is it to find a singer who as\nshe tires does not become careless. Ma-\ndame Yvette Guilbert is particularly care-\nful—and she must often feel tired of\nthe same songs.\nIt is not a question whether a song\nbe good, for one can tire of the very\nbest—if one goes over it too often.... it\ncan become laboured.—too excellent for\nso slight a thing.\nWhat puzzles me is the inability of\nthe singer to escape.\nI would not have her 44 wreck her\ncareer \" as the silly phrase has it, but 1\nwould have her always essaying new\npaths and thus careering.\n44 That would wreck her career19\nreplies her impresario—and so there's\nan end of it.\nBut what a comment on the artist\nif it be true.\nWhether true or false I will hot\ndiscuss—an impresario is supposed to\nknow. But still what a comment on the\nartist, coming, as it does, from the one\nperson supposed to know.\nWhy it would wreck her career is\nnot quite evident either; if it mean any-\nthing it means that the artist could not\nperfect a new programme every six\nmonths—though it also means that her\npublic will only come to hear the old\nsongs.\nChi sa?... evidently Monsieur l'im-\npresario.\n\nLAST WORDS.\n\nADELPHI OR WHITEHALL COURT\n\"THE MODESTY OF G. B. S. 99\nMR. Bernard Shaw really is inimi-\ntable when being interviewed -in\nhis genuine journalistic mood ; no one\ndoes it better and so no one keeps more\nmodern: he is the freshest of them\nall.\n44 The Modesty of G. B. S. \" was the\nhead line ; 44 Who cares where I live \"\nthe sub-head line in the Daily Mail.\nAnd he began; \"I would advise\nyou to forget about me. I do not be-\nlieve that one 50th per cent of the peo-\nple in this country are sufficiently inte-\nrested in me to care where I stay or\nwhether I leave Adelphi or not\nWhat is one 50th per cent of the\nEnglish people ? The whole population\nof England (and we are not counting\nWales) is given by Whitaker's almanack\nfor 1927 as 35, 678, 530 for the English\ncounties. One 50th per cent of them tots\nup to some odd 7135 persons.\n44 I do not believe that 7135 persons of"}, {"page_pdf": 60, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.60", "debut_caractere": 0, "fin_caractere_exclue": 7563, "texte": "England are sufficiently interested in\nme to care where I stay or whether I\nleave Adelphi or not \" is a splendid\nflourish for seventy-one and Mr. Shaw\npretends to be past seventy.\nThen he adds a little pathos to show\nthat he can put on that as well as all\nelse:—No, I have got to the stage\nwhen I don't care where I go. I do not\nmind going to Whitehall Court at all \".\n44 Do not mind \" is delightful—be-\ncause in reality G. B. S. is simply lon-\nging to go to Whitehall Court or any-\nwhere out of the old Adelphi Terrace.\nHe knows how refreshing it is to\nmake a change, but he knows that his\npublic expects him to be pathetic—so he\nsighs, shrugs his shoulders sadly —gazes\nacross the Thames -and says 44 I do not\ncare.,.. I do not mind\nThere is no one who can say these\nthings like G. B. S.\nQf course he does not mind—he is\none of the most courageous figures in\nthe world even if one of the worst of\ndramatists.\nHis is a spirit of great strength\nand frail he is not in body.... and in\nmind more agile than any one in Lon-\ndon today.\nA little bit of a teaze perhaps, for\nto go to live next door to St. John Er-\nvine in order to show a young man how\nmuch livelier an old one is, is rather\ndastardly.\nBut then he goes into that neigh-\nbourhood so as to have a rare old gos-\nsip, to spread the good word, the latest\nnews,—tor Shaw has that fault, and\nbadly.\nWhat a little one after all, '...1 mean\nconsidering how much harm it can do.\nYes, he is quite chummy with the shades\nof Caroline Lamb and Miss Milbanke.\nBut he thinks clearly; 44 What non-\nsense \" he says when the polite inter-\nviewer suggests that Adelphi and Shaw\nare synonymous, meaning that Adelphi\nand the Brothers Adam are synonymous,\nand that even the names Garrick and\nthe Savage Club cannot be linked with the\nname of the Adelphi. Garrick we link with\nDrury Lane, nothing less; and Shaw's\nname will be linked with that of the\nEuropean Dramatists of the first part of\nthe 20th century.\n\nAT THE OPERA: MAY 1927.\nO. m. G\nI can hear them what is it makes\nthem seem to doubt it ? My neigh-\nbours too,—all of us can hear them. Yet\nthey are barking on and on like dogs,\n....and they first-class operatic singers :\nand it is understood that they are paid to\ndo this.\nThey are singing 44 Pagliacci \" and\n41 Cavalleria Rusticana\nI remember hearing •• II Matrimonio\nSegreto \" in Venice at the Teatro Fe-\nnice. They buzzed a little as small\nbees do, but there was none of that\ndoggish noise which offends me tonight,\n—why do they keep it up ? why don't\nthey sing, or, failing that, speak quietly ;\nor strike and refuse to sing music which\nsounds like noise.\n\nEPIROTES AT PLAY.\nTHE FREAKISH FUN OF\nSOME LONDON CRITICS.\nWE halted at the khan of Episkopiy\nclose to a little stream full of ca-\npital water cresses which I began to ga-\nther and eat with some bread and cheese,\nan act which provoked the Epirote by-\nstanders of the village to ecstatic laughter\nand curiosity. Every portion I put into\nmy mouth, delighted them as a most\ncharming exhibition of foreign whim ;\nand the more juvenile spectators instantly\ncommenced bringing me all sorts of\nfunny objects, with an earnest 7-equest\nthat 1 would amuse them by feeding there-\nupon forthwith. One brought a thistle,\na second a collection of sticks and wood(\na third some grass; a fourth presented\nme with a fat grasshopper the zvhole\nscene was acted amid shouts of laughter,\nin which I joined as loudly as any. We\nparted amazingly good friends, and the\nwits of Episkopi will long remember the\nFrank who fed on weeds out of the\nwater.\n(u Journals of a Landscape Painter\nin Albania \" by Edward Lear. 1851.\nLondon.\nry*HE London Dramatic Critics of 1927\nJL must be some of the Epirotes from\nthat village. Even a most extraordi-\nnary happening, if foreign to their pro-\nvince strikes them as odd. They gulfaw\nat once.\nAnd when we read their reviews of\nThe Mask or of other modern Theatri-\ncals in the Daily and Weekly papers,\nwe too do as Edward Lear did with\nthe Epirotes, we join in as .loudly\nas any.\nIt has taken some of them years to\nbring themselves to review this journal\nof ours, acknowledged now as the best\ntheatrical journal in the world, and which\nhas been sent regularly to them.\nThe same courtesy (of a complimen-\ntary copy) has not as a rule been extended\nto us.\nAnd now fhe 44 Saturday Review \"\nhas done it at last.\nThe young man who was entrusted\nwith the job does not seem from what\nwe can gather to be at all fond of\nwork, for he supposes that we in Flo-\nrence are of the dolce far niente order :\nthat we 101 l and yawn and do as little\nwork as possible.\nHis kind words simply breathe envy\nfor our ability to 44 bask by Arno \" as he\nputs it.\nHe calls us 44 Florentine exquisites\nof the sniffing cult\nWe are not so sure that on first\nreading his review we quite liked that.\nFor a moment we feared it was unkindly\nmeant—that it even meant mischief: it\nsmelt to us like the words of a paid as-\nsassin who knows he is about to miss\nhis blow.\nBut in a moment the nasty suspicion\nhad fled and we saw that it was just\nfreakish boyish fun,—-an Epirote's sense\nof humour....\nYes, he too is like those raggamuf-\nfins who made old Edward Lear laugh\nwhen he was young. Had Lear been\nolder perhaps the fun would not have\nstruck him so immediately.\nThis Saturday writer doesn't ap-\nprove of us in Italy—and he is almost\nwhat can be called 44 down on \" Mr.\nCraig, for wasfing his time 1 1 ! Mr. Craig\nwho, as every one who knows him\nknows, is a pretty hard worker, is taken\nto task by the man who is Saturday and\nwho says he would like to transport him\n44 forcibly \" to England and set him to\nproduce plays in i( an ill-equipped hall\nnext door to a kinema in a manufactory\ntown .with an underpaid, overworked\ncompany and not a penny to spend\non new equipment of building or of\nbody \".\nThat certainly is young, and that is\nno fault: but the gentleman might read\na bit more, and study a little harder.\nDoubtless he potters around so as to\npickup 4 4 information \" but that's not\nstudying.\nIt would be better if he were te read\n44 The Mask\" carefully. But even then\nhe might not discover that before he was\nten years old Mr. Craig was producing\nin ili-equipt halls, in tumble-down thea-\ntres, without a penny of capital. Un-\nderpaid he was not—for he was not paid\nat all; nor overworked, for no one has\nyet heard him complain of too much\nwork.\nThe 44 Saturday \" writer in short\nhas been misinformed and has not trou-\nbled to inform himself. London is packed\nfull of these not-quite-well informed in-\nformers.\nBut after all no more so than Pa-\nris ; a lot of idlers or semi-idlers play\nthe informers. Mr. and Mrs Gossip are\na legion.\nA short while ago the information\nwas that the easy-going idler Gordon\nCraig receives £ 500 income regularly\nfrom some family source. That it is ut-\nterly untrue does not matter to the in-\nformers. The weary journalist is but\none of the listeners who are gulled. What\nsurer sign that journalists are tired out:\nand really sick of what was for long\nconsidered a distinguished branch of li-\nterature ?\nThe information about Craig's regu-\nlar supplies came from a certain gang\nof women and was spread around until\nno less a person than the sage of the\nAdelphi snapped it up and passed the\nnews along. Informing is such a de-\nlight There are so many sages living\nin the Adelphi so there we lose the trail.\nBut who'd have thought it of one of\nthem.\n\nA WORD OF THANKS.\nJ. S.\nTHE Plate showing a production of\n\"Romeo and Juliet\" in Bombay is\nreproduced by courteous permission of\nthe Shakespeare Association and the\nOxford University Press."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c075", "article_bluemountain": "bmtnaau_1927-07_01#c075", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "131", "page_fin": "131", "image_debut": 59, "image_fin": 59, "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=bmtnaau192707-01.2.28.1", "titre_corps": "GEORGE COLMAN AND HIS BROAD GRINS", "titre_sommaire": "GEORGE COLMAN AND HIS BROAD GRINS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 59, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.59", "debut_caractere": 0, "fin_caractere_exclue": 3033, "texte": "GEORGE COLMAN AND\nO HIS BROAD GRINS. G\nIN 1871 (it was the Victorian Age) the\nBroad Grins of George Colman the\nyounger were issued (or re-issued) by\nMessrs. ;Chatto & Windus with a Memoir\nof this younger Colman by G. B. B. who-\never that may be.\nThe 44 Grins4' are a collection of\nlate 18th century and early 19th century\nrubbish ; buthnterspersed among them are\na number of facts which are valuable to\nthe historian of the English Stage.\nAlthough the younger Colman was\nthe author of the well-known opera\n44 Inkle and Yarico of 44 The Heir at\nLaw \" and of the melodrama 44 The Iron\nChest 99, the latter played by Edmund\nKean and presumably found to be a va-\nluable asset to his repertory, it would\nseem that he and they have now been\npractically forgotten.\nI have not read either nor seen ei-\nther performed, and I dare say you have\nseldom heard of them ; yet the author\nwas 44 acknowledged as the foremost\ndramatic writer of the age \". So there\nmust have been something in his work\nfor it to be found remarkable.\nDr. Allardyce Nicoll calls him 14 a\ncapable dramatist \" and reminds us that\n44 The Iron Chest \" was one of the\n\" outstanding successes of the 18th cen-\ntury \".\nMankind never wearies of telling us\nthat an outstanding success is what\nshould be striven for, and so again\nthere must be something in this 44 Iron\nChest \".\nColman won a reputation as a pun-\nster rather than a wit and should Jyou\nread 44 Broad Grins \" yon will probably\nfind most of it very dull : nearly all of\nit seems unconscionably dull to me, but\nthere is one gem,—a really good piece\nof brilliant paste.\nWe would hardly reprint it but that\nit has a strong moral tendency, and doubt-\nless it was this which urged Messrs\nChatto & Windus to publish the whole\nbook.\nIt is entitled:\nUNFORTUNATE MISS BAILEY\nI.\nA captain bold in Halifax, that dwelt in country quarters,\nSeduced a maid who hanged herself one morning in her garters :\nHis wicked conscience smited him ; he lost his stomach daily ;\nHe took to drinking ratafia, and thought upon Miss Bailey.\nOh, Miss Bailey ! unfortunate Miss Bailey !\n11.\nOne night betimes he went to rest, for he had caught a fever.\nSays he, il lam a handsome man, but I'm a gay deceiver\".\nHis candle just at twelve o'clock began to burn quite paleley ;\nA ghost stepped up to his bedside, and said. 44 Behold Miss Bailey I\nOh. Miss Bailey ! unfottunate Miss Bailey I\n111.\n44 Avaunt, Miss Bailey / \" then he cried. 44 Your face looks white and mealy I \"\n\" Dear Captain Smith the ghost replied, 44you've used me ungenteelly \".\nThe crowner's quest goes hard with me because Pve acted frailly,\nAnd Parson Biggs wont bury me, though lam dead Miss Bailey \".\nOh, Miss Bailey / unfortunate Miss Bailey I\nIV.\n44 Dear corpse says he, 44 since you and I accounts must once for all close,\nPve got a one-pound note in my regimental small-clothes ;\n44 Twill bribe the sexton for your grave \". The ghost then vanished gaily,\nCrying, 44Bless you, wicked Captain Smith / remember poor Miss Bailey \".\nOh, Miss Bailey I unfortunate Miss Bailey 1"}]}, {"article_id": "bm-bmtnaau-1927-07-01-c077", "article_bluemountain": "bmtnaau_1927-07_01#c077", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "131", "page_fin": "131", "image_debut": 59, "image_fin": 59, "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=bmtnaau192707-01.2.28.2", "titre_corps": "CHI SA . .", "titre_sommaire": "CHI SA . .", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 59, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.59", "debut_caractere": 3035, "fin_caractere_exclue": 5721, "texte": "CHI S A . . . .\nM. Balieff told a newspaper corres-\npondant that when the music for the Toy\nSoldier fun began he now was obliged to\nstop his ears as it sent him crazy, $0 often\nhad he heard it.\nBALIEFF voices the unuttered cry of\nthe popular singer of all ages,—Poor\nMalibran—poor Yvette Guilbert.\nYou have to go round from city to\ncity, whether you want to or no. To\nstop would be fatal, perhaps—lo sa.\nThe good Malibran arrives in Mi-\nlano, with her husband M. de Beriot in\nattendance, or comes to London—has to\nsing 44 La Sonnambula gets, it is true,\nsome £ 250 for singing it one evening\n44 payable on the morning of the perfor-\nmance \". But she was most conscien-\ncious- always avoiding when possible dis-\nappointing her audience,—and travelling\naround from city to city singing 44 La\nSonnambula 99 or another of her roles,\narriving tired, beginning to wear a look\nof determination as she sits 011 her boxes\nin the Hotel porch—for the old habit of\nfussing over details best left to her suite\n(and it consists generally of M. de Be-\nriot) still rules in her.\nWhy does she go on?-for money?\npresumably. What she does not do is\nto sing new songs, undertake new roles,\n—why should she ? Yet she hates the\nold ones that she has to repeat and\nrepeat.\nEven as M. Balieff puts cotton wool\nin his ears when the terribly popular\n44 soldier \" tune begins, so would Mali-\nbran-so would every singer who is an\nartist.\nThen tell me why the more popular\nones go on and on and on singing their\nsame old repertoire. Is it the fault of\nM. de Beriot?—the helpful impresario?\nRare is it to find a singer who as\nshe tires does not become careless. Ma-\ndame Yvette Guilbert is particularly care-\nful—and she must often feel tired of\nthe same songs.\nIt is not a question whether a song\nbe good, for one can tire of the very\nbest—if one goes over it too often.... it\ncan become laboured.—too excellent for\nso slight a thing.\nWhat puzzles me is the inability of\nthe singer to escape.\nI would not have her 44 wreck her\ncareer \" as the silly phrase has it, but 1\nwould have her always essaying new\npaths and thus careering.\n44 That would wreck her career19\nreplies her impresario—and so there's\nan end of it.\nBut what a comment on the artist\nif it be true.\nWhether true or false I will hot\ndiscuss—an impresario is supposed to\nknow. But still what a comment on the\nartist, coming, as it does, from the one\nperson supposed to know.\nWhy it would wreck her career is\nnot quite evident either; if it mean any-\nthing it means that the artist could not\nperfect a new programme every six\nmonths—though it also means that her\npublic will only come to hear the old\nsongs.\nChi sa?... evidently Monsieur l'im-\npresario."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c079", "article_bluemountain": "bmtnaau_1927-07_01#c079", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "131", "page_fin": "132", "image_debut": 59, "image_fin": 60, "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=bmtnaau192707-01.2.28.3", "titre_corps": "ADELPHI OR WHITEHALL COURT : \"THE MODESTY OF G. B. S.", "titre_sommaire": "ADELPHI OR WHITEHALL COURT : \"THE MODESTY OF G. B. S.", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 59, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.59", "debut_caractere": 5736, "fin_caractere_exclue": 6607, "texte": "ADELPHI OR WHITEHALL COURT\n\"THE MODESTY OF G. B. S. 99\nMR. Bernard Shaw really is inimi-\ntable when being interviewed -in\nhis genuine journalistic mood ; no one\ndoes it better and so no one keeps more\nmodern: he is the freshest of them\nall.\n44 The Modesty of G. B. S. \" was the\nhead line ; 44 Who cares where I live \"\nthe sub-head line in the Daily Mail.\nAnd he began; \"I would advise\nyou to forget about me. I do not be-\nlieve that one 50th per cent of the peo-\nple in this country are sufficiently inte-\nrested in me to care where I stay or\nwhether I leave Adelphi or not\nWhat is one 50th per cent of the\nEnglish people ? The whole population\nof England (and we are not counting\nWales) is given by Whitaker's almanack\nfor 1927 as 35, 678, 530 for the English\ncounties. One 50th per cent of them tots\nup to some odd 7135 persons.\n44 I do not believe that 7135 persons of"}, {"page_pdf": 60, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.60", "debut_caractere": 0, "fin_caractere_exclue": 1946, "texte": "England are sufficiently interested in\nme to care where I stay or whether I\nleave Adelphi or not \" is a splendid\nflourish for seventy-one and Mr. Shaw\npretends to be past seventy.\nThen he adds a little pathos to show\nthat he can put on that as well as all\nelse:—No, I have got to the stage\nwhen I don't care where I go. I do not\nmind going to Whitehall Court at all \".\n44 Do not mind \" is delightful—be-\ncause in reality G. B. S. is simply lon-\nging to go to Whitehall Court or any-\nwhere out of the old Adelphi Terrace.\nHe knows how refreshing it is to\nmake a change, but he knows that his\npublic expects him to be pathetic—so he\nsighs, shrugs his shoulders sadly —gazes\nacross the Thames -and says 44 I do not\ncare.,.. I do not mind\nThere is no one who can say these\nthings like G. B. S.\nQf course he does not mind—he is\none of the most courageous figures in\nthe world even if one of the worst of\ndramatists.\nHis is a spirit of great strength\nand frail he is not in body.... and in\nmind more agile than any one in Lon-\ndon today.\nA little bit of a teaze perhaps, for\nto go to live next door to St. John Er-\nvine in order to show a young man how\nmuch livelier an old one is, is rather\ndastardly.\nBut then he goes into that neigh-\nbourhood so as to have a rare old gos-\nsip, to spread the good word, the latest\nnews,—tor Shaw has that fault, and\nbadly.\nWhat a little one after all, '...1 mean\nconsidering how much harm it can do.\nYes, he is quite chummy with the shades\nof Caroline Lamb and Miss Milbanke.\nBut he thinks clearly; 44 What non-\nsense \" he says when the polite inter-\nviewer suggests that Adelphi and Shaw\nare synonymous, meaning that Adelphi\nand the Brothers Adam are synonymous,\nand that even the names Garrick and\nthe Savage Club cannot be linked with the\nname of the Adelphi. Garrick we link with\nDrury Lane, nothing less; and Shaw's\nname will be linked with that of the\nEuropean Dramatists of the first part of\nthe 20th century."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c081", "article_bluemountain": "bmtnaau_1927-07_01#c081", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "132", "page_fin": "132", "image_debut": 60, "image_fin": 60, "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=bmtnaau192707-01.2.28.4", "titre_corps": "AT THE OPERA: MAY 1927", "titre_sommaire": "AT THE OPERA: MAY 1927", "signature_source": "O. m. G", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 60, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.60", "debut_caractere": 1948, "fin_caractere_exclue": 2607, "texte": "AT THE OPERA: MAY 1927.\nO. m. G\nI can hear them what is it makes\nthem seem to doubt it ? My neigh-\nbours too,—all of us can hear them. Yet\nthey are barking on and on like dogs,\n....and they first-class operatic singers :\nand it is understood that they are paid to\ndo this.\nThey are singing 44 Pagliacci \" and\n41 Cavalleria Rusticana\nI remember hearing •• II Matrimonio\nSegreto \" in Venice at the Teatro Fe-\nnice. They buzzed a little as small\nbees do, but there was none of that\ndoggish noise which offends me tonight,\n—why do they keep it up ? why don't\nthey sing, or, failing that, speak quietly ;\nor strike and refuse to sing music which\nsounds like noise."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c083", "article_bluemountain": "bmtnaau_1927-07_01#c083", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "132", "page_fin": "132", "image_debut": 60, "image_fin": 60, "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=bmtnaau192707-01.2.28.5", "titre_corps": "EPIROTES AT PLAY : THE FREAKISH FUN OF SOME LONDON CRITICS", "titre_sommaire": "EPIROTES AT PLAY : THE FREAKISH FUN OF SOME LONDON CRITICS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 60, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.60", "debut_caractere": 2609, "fin_caractere_exclue": 7373, "texte": "EPIROTES AT PLAY.\nTHE FREAKISH FUN OF\nSOME LONDON CRITICS.\nWE halted at the khan of Episkopiy\nclose to a little stream full of ca-\npital water cresses which I began to ga-\nther and eat with some bread and cheese,\nan act which provoked the Epirote by-\nstanders of the village to ecstatic laughter\nand curiosity. Every portion I put into\nmy mouth, delighted them as a most\ncharming exhibition of foreign whim ;\nand the more juvenile spectators instantly\ncommenced bringing me all sorts of\nfunny objects, with an earnest 7-equest\nthat 1 would amuse them by feeding there-\nupon forthwith. One brought a thistle,\na second a collection of sticks and wood(\na third some grass; a fourth presented\nme with a fat grasshopper the zvhole\nscene was acted amid shouts of laughter,\nin which I joined as loudly as any. We\nparted amazingly good friends, and the\nwits of Episkopi will long remember the\nFrank who fed on weeds out of the\nwater.\n(u Journals of a Landscape Painter\nin Albania \" by Edward Lear. 1851.\nLondon.\nry*HE London Dramatic Critics of 1927\nJL must be some of the Epirotes from\nthat village. Even a most extraordi-\nnary happening, if foreign to their pro-\nvince strikes them as odd. They gulfaw\nat once.\nAnd when we read their reviews of\nThe Mask or of other modern Theatri-\ncals in the Daily and Weekly papers,\nwe too do as Edward Lear did with\nthe Epirotes, we join in as .loudly\nas any.\nIt has taken some of them years to\nbring themselves to review this journal\nof ours, acknowledged now as the best\ntheatrical journal in the world, and which\nhas been sent regularly to them.\nThe same courtesy (of a complimen-\ntary copy) has not as a rule been extended\nto us.\nAnd now fhe 44 Saturday Review \"\nhas done it at last.\nThe young man who was entrusted\nwith the job does not seem from what\nwe can gather to be at all fond of\nwork, for he supposes that we in Flo-\nrence are of the dolce far niente order :\nthat we 101 l and yawn and do as little\nwork as possible.\nHis kind words simply breathe envy\nfor our ability to 44 bask by Arno \" as he\nputs it.\nHe calls us 44 Florentine exquisites\nof the sniffing cult\nWe are not so sure that on first\nreading his review we quite liked that.\nFor a moment we feared it was unkindly\nmeant—that it even meant mischief: it\nsmelt to us like the words of a paid as-\nsassin who knows he is about to miss\nhis blow.\nBut in a moment the nasty suspicion\nhad fled and we saw that it was just\nfreakish boyish fun,—-an Epirote's sense\nof humour....\nYes, he too is like those raggamuf-\nfins who made old Edward Lear laugh\nwhen he was young. Had Lear been\nolder perhaps the fun would not have\nstruck him so immediately.\nThis Saturday writer doesn't ap-\nprove of us in Italy—and he is almost\nwhat can be called 44 down on \" Mr.\nCraig, for wasfing his time 1 1 ! Mr. Craig\nwho, as every one who knows him\nknows, is a pretty hard worker, is taken\nto task by the man who is Saturday and\nwho says he would like to transport him\n44 forcibly \" to England and set him to\nproduce plays in i( an ill-equipped hall\nnext door to a kinema in a manufactory\ntown .with an underpaid, overworked\ncompany and not a penny to spend\non new equipment of building or of\nbody \".\nThat certainly is young, and that is\nno fault: but the gentleman might read\na bit more, and study a little harder.\nDoubtless he potters around so as to\npickup 4 4 information \" but that's not\nstudying.\nIt would be better if he were te read\n44 The Mask\" carefully. But even then\nhe might not discover that before he was\nten years old Mr. Craig was producing\nin ili-equipt halls, in tumble-down thea-\ntres, without a penny of capital. Un-\nderpaid he was not—for he was not paid\nat all; nor overworked, for no one has\nyet heard him complain of too much\nwork.\nThe 44 Saturday \" writer in short\nhas been misinformed and has not trou-\nbled to inform himself. London is packed\nfull of these not-quite-well informed in-\nformers.\nBut after all no more so than Pa-\nris ; a lot of idlers or semi-idlers play\nthe informers. Mr. and Mrs Gossip are\na legion.\nA short while ago the information\nwas that the easy-going idler Gordon\nCraig receives £ 500 income regularly\nfrom some family source. That it is ut-\nterly untrue does not matter to the in-\nformers. The weary journalist is but\none of the listeners who are gulled. What\nsurer sign that journalists are tired out:\nand really sick of what was for long\nconsidered a distinguished branch of li-\nterature ?\nThe information about Craig's regu-\nlar supplies came from a certain gang\nof women and was spread around until\nno less a person than the sage of the\nAdelphi snapped it up and passed the\nnews along. Informing is such a de-\nlight There are so many sages living\nin the Adelphi so there we lose the trail.\nBut who'd have thought it of one of\nthem."}]}, {"article_id": "bm-bmtnaau-1927-07-01-c085", "article_bluemountain": "bmtnaau_1927-07_01#c085", "volume": "bmtnaau_1927-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "132", "page_fin": "132", "image_debut": 60, "image_fin": 60, "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=bmtnaau192707-01.2.28.6", "titre_corps": "A WORD OF THANKS", "titre_sommaire": "A WORD OF THANKS", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 60, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.60", "debut_caractere": 7375, "fin_caractere_exclue": 7563, "texte": "A WORD OF THANKS.\nJ. S.\nTHE Plate showing a production of\n\"Romeo and Juliet\" in Bombay is\nreproduced by courteous permission of\nthe Shakespeare Association and the\nOxford University Press."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.1", "texte": "THE MASK\nVOLUME TWELVE BIS. NUMBER THREE\nJULY - AUGUST - SEPTEMBER\n19 2 7\nANNUAL SUBSCRIPTION EDITION DE LUXE\nTEN SHILLINGS TWENTY SHILLINGS\n(POST FREE) C||\nTWO & A HALF DOLLARS FIVE DOLLARS\nFOR AMERICA FOR AMERICA\nADDRESS: BOX 444. FLORENCE. ITALY.\n\nSOME REFLECTIONS ON THE INFLU-\nENCE OF SHAKESPEARE IN INDIA\nby C. J. Sisson, with Notes by E. G. C.\nSOME SURVIVING LONDON THEA-\nTRES by Beresford Chancellor.\nREINHARDT & COMPANY • some Anony-\nmous observations on an organization.\nTWO LADIES, The Princess des Ursins and\nLa Belle Otero, by X. Y. Z.\nFILMS, CRITICS, AND ROBINSON\nCRUSOE by Everard Plumbline.\nX TOTES AND LETTERS ON THE THREE\nINSITWELLS, UNFORTUNATE MR.\nBROWN and other curious and intriguing matters.\nILLUSTRATIONS: REINHARDT PRODUCTIONS BEFORE 1905.\nTWO GORDON CRAIG DESIGNS IN 1905. PORTRAITS OF FRANCESCO\nBIBIENA, BIGARI & ORLAN'DI. ROMEO AND JULIET IN INDIA. A\nNEWLY DISCOVERED PLAN (circa 1600) OF \" LA PERGOLA \"\nTHIS VALUABLE PLAN IS HERE REPRODUCED FOR THE FIRST TIME."}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.2", "texte": "THE MASK. JULY 192\nNOTICE TO CONTRIBUTORS, The Editor is always glad to consider articles and illustrations fro\nexperts in theatre history and art, which result from special research or personal experience* Where stampjj\nand addressed envelopes are included, every effort will be made to return in due course rejected contributionl\nbut in no circumstances can he hold himself responsible for safe custody or return* All articles should |\ntypewritten„\nAddress: The Editor: \" The Mask Box 444, Florence, Italy.\n\nLITERARY CONTENTS.\nAN ASTOUNDING DISCOVERY ..... J. S Page 83\nTHE SHAKESPEARE DANGER & THE INFLUENCE |\nOF SHAKESPEARE IN INDIA . ... C. J. Sisson with Notes by E. G. C. . 8|\nSOME SURVIVING LONDON THEATRES . . E. Beresford Chancellor . . .91\nHARLEQUIN. Some Notes & Dates . . . . . E. G. C; . . . . .91\nTHE FILMS ......... Everard Plumbline . . . . 91\nMONEY, REAL & FANTASTIC . . . . Anonymous. . . . • lOj\nREINHARDT & COMPANY ...... Anonymous IQ|\nTWO LADIES X. Y. Z 10|\nVALDIMAR MOLLER, Actor & Caricaturist . . . C. . . • • • . 101\nA NOTE ON THREE SCENOGRAPHERS . . . Allen Carrie 11l\nCORRESPONDENCE. FOREIGN NOTES. BOOK REVIEWS. EDITORIAL NOTES.\n\nILLUSTRATIONS.\nA RARE PLAN OF THE FLORENTINE THEATRE\n«LA PERGOLA\" . . Plate 12, Face 8\n\" ROMEO & JULIET\" in BOMBAY , From a photograph . \" 13, n 9\n44 ELECTRA\" A Design for a Stage Scene, 1905 . . Gordon Craig. n 14, n 9\n45 THE STEPS/', A Design for a Stage Scene, 1905 . . Gordon Craig. . n 14 B, Precede 9\n44 ELEKTRA A Reinhardt Production .... From a photograph . 15, Face 1(1\n44 KABALE UND LIEBE A Reinhardt Production. , n n R n 16, Precede l(j\n44 SALOME A Reinhardt Production . . . . \" \" n n 17, Face \\Q\nTHREE LITTLE THEATRES OF PARIS . . . From Galignani's Guide, 1859 . . ll\nA CARICATURE . . . . « . . Valdimar Moller . . . 1(|\nFRANCESCO GALLI DA BIBIENA .... Anon. . . . . . 1Q\nVITTORIO BIGARI ....... ■\" 11\nSTEFANO ORLANDI . . . . . n . . . . .1 j\nHead and Tail Pieces and Vignettes, by Callot, H. M. 8., and from other old and modern Designs."}, {"page_pdf": 4, "page_imprimee": "[86]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.4", "texte": "A PLAN OF THE FLORENTINE THEATRE \"PERGOLA\"\nfrom a rare document hitherto unpublished.\nPlate 12.\n\nTHE MASK\n1927"}, {"page_pdf": 5, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.5", "texte": "THE MASK\n19 0 8 19 2 7\n\nAN ASTOUNDING DISCOVERY\nMADE\nBY A SUBSCRIBER TO \"THE MASK\".\n\nFOR many years The Mask has been unearthing and bringing to\nits readers rare items never before published in any Journal,\nand this it does in the service of scholars and students, and to\naid in making the Theatre's art and history better understood.\nAmong the subjects to which we have given study and research\nhas been the structure both within and without of the homes of the\nDrama, the Theatre buildings themselves.\nNo one twenty-five years ago cared much about this branch of\nthe subject: today there is no one who fails to study it.\nAll over Europe and America artists of the Theatre realize that\nit is one of the very first things to study the position and shape\nof the house in which their work is to be seen.\nMost of all in Germany and in the United States, are scholars\nalive to the importance of this study, but also in Holland, in Italy, in\nDenmark and in London a lively interest is being shown in all details\npertaining both in the past and the present to the Drama's home.\nThis quarter we are happy to be able to offer to these students\na rare plan of the Florentine theatre \" La Pergola \", that old and aris-\ntocratic playhouse built in 1652 by the Accademia degli Immobili,\nwhich took as its emblem the windmill with the motto \" In sua Mo-\nvenza e fermo \", \" In its movement steadfast\nThis Thentre is therefore 114 Years older than the Teatro\nLa Scala in Milano, and is still used rightly."}, {"page_pdf": 6, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.6", "texte": "We have discovered other such plans of even greater interest and\nintend immediately to lay them before our readers.\nThe rare pictorial document, now reproduced for the first time,\nhas lain untouched for over two centuries. Where and how it was\ndiscovered will be announced in the next number of b\nMeantime, if Signor Morini, Conte Bruno Brunelli, Signor Glauco\nLombardi, Mr. Lawrence, Professor Allardyce Nicoll, M. Alfred Mortier\nor M. Constant Mic can throw any light on the two questions,\nwho may be the author of this plan and if it is the original plan, we\nshall be glad to publish their communications.\nTo facilitate study we print below the alphabetical references to\nthe various details, which, in the reduced reproduction are otherwise\nnot easily deciphered. We also append a reproduction of the emblem\nof La Pergola\nA. Luogo de Serenissimi Padroni.\nB. Stanzini de S.Sri. Accademici.\nC. Teatro dell' Udienza.\nD. Orchestra.\nE. Ingressi per il Teatro.\nF. Salite che portano a quattro ordini di\nstanzini.\nG. Guardaroba.\nH. Stanze per il custode.\nI. Ingresso per le dame per andare nel\nTeatro, e stanzini.\nK. Ingresso dei proni. (2) Serenissimi.\nL. Camera dove dimorano i proni. Sere-\nnissimi.\nM. Corridori che portano alle stanzine.\nN. Fianchi per l'operazione delle comparse,\ne Scene.\nO. Proscenio con sue lontananze, e canali.\n€J Ogni Braccio Fiorentino e due Palmi, e sett'once.\n(1) See also page 128.\n(2) Abbreviation for \" Padroni\n\nJ. S."}, {"page_pdf": 7, "page_imprimee": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.7", "texte": "THE SHAKESPEARE DANGER\nSOME REFLECTIONS ON CERTAIN FACTS\nRELATED BY MR. C. J. SISSON, REGARDING\nTHE INFLUENCE OF SHAKESPEARE IN INDIA.\nWITH ACCOMPANYING COMMENTS.\n\nTHE works of Shakespeare are better\nknown in India than we suppose.\nIf, in the midst of our daily Jazz, we\nstop for a moment to bother our heads\neither about Shakespeare or about India\nwe discover this.\nIt would suprise most readers of\nShakespeare writes Mr. C. J. Sisson, and\neoen most Englishmen in India (two clas-\nses not necessarily coincident) to be told\nthat Shakespeare's plays have been infinite-\nly more popular in Bombay than those of\nTagore in Calcutta. Yet this is a plain fact\nMr. Sisson has recently written an\nimportant essay lately published in brochure\nby the Shakespeare Association, or rather\npublished for it by its nurse, the grand\nold Oxford University Press.\nThere are considerable hopes being\nexpressed in influential quarters that when\nthe Shakespeare Association comes to years\nof discretion—it is now still young—it will\nbe given a latch-key of its own, it will have\nits own press and offices (').\nThat will be a good thing, if, when\nthe press and the offices are found, the\ncommonsense of writers is not lacking.\nAs a rule all the good common sense of\neven famous writers leaves them when\nthey come to write about Shakespeare\nand his plays. Of his poems they sel-\ndom say a word. Words are spent la-\nvishly on the plays as literary master-\npieces ; rarely a word to say what is due\nto Shakespeare, presuming of course that\nanything is still due to him.\nPresuming still further that what has\nalways been his due has never yet been\npaid properly by us—let us tell ourselves\nonce more what it is that we may possibly\nowe him still.\n1 believe the moment is ripe for a\ngood talk—that good talk which has this\nadvantage, that it regularly absolves us\nfrom doing anything at all rash, such as,\nfor example, producing Shakespeare's plays\nfor the people of the Empire.\nYes, the good talk is due too : once\nevery decade it has to be enjoyed or en-\ndured as the case may be. And I feel\nthat a real good talk is upon us this 1927.\nWHAT IS DUE TO SHAKESPEARE.\nYES, let us ask ourselves and one ano-\nther ; what is due to this our national\nplaywright ? What do we owe this\ncelebrated artist. I think that we shall\nprobably have to listen once more to\nthe truth about it this year. We may\nagain hear it said that his plays should\nbe performed ; and I am not so sure but\nthat a real effort will not be actually\nmade by certain groups of enthusiasts to\nattempt to perform them. We already\nknow that this has been done, and with\nthe utmost enthusiasm too, by a group in\n\n(1) The following note has been kindly contributed\nby Mr. G. B. Harrison, Honorary Secretary of the Shake-\nspeare Association. Editor.\n44 The Shakespeare Association which has its headquarters\n4 at King's College, University of London, Strand, W. C. 2,\n*• exists to stimulate interest in all kinds of Shakespearean\n44 study. Meetings are held during the winter months.\n44 During 1925-26 a series of papers on 44 Shakespeare\n44 and the Theatre were read, which are very shortly\n44 to appear in a volume of studies to be issued to mem-\n-44 bers only, The annual subscription is £1.1.0. for\n44 members receiving publications and 5/s. for associate mem-\n-44 bers. The Honorary Secretary, Mr. G B. Harrison,\n44 M. A„ is always pleased to hear from anyone interested."}, {"page_pdf": 8, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.8", "texte": "London at the Old Vic Theatre: another\nband of devoted ones groups itself around\nthe mulberry tree at Stratford upon Avon,\nthe very birthpl ace of this divine master,\nand in season these do make a festival.\nIt is a great little affair : it always has\nbeen a great little affair. Who is there\nwho does not go once a year on this sa-\ncred pilgrimage to Stratford and there listen\nto the words of this great writer Shakes-\npeare. Besides listening, another good talk\nis enjoyed,—speeches are made by cele-\nbrities, and even clever men utter words\nof wisdom and often of beauty, saying\nwhat Shakespeare was and what he should\nbe to us. After all is over we go home.\nIf we forget all about Shakespeare for the\nrest of the year, what is so surprising in\nthat: we have our social duties to per-\nform : we have a great many things to\ndo which must keep us from doing many\nof the things we would really //£e to do\nif only we had more time. So if we do\nnothing to introduce Shakespeare's Plays\nto the people of Britain there is—is there\nnot ?—every excuse for not doing it.\nOUR USUAL EXCUSES.\nONE of the excuses we offer is that\nShakespeare is above the heads of the\npeople : another reason we sometimes give\nis that his moral tone is not all it might be.\n\" There is nothing either good or bad,\nbut thinking makes it so \" ; that is Th\nDevil's Creed remember: lest you forget,\nlet me remind you that no lesser man than\nMr. Rudyard Kipling has stated it. He\nmay have changed his mind now—but\neven if he has there are others who can\nexplain how bad an influence on the na-\ntion are Shakespeare's plays —or rather\nwould be, were the Nation as a whole\nto hear them and to see them daily as it\nhears and sees the words and pictures of\nour popular daily journals.\nSome millions of so-called ignorant\npeople benefit by hearing and seeing what\nour cheaper journals have to say and\nshow ; is it quite so certain they would\nbenefit by hearing and seeing the works\nof Shakespeare? I should not ask this if\nthere were not a doubt: and that there\nis a grave doubt is plain to see, for nei-\nther influence, money, brains nor autho-\nrity in England has seen to it that these\nplays be performed. The brains (some\nof them) have urged that a fair trial should\nbe accorded Shakespeare; it is only fair\non the men of brains to admit that they\nraised their voices. To do more, to insist,\nif 7\nwould not have done, for influence, money\nand authority were turning away.\nINDIA, SHAKESPEARE AND THE\nINDISCRIMINATE.\nAND now how strange it is to hear\nthat in India—the land from whence\nreports of unrest are now and again being\ntelegraphed to us in our peaceful isle—\nin India Shakespeare's plays are popular.\nExcepting Germany, Mr. Sisson tells us,\nIndia is the country where the plays of\nShakespeare have in recent times \" form-\ned the safest and surest attraction to the\nindiscriminate masses who attend popular\ntheatres \" ; and he adds that the proprie-\ntors of a theatre can always count upon\na profit on a Shakespeare production.\nSo that if Shakespeare spells ruin to\nus in a political, moral and social sense he\ndoes not spell ruin to the proprietors of\nthe Indian theatres.\nIf Shakespeare's fire is too much for\nthe water in us all, if it burns, scor-\nches and sets a nation alight, —and of\ncourse such a happening might be a ca-\nlamity-—if he plays havoc with our blood,\nhe doesn't ruin our purse. That is what\nis so highly satisfactory."}, {"page_pdf": 9, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.9", "texte": "ROMEO AND JULIET.\nACT I, SCENE II.\nNew High School. Bombay, India.\nPlate 13.\n\nTHE MASK\n1927"}, {"page_pdf": 11, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.11", "texte": "It's not exactly the nicest of argu-\nments to advance, that, because Shakes-\npeare's plays can pay as well as the latest\nrevues pay,— Chu-Chin-Chou) or 7he\nBeggar's Opera—, we should shut our\neyes to the serious fact that, while doing\nthis, the nation may be ruined by these\nShakespeare plays first morally and then\nmaterially. I don't think that the wildest\nenthusiast for our national poet would\nchoose to see him acted if at the expense\nof the whole nation.\nBut still how curiously interesting to hear\nthat in India \" the indiscriminate masses \"\nlove him and like to be fired by him.\nSo many are the interesting points in\nMr. Sisson's essay I thought it might be\na good thing to obtain permission to re-\nprint long excerpts from it ; and, this\nobtained, only your permission remains to\nbe asked to inflict them on you.\nI say inflict because we are not Shakes-\npeare lovers;—we will I think admit that.\nGermans are Goethe lovers ; they keep\nhis plays alive (and Shakespeare as well).\nWe treat Shakespeare more as the French\ntreat Racine—paint up his head on a\ntheatre ceiling but forget to play him.\nAnd so this enthusiasm of the Bom-\nbayites will not exactly find a responsive\necho in many English hearts—for the\nreasons I have stated.\nTo me in my wildest moments of appre-\nciation it is, I need hardly say, a real de-\nlight to witness the signs of true homage\nwhen ever it is offered to great dramatists.\nWHAT MR. SISSON WRITES.\nTHE plays, of course, are acted in the verna-\nculars, Marathi, Gujarati, Hindi, and Urdu.\nSeats can, or could, be had for fourpence in\nthe cheapest parts. It may safely be assumed\nthat very few Englishmen have set foot in these\ntheatres, except policemen in pursuit of their\nunhappy lot, though more may be met with\nin the big neighbouring cinema palaces.\n\" Here, then, nightly from 9 p.m. to I a.m.\nthe benign Shakespeare might be seen, masking\nin turban and gorgeous feudal vestments, speak-\ning strange languages, and delighting audiences\nwhich were in part not even aware of his\nname except as a maker of interesting plays\nfor their immediate entertainment. Many of\nthem probably think that he is ahve and are\nin the felicity of hoping for further inventions\nof his skill.\nTHE ORTHODOX SHAKESPEAREAN.\nTHE orthodox Shakespearian would expe-\nrience many a shock if he ventured into this\nstrange temple of his idol. He might accus-\ntom himself to the Oriental costume and\nmise- en-scene, to the disturbing medley of the\naudience, even, with some study, to the\nforeign language. But he would be amazed\nto find that he was being provided with an\nopera and a ballet as well as a play, though\nDrury Lane might have inured him to much,\nand horrified when he realised the extreme\nliberties that were being taken with the text\nand plot.\nTHE WISE SHAKESPEAREAN.\nA wise Shakespearian would be comforted,\nnevertheless, with the thought that the\ngreat dramatist was fulfilling here also, in\nthe far corners of the earth, his essential\nfunction of delighting men with the pictures\nof life in the form of a work of. art. He\nwould reflect that to every age and every\npeople beauty and truth must be conveyed\nin such shape as will permit of delight.\nA LIVING ORGANISM.\nABOVE all he would rejoice that Shakes-\npeare is here, not translated formally,\nnot imitated, but transplanted as a living orga-\nnism. We may further reasonably doubt\nwhether Shakespeare himself would feel equal\nalarm or horror, when we consider the ge-\nnerous and amicable relations he entered into\nwith his own Elizabethan audiences. Cultured\nadaptations of Shakespeare, Mr. Gupta informs\nus, proved complete failures on the public\nstage in Bengal, which thereupon abandoned\n\n(l) We have added a few headlines to help things along\nfor our enlightened readers."}, {"page_pdf": 12, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.12", "texte": "Shakespeare. I have not the slightest doubt\nthat the dramatist would rather that Macbeth\nor Othello were acted in Bombay than that\nJulius Caesar were read in Tokio, even if\nMacbeth were acted as by the Arya Niti\nDarshak Theatrical Company, at various times\nfrom 1910 to 1923, as adapted by Mr. N.\nV. Thacker.\nA PROPER SENTIMENT.\nTHE interest of the play centres upon Lady\nMacbeth, to judge from its title, Va-\nsundhara, her Indian name. The dramatic\neffect of the sleep-walking scene explains this\nprominence of Vasundhara. The sub-title\nof the play, Bedhari-Talwar, means 'double-\nedged sword ', and points the moral. In his\npreface to the printed play-book of this adap-\ntation, the manager, evidently a man with a\ntincture of letters, regrets the necessity of\nbowing to the will of audiences. But he\nadmits their rights, and is not repentant.\n' What they need is given to them ', he\nwrites, ' and they should get what entertain-\nment they can ', a very proper sentiment\nand good business, too. Henslowe would have\nagreed with him, without the superfluous regrets.\nADMIRABLE ADAPTATION.\nIN the main plot the men-foik are all provided\nwith ladies, as is fit and proper in India.\nSo Banquo-Vasantsinh has a wife Kaumadi.\nMalcolm-Virkant has a lover Minakshi, the\ndaughter of Vasundhara and of Macbeth-\nMinketu, who risks her life for him. The\nlove-interest necessary in an Indian play is\nthus added, and the equally necessary happy\nending is secured by the reconciling marriage\nof these two. Banquo is combined with\nMacduff, and his son Fleance-Virochan is\nslain in his house, for a good reason.\n\" Scenes of witchcraft and ghost stories\nare not in the traditions or to the taste of\nthe Indian theatre, and this theme is entirely\nomitted. The part of Banquo is therefore\nuneconomic as it stands, and the combined\nBanquo-Macduff assumes a new importance\nand significance. For the same reason a\ndifferent motive is given for Macbeth's am-\nbition and his crimes, in a striking first scene.\n\" Macbeth has triumphed over Duncan's\nenemy, King Jayadhwaja, who lies in chains\nin Macbeth's splendid camp. Jayadhwaja,\nlike a defiant caged tiger, still bares his teeth\nat his conqueror, and taunts him with being\nthe dependent, nay, the slave, of King Duncan-\nAgnimitra. Minketu is no ruler like himself,\nv/ith no sovereign sway, for all his splendour.\nMacbeth, who is like many a chieftain in\nIndian, or English, feudal history, is stirred\nto his depths, slays his tormentor, and broods\nin anguish over the stinging taunt. Lady\nMacbeth, too, has heard it, and reminds him\nof it, till he is driven to action. Frankly, I\nam lost in admiration at this skilful and most\ndramatic opening to the story of Minketu's\nusurpation (l), whatever may be thought of it\nas a first scene of Macbeth. Had the great\nspirit of Shakespeare been born in another\nhemisphere and apprenticed to another stage,\nthis might well have been his foundation for\na study of reckless ambition and retribution.\nHis dramatic inspiration is there, alive and\nat work, firmly based upon the truth of the\ntime and place and persons, and in this set-\nting his creations can move with dramatic\nreality before another audience and take\ntheir place in another civilization.\n\" The addition of the character or Yakoob,\nfirst Macbeth's accomplice, then converted to\nvirtue, a reminiscence of Hubert in King\nJohn, is again skilful. Yakoob becomes in\nsome sort an avenging spirit, the symbol of\nan outraged moral universe, as well as a\nsubstitute for the element of fatality in Shakes-\npeare's weird sisters \".\nA WORD OF COMMENT.\n|F Mr. Sisson is lost in admiration at this\nI skilful way of handling \" Macbeth \"\nI believe we shall drown together. For\nwhile no one allows Shakespeare's plays\nto be played (what is done is not playing\nShakespeare but playing at Shakespeare)\nhundreds would rise up and protest (in\n\" The Times \" too) if any producer da-\nred to take such liberties with the text,\nas these men of wit in India have taken\nShakespeare, like all the good things\nwhich are too much for us in London, is\n\n(i) Yet if any producer in England took such a liberty\nwith the text, the only man in the Empire to stand by him\nwould probably be the play-writer George Bernard Shaw.\nEditor."}, {"page_pdf": 13, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.13", "texte": "a holy thing : damned then for ever until\nsome one breaks the spell and his own\nneck by flinging the halo into the Thames.\nAnd is it not remarkable that this man\nwhose plays are held to be anything but\nmoral in their teaching should be held\nup as sacred ?\nMr. Sisson then proceeds to ask whe-\nther this free adaptation of the plays is not\nan act of vandalism —or worse, forgery.\nMR. SISSON CONTINUES AND SUPPORTS\nTHE PRACTICE.\nTHE case is now fairly put for a conside-\nration of the capital question, whether\nthis popularity of Shakespeare is gained at\ntoo great a cost in remote Bombay, whether\nin fact these theatres and these audiences are\nnot merely debasing works of genius to gross use,\nand defacing and counterfeiting sterling coin.\nTo this question three answers may be\nmade. First, we can trace from 1890 on-\nwards, and probably long before, a continuous\nseries of performances of Shakespeare's plays\nin vernacular adaptations, including the com-\nplete Shakespearian canon, except the En-\nglish History plays, of which only Richard 111\nseems to have been acted. These plays have\nbeen attended, and applauded, by men of\nail castes, mill-hands, workmen and petty\nshop-keepers, as well as middle-class folk\nand students. They are produced with all\nthe available resources of costume, scenery\nand lighting, and the admirable acting and\ndeclamation of the Indian stage. The fun-\ndamental acting quality of Shakespeare has\nbeen as triumphant in Bombay as it was in\nTudor London or as it is at the Old Vic,\nto-day with not dissimilar audiences.\nSecondly, the history of the progress of\nShakespeare through the centuries on the\nstages of Europe forbids hasty judgment, nay,\nsuggests charity in very self-defence, lest\nSauny the Scot, once thought so great an\nimprovement on Grumio, Caliban's Sycorax,\nor a hundred other horrid witnesses, be brought\nforward to testify, and some of our great folk\namong actors and dramatists end in the dock\nalong with Mr. Thacker.\nFinally, the history of the Elizabethan\nage stage and drama, as they developped out\nof the Miracle and Morality plays through\nartistic chaos into splendour, show how they\nowed their greatness not only to the genius\nof men like Shakespeare, but also to the mu-\ntual education of playwright and audience.\nThe foundations have been laid in Bombay\nfor such development and such progress. The\ntwo factors necessary to progress may well\nco-operate increasingly both to purify and to\nexalt this long-established popularity of Shake-\nspeare, which is even now less simply ba-\nsed upon his powers of entertainment, among\nthe populace of a city of another hemisphere,\nof a fundamentally different civilization.\nSCHOOL AND COLLEGE AMATEURS.\nIT is interesting to observe the unmistakable\nzest with which school and college ama-\nteur theatricals busy themselves almost ex-\nclusively with Shakespeare in English, and\nhave for favourites precisely those plays\nwhich have been most successful on the\npopular stage, Romeo and Juliet, Othello,\nThe Merchant of Venice. The New High\nSchool in Bombay, under Mr. Murzban, has\ndistinguished itself especially in this respect.\nAnd there are positive suggestions, to my\nmind, that the popular stage may attract Uni-\nversity Wits both as actors and as playwrights,\ninspired by the classic Shakespeare in the\noriginal to reform and re-create the indige-\nnous drama in spite of the present social\nprejudices. A former student of mine in\nElphinstone College of the University of\nBombay, a brilliant comic actor, informed me\nthat he intended to follow the stage profes-\nsionally as actor and dramatist.\nTHE TROUBLE WITH THE BARD.\nAND of course Shakespeare, now that\nhe is gone aloft and become a man\nof sense, approves all this entirely.\nThe trouble with the Bard was the\ntrouble with us all in Europe. Suggest\nto him in 1 608 that some of his lines should\nbe cut and he would have cried \" cut\naway Suggest- that whole acts be\naltered, and he would agree to have them\naltered, so long as he wasn't asked to\nput in three or four extra weeks' work."}, {"page_pdf": 14, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.14", "texte": "But suggest a third \" improvement \" and\nhe would break down and tell you to go\nto the devil. This was his trouble even\nas it is ours. Sense we have up to a\npoint; pass that point and we become\nfools. We are even foolish enough to\nherd together and thrust out our horns\nfrom behind a thicket, the Author's So-\nciety, and take legal actions to \" pro-\ntect \" our plays from being made sens-\nible. For (and this rather sensible) if\nit once be allowed that another can im-\nprove one of our masterpieces that other\nis as good as we —and this would never\ndo,— and so this shall never be. \" A\nwhole share I \" ; (\" Hamlet \" improved).\nMr. Sisson then tells us something about\nthe Theatres and actors in India; the\nmore modern Theatres, the modern actors,\nnot those of ancient India.\nPARALLEL CONDITIONS.\nINDEED, if one seeks for a parallel to the\nconditions under which Shakespeare wor-\nked, one may find it among the Indian Eli-\nzabethans of Bombay Theatre-land. The\ntheatres are commercial ventures which aim\nat profit from the delectation of the people,\nand which are not, and do not pretend to\nbe, concerned with the drama as literature.\nThey are not patronised by the cultured\nclasses or by respectable women. The\nVictoria Theatre in Grant Road has a large\nbox, forming part of the gallery, exclusively\nfor the accommodation, and segregation, of\nprostitutes, who are enthusiastic patrons, and\nwho use the theatre as a hunting-ground, even\nas Turnbull Street and Pickthatch were once\nin close association with Shoreditch and the\nBankside. The audiences demand action,\nspectacle, and variety entertainment all in one,\nand they delight in rhetoric and declamation.\nTheir drama is essentially romantic, in all the\nsenses of that pretean word, even as the\nclassic Sanskrit drama is romantic in most\nsenses. In this respect, and in others, the\ninfluence of tradition is strong upon them.\nSaub-hagya-Sundari, indeed, one of the two\nUrdu versions of Othello, takes the spectator\nback to Othello's early career and gives a\nwider picture of his life. Even Shakespeare\nis too restricted, too classic in one sense, for\nthe Bombay stage.\nAN ACTORS' CASTE.\nTHE community of actors is, as it were, a\nseparate caste, isolated from the general\nsocial system, and the general attitude of the\n' respectable ' classes towards them is precisely\nthat which is familiar to the student of the Eliza-\nbethan stage. There are no actresses, for wo-\nmen's parts are acted by boys and men. The\nexperiment of having women as members of\na company was recently tried, and failed\nlamentably. They were lazy, forgot their\nparts, and paid more attention to their male\ncolleagues off the stage than on, with the re-\nsult that the company was set by the ears.\nAt any rate, this was the manager's expla-\nnation.\nAll actors go through a severe apprentice-\nship, and the singers, dancers and fencers\nare experts, even as they needed to be on\nthe Elizabethan stage, when no audience\nwould tolerate unskilled or perfunctory per-\nformance in these kinds. The comic stars\nare great men in the companies, and are\nmuch given to extemporisation such as Hamlet\ncriticised in the theatre of his day. It is\ninteresting to note that the most popular ' lea-\nding lady' of to-day, Mr. Jayashankar, made\nhis fame in the part of Sundari (Desdemona)\nin Saubhagya Sundari.\nThe companies are generally co-operative\nconcerns, with ' fellowships in a cry of players'\nranging from V2 3 annas in the rupees,\ni. e. shares from 1/32 to 3/16, for important\nactors. Some companies are financed by\nbusiness men of the stamp of Henslowe,\nwho control them very much after his fas-\nhion.\nPlays are written to order often, and are\ninvariably bought outright, so that the author\nhas no further rights in his play. The best\n\n(i) Diwan Bahadur Vijayaragacharya tells me it is not\nso in Madras,\n(i) How incessantly the loyal and over-worked Secre-\ntary of the Society of Authors tells us English play-tnakers\nnever to part with our work outright. He conjures up vi-\nsions of last days in a garret if we do. Be playwrights and\nartists if you will, but do be practical like Bernard Shaw, he\nseems to be saying to us, his brood : for presumably all are\nmembers of that fine Society,—fine from my point of view\nsolely because this good man is concerned lest we should\nlose the world and gain our whole souls."}, {"page_pdf": 15, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.15", "texte": "companies maintain a paid ' kavi' or play-\nwright, whose duties are to write new plays,\nto re-dramatise old and well-tried subjects,\nto re-furbish old plays or alter or add scenes\nor topical matter where required. Collabo-\nration in the writing of plays is frequent, the\ncomic part being entrusted to one ' kavi \"\nthe serious part to another, the ' romantic '\nlove-scenes to a third, and the songs to a\nfourth.\nLONDON INTELLECTUALS.\nCAN'T you see the London intellectuals\ntrying it? Of course the Drury Lane\npatch-workers do try and fail; and could\nanything be more sound : unfortunately if\nthey can snip and sew they cannot select\nnor arrange the patches with any style.\nMessrs Bummelberg, Blutstein, Hob-\nhausen, Blumenweg and Hammerhof try\nbut simply cannot do it as it should be\ndone. The thought of the percentages\nseems to rattle them. Poor Wright couldn't\ndo it either. Why they even try, these\noutsiders, heaven only knows.\nMR. SISSON PROCEEDS.\nTHE Indian peoples have dramatic tenden-\ncies and dramatic gifts of a high order.\nIndia is one of the few remaining countries\nof the world where the dramatic expression\nof life and feeling is still natural and universal,\nwhere rhetoric is enjoyed for its own sake,\nwhere eloquence is untrammelled and deve-\nloped with ardour. The drama is a national\npastime, and natural actors abound. 1 have\nseen a performance in a somewhat remote\nState in Rajputana, presented by the subjects\nof the cultured and enlightened Maharaj Rana\nof Jhalawar, in which the sound dramatic\nsense of his retainers triumphed over the\ncrude production, the almost complete absense\nof scenery, and the oil-flares, with the hearty\nco-operation of an unspoiled audience. Their\ntragic acting was affecting, and I shall never\nforget the comic verve of an ancient and\nzestful busy-body who always appropriated to\nhimself the sage remarks and fine sentiments\nof his betters, with his ludicrously, insinua-\ntingly assertive ' Well, that's just what I\nsay ', in a rotund bass. These were amateur\nactors, by trade cooks, policemen, soldiers,\nmusicians. I believe the play, the subject\nof which was taken from the Mahabharat,\nwas written by the Maharaja's domestic poet-\npriest, with whom I used to bandy verses,\nEnglish sonnets for Sanskrit lyrics sent up\ndaily with my morning tea. He was a rarely\nsimply and beautiful soul, of knightly courtesy\nand graceful learning.\nMr. Sisson now comes to the Cinema,\nand, with his note on it, we will conclude.\nTHE CINEMA.\n\" HT\",HE cinema is perhaps the most dangerous\nX enemy, after all, that the hoped-for\nnew drama has to overcome. It is amazingly\npopular in India, and the beginning of its\nvogue has coincided with the decline of Shake-\nspearean adaptations on the Bombay stage.\nThere can be no question that this coincidence\nis significant ond indicates a further cause of\ndecline. An Occidental pseudo-art has here\nbeen embraced without adaptation, and it is\na lamentable fact \".\nONE FINAL SUGGESTION.\nTHIS is all thi more, curious because\nCinema and Stage are very far apart.\nIf a closer relative be sought for he can\nbe found in daily journalism.\nThe prices of Cinema and newspaper\nare low- The appeal is not much higher.\nThe aim is practically the same. If the\naim of the stage were to get rich quick\nit could do it tomorrow. It has only to\nbecome unconscious of its descent and\ncease to value its privileges.\nAnd leaving Cinema, leaving India,\nreturning to the place which it is feareo\nShakespeare may contaminate, we can\nsuggest but one real solution to the whole\nquestion, \" Shall Shakespeare be played\nor banned \" ? and that is to have once\nmore a real good talk about it.\n\nGORDON CRAIG."}, {"page_pdf": 16, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.16", "texte": "SOME SURVIVING LONDON THEATRES\nAND THEIR ARCHITECTS.\nBY E. BERESFORD CHANCELLOR.\nONE hardly regards the theatres of London\nas architectural masterpieces; their fa-\ncades are little capable of artistic treatment,\nat least a minimum is expended on them ; all\nthe glory of decorative audacity being confined\nto their interiors. Space for one thing pre-\nvents the theatre designers from doing more\nthan produce something which is likely to\nthan .by attract the eye rather by its flambo-\nyance than by its essential qualities of distinction.\nIt is so much an age of advertisement that the\nfronts of theatres have become a sort of hoarding\non which are displayed illuminative and other\nexamples of the wares within—as was the\ncustom at Bartholomew Fair. Cinemas, too,\nare as much plastered with photographs as a«\nItalian tombstone, and architecture becomes\na handmaid to reclame.\nThere are, as in everything, exceptions ;\nthe beautiful little Scala Theatre, and the\nnew Tivoli Music Hall, although an extra\nstory would have given the latter more dig-\nnity, are examples; and a certain quaint\nthrow-back to other days is evident in the\nnew theatre in Covent Garden ; while The\nCapitol in the Hay market (which seemed to\nspring into being before it was begun —to use\nan Irishism) possesses certain impressive qua-\nlities which are far to seek in most of the\nmodern London playhouses.\nBut in earlier days, when theatres were\nless numerous than they are today, they built\nsuch things in the grand manner; as if they\nnot only suspected everyone of their houses\nto be aere perennius but as if they wished to\nadd to the decorative features of the city.\nThus when Davenant erected his play-\nhouse in Dorset Gardens, Wren was called\nin to design it, and produced a facade, both\nto the street and the river, which was not\nonly impressive and effective in itself, but to\nwhich the sculpture of Grinling Gibbons gave\nan added distinction. That structure was\ndemolished in 1720, and its site was occu-\npied, not inappropriately, by the City Gas\nWorks ! Nor are any remains to be found of\nthe Duke's Theatre, in Portugal Street, the\nlast relics of which structure disappeared on\nthe extension of the Royal College of Sur-\ngeons' premises in Lincoln's Inn Fields.\nBut there still remain in London a few\nTheatres dating from a later period although\nsufficiently old to be regarded as survivals of\nthe historic past. Of these Drury Lane is\nthe most outstanding. As in the case of nearly\nall the older play-houses in London, Drury\nLane has been the victim of fire ; indeed it\nhas been burnt down several times since those\nearly days when Killigrew first opened it, in\n1663. Nine years later it was destroyed\n(to be precise, in January 1672), and if\nPepys does not overstate the case, it was so\nuncomfortable and ill-arranged, as to be no\ngreat loss.\nWren designed its successor which it is\ninteresting to know cost £ 4000—the earlier\none had been erected for considerably less\nthan half that sum; and although Dryden\ndescribes it as \" plain built—a bare conve-\nnience only \", one may be sure that, being\nthe work of Wren, it was not without special\narchitectural merit. It was opened in 1674,\nand existed for many years, being refaced\nby the Adams, before Garrick had left it.\nBut it was not large enough for an increased\npopulation of play-goers, and, in 1794, a new\nhouse was erected by Henry Holland. This\nsurvived till the night of February 24th 1809,\nwhen the whole of London was illuminated\nby the glare which was soon known to be\ncaused by the burning of the theatre. The\nflames were visible for miles beyond the\nmetropolis, and gave an additional glow to\nthe interior of the House of Commons where\nSheridan, the principal shareholder in Drury\nLane, happened to be engaged in the de-\nbate.\nNo time was lost in rebuilding, and Ben-\njamin Nyatt designed the new structure which\nwas opened in the October of 1812, and\nwhich, with the addition of the Portico some\nyears later and the colonnade formed in 1831,\nis substantially the Drury Lane we know\ntoday, and, with the exception of Sadler's\nWells, the oldest existing play-house in London.\nCo vent Garden shares with Drury Lane"}, {"page_pdf": 17, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.17", "texte": "a distinctive fame among London's theatres,\nand, like its neighbour, it has been several\ntimes burnt to the ground. The first Covent\nGarden Theatre was erected, from the designs\nof Edward Shepherd, in 1 733 by John Rich,\nthe famous inaugurator of pantomimes, who\nhad hitherto been running the play house in\nLincoln's Inn Fields. Hogarth's print (if it\nbe Hogarth's, about which there is some\nquestion) entitled \" Rich's Glory \", shows\nthe manager entering into possession of his\nnew theatre.\nIn course of time it was found necessary\nto enlarge and reconstruct the building ; and\nthis was done so thoroughly, no less than\n£ 30,000 being spent on it, that it emerged\nsubstantially a new house, and was opened\nas such in September 1792. But it had only\na short life, and in September 1808 was\nburned to the ground, many lives being lost\nin the fire. Three months later, George,\nPrince of Wales laid the foundation stone of\nthe new building, of which Sir Robert\nSmirke was the architect, and which cost\nno less tham £ 150000.\nIt was on its opening in 1809, that the\nfamous O. P. riots occurred which resulted\nin the new theatre being turned into a bear-\ngarden for weeks after.\nThis, the third Covent Garden, remained\nfor many years later, unappropriated, until\nJullien opened it with his Promenade Con-\ncerts, during the seasons of 1843- i 845 ; to\nbe followed by Italian opera, in 1847 ; for\nwhich latter purpose it continued to be used\ntill March, 1856, on the sth of which month,\na fire broke out in the early morning, after a\nbal masque had taken place here, and entire-\nly gutted the building. On its ruins rose,\nin 1858, the present structure which was\ndesigned by E. M. Barry, on a far larger\nscale than its predecessor ; its main exterior\nfeature being the Corinthian portico, and the\nfigures (relics of the former house) by Flaxman\nand Rossi, let into niches in the wall.\nAnother London theatre which remains\nfrom earlier days is the Lyceum, designed\nby S. Beazley, and first opened in 1834,\nafter an earlier house converted into a theatre\nin 1790, and enlarged in 1809, had been\nburned down in 1830. In former days what\nis now the pit door in the Strand was the\nprincipal entrance ; but Beazley's Corinthian\ncolumns in Wellington Street have for over\nninety years formed the well-known facade\nof the famous play-house.\nBeazley was fond of this classic conven-\ntion, and he employed it again when he\ndesigned the St. James's Theatre for Braham,\nin 1835. The exterior remains practically as\nhe left it, but the interior was remodelled in\n1879 ; and since then has been subjected, as\nha ve the interiors of all the older play-houses,\nto such alterations as the London County\nCouncil's bye-laws have from time to time\nmade necessary.\nThe Haymarket Theatre, or \" The Little\nTheatre in the Haymarket \", stood immediate-\nly to the north of the present structure.\nIt was a quaint little place, built by a car-\npenter named John Potter, and was first\nopened in 1721. In course of time it passed\nthrough the hands of a number of well-\nknown actor-managers, Macklin and Foote\nand Coleman among them ; while many fa-\nmous histrions have made their first appea-\nrance in London here, including Cooke and\nHenderson and Bannister, Elliston and Liston.\nIn 1820 the little house was closed, and\nin the following year the present theatre,\nwhich was designed by Nash, was opened.\nIts classic portico is effective from any point,\nbut chiefly as seen, through the trees of\nSt. James's Square, from King Street, when\nit fills up the view in a most satisfying way,\nespecially in London where hardly any of\nthe few vistas we do posses, has an ap-\npropriate ' finish '.\nWhen the Bancrofts took the Haymarket in\n1879, they entirely reconstructed the interior ;\none of the most marked changes (not made\nwithout hostile demonstration) being the con-\nversion of the pit into additional stalls.\nIn the Strand of so many theatres, there\nare practically no old ones, unless it be the\nAdelphi once called \" The Sans Pareil \",\nwhich was originally opened in 1806, but\nwhich has been much altered in the process\nof time, the Strand front being widened and\nwholly reconstructed in 1888; and the Vau-\ndeville, which was erected by Mr. C. J.\nPhillips, in 1870. Gone are Terry's Theatre\nwhich Mr. Walter Emden designed, and\nwhich was as fire-proof as human ingenuity\ncould make it, and the Gaiety of Nellie\nFarren and Fred Leslie, which had dated\nfrom 1868, and was demolished in 1903.-\nThe New Gaiety, new no longer, which"}, {"page_pdf": 18, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.18", "texte": "Norman Shaw designed on classic lines very\ndifferent from the rococo style of its prede-\ncessor, stands on the site of two courts,\nHelmet Court and Angel Court, property\nin which former by-way was once appro-\npriately held by Henry Condell, one of\nShakespeare's fellow-actors. The very sites\nof the little underground Olympic in Wych\nStreet, and the Globe, on part of old Lyon's\nInn, are forgotten; and the Opera Comique,\nclose by, is buried beneath Aid wych—the\nAldwycb in which new play-houses have\narisen, one of which has resuscitated that\nname of the Globe which has such a Shakes-\npearean sound ahout it. His Majesty's is a\nnew structure on the site of Vanbrugh's\nOpera House; but the little Royalty in\nDean Street, once Miss Kelly s, is eighty-\nseven this year, and even the Criterion of\nThomas Verity, which once seemed so modern\nis (eheu ! fugaces !) over half a century old!\nTheatres are not merely architectural fea-\ntures, when any attempt is made to give them\nexternal distinction as well as internal luxury,\nbut they are also social landmarks : for they\nindicate the trend of fashion in our pleasures,\nand in no direction so much as in our pleas-\nures is fashion capable of being so markedly\nexhibited. Once in remote days they were\nin the fastnesses of Shore ditch; anon they\ncrossed the river; later it was Fleet Street and\nLincoln's Inn Fields that had to be scoured\nto find them; still later, as the migration of\ncitizens westward took place, they penetrated\ninto the Strand and the Haymarket and\nDrury Lane; until in our own days we find\nthem everywhere from Hampstead to Ham-\nmersmith ; while Shaftesbury Avenue seems to\nthe excited imagination one vast playhouse.\nAmong all the new ones that have come,\nand are coming, it is pleasant to find some\nof the old guard still dressed in the garb\nwith which Nash and Holland and Beazley\nclothed them; and to the acti,\nit must be a matter of some satisfaction to\nrealise that, at least externally, such are not\namong the least dignified and distinguished to\nbe found in London.\n\nHARLEQUIN\nA NOTE AND SOME DATES.\nE. G. C.\nMR. Sacheverell Sitwell in his Preface to 44 The History\nof Harlequin a handsome volume written and\npublished by Mr. Cyril Beaumont, makes a curious state-\nment about Callot, and the role of Harlequin, saying that\n44 If we look at the Works of Jacques Ca110t.... we find\nno sign of Harlequin, He came into full being a little\nlater than Callot's day.... \"\nIn my copy of the 1919 reprint of Callot's 44 Balli\ndi Sfessania\" designed and engraved in 1622 and dea-\nling with the masks of the Commedia dell'Arte, I find\nHarlequin in the background of four of the twenty-four\nplates—and possibly in six.\n1. In the Plate of 44 Guatsetto—Mestolino \". There he\nis, leaping in the air. I count eight or nine of his patches\nbesides recognizing other signs.\n2. In the plate of 44 Franca Trippa—Fritellino *\\ He\nis embracing a girl and is seen just bahind the left leg of\nFritellino. Only two or three patches show.\n3. In the Plate of 44 Scaramuccia Fricasso \" he is on\nthe extreme right of the plate embracing a girl : three or\nfour patches show,\n4. In the Plate showing 44 Francischina—Gian Farina \"\nhe is in the centre background and walking on his hands.\nI count eight or nine patches.\nI am less certain about the two other plates: that\nshowing 44 Sigra. Lucia—Trastullo \" and that of 44 Cap\nBabeo—Cucula \" ; but it seems to me that the second small\nfigure from the right in the first plate is he, and in the\nsecond he seems to me to hold the bellows :—both are\nanyhow in patched costumes.\nThe Harlequin as seen by Callot is the same fellow\nTristano Martinelli made4 him, though Callot does not give\nhim a black mask. Compare the costume of Martinelli\n(Luigi Rasi, <4 I Comici Italiani \", vol. 2. p. 97, 98, 99,\n100) with the Callot designs,\nInstead of coming 44 into full being a little later than\nCallot's day \" he preceded him by many a year. How\nmany no one seems to know ; but the authorities tell us\nsomething.\nCallot was born in 1592 and died in 1635. Harle-\nquin appeared in his patched coat and trousers first under\nthe name of Zani, but he appeared. It is this costume\nwhich distinguishes him from the other Zanis.\nWe cannot know how many remarkable actors played\nthis particular fool before the Commedia dell'Arte was ta-\nken up hy society. It was only when society began to\nmake a fuss about these astonishing actors that the direc-\ntors saw fit to boom individuals who 44 came into full\nbeing \" by grace of Society's usual contribution to all\nthings—vulgarity. But amongst early Harlequins we are\ncertain of the following :\nAlberto Ganassa from 1568-78, was in Mantova,\nFerrara, Milano, Paris and acting the role of Harlequin.\nIn Spain in 1574 Harlequin appearing.\nDrusiano Martinelli flourished 1572 to 1598 and acted\nHarlequin.\nSimone, in 1 574, Venice in 1 579, Mantova. Tristano\nMartinelli Born (c) 1556. Died 1630 at about 75 years\nof age, both acted Harlequin, ...so the authorities tell us.\nAnd these all precede Callot by some years."}, {"page_pdf": 19, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.19", "texte": "ELECTRA.\nA Design for a Stage Scene by Gordon Craig (1905).\nPlate 14.\n\nTHE MASK\n1927"}, {"page_pdf": 21, "page_imprimee": "99", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.21", "texte": "THE FILMS\nREAL CRITICISM PLEADED FOR\nBY REVEREND GENTLEMAN\nAT FILM LUNCHEON.\nI.\nIN Glasgow, Friday May 13 th •( a\nlucky date) the Cinema Club oj that City\nincited to its usual monthly luncheon the\nRev. H. S. Mc Lelland B. A., B. D.,\nF. R. G. S., who made a speech. The re-\nverend gentleman comes of theatrical stock\nand has himself appeared on the films. He\nmade a strong plea for British films for our\noverseas Colonies—films showing British home\nlife and habits, not travesties or other coun-\ntries' ideas of our land and people. He said\ntoo that he would like the Press of today to\ngive real criticism of the films.\nSo now let me have a try.\nII.\nROBINSON CRUSOE.\nI will not say that the whole of this film is\na travesty— sea, hills and sky take a lot of\nmishandling before they will come down to\nthe notions of unimaginative men, and ally\nthemselves with these anti-artists to betray\nNature. But a Robinson Crusoe with a pot-\nbelly is preposterous, and that is what Mr.\nWetherell gives him—and us.\nWhen Robinson Crusoe was ship-wrecked\non the famous island he was twenty-ceven\nyears of age. He was a sailor—had for some\nyears worked on the ship and was in the full\nvigour of a British manhood. He then took\nhis dose of solitary island life.\nExercising all day in a tropical heat, alone\nand obliged to do all things for himself, his\nbody developed until there remained to him\nnot one ounce too much fat or flesh. He\nbecame perfect physically.\nAnd the intensity of the solitude played\nwith such a force on his spirit that he be-\ncame almost perfect spiritually.\nIt is these two outstanding facts which\nenchant all of us who read about Crusoe to\nourselves. In the silence of the reading we\nenter the silence of the Island. We too are\nutterly alone—for we have become Crusoe.\nWhen in a theatre the story is turned\ninto a pantomime, (and the theatre is the only\nplace wherein we have seen our great friend\nstaged) we are not alone. There are generally\nsome two thousand jolly spectators, many\nmunching chocolates, around us. In the Ci-\nnema house there are even more—for Cinema\nis more popular than is the theatre even at pan-\ntomime time.\nIn the Cinema the silence and the soli-\ntude—the two essentials—are gone, and can-\nnot, it would seem, be captured, for our\nneighbours disturb us by their presence, the\nmusic annoys us by its blatancy. It is not\nhighbrow to love this solitude and silence,\nfor I have seen a gardener who was fond of\nreading Crusoe go away with his book in\nthe evening if anyone in the cottage began\nto stir or talk.\nBut if these first two essentials cannot be\nsecured for us we can anyhow expect to find\nthe third essential—that is to say, we expect\nto see on the screen a young man of twenty-\nseven in perfect physical condition ;—athletic,\nalert, dreaming and practical at the same time.\nNow look at Mr. Wetherell. He is a\nparody of the figure of Robinson Crusoe. Mr.\nWetherell has a good face and has had the\nenergy to travel 8,000 miles and more \" to\nfilm this story in its original location \", ... so\nthe Kinematograph Weekly informs us. But,\nalas, the Kinematograph Weefaly has been\nfooled. Alexander Selkirk, say what you\nmay, is not and never can be Robinson\nCrusoe: and if the local colour to some Film\nentitled \" Alexander Selkirk \" can be sought\nfor in the isle of Juan Fernandes latitude 34\nlongitude 80, the local colour for Robinson\nCrusoe can only be looked for in Defoe's book.\nI will not here show you how utterly\n\" incorrect \" this great Defoe was in all his\nstatements for we don't care a rap if he was\ncorrect or incorrect;—he succeeds ....he makes\nus believe ; he convinces us step by step. But\nif you test any of the things that he swears\nour young Robinson did, you will find he\ncouldn't have done them and that the whole\nstory is a perfect lie—a perfect one.\nI have measured and calculated and so I\nknow. Sometimes Defoe is by chance exact ;\nmore often he is merely fantastical. Exacti-\ntude bothers him no more than it bothered\nShakespeare, Stendhal or any great writer.\nThis is one more proof that, to give a"}, {"page_pdf": 22, "page_imprimee": "100", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.22", "texte": "semblance of verity, a writer, a painter, an\nactor need not trouble his head about ac-\ntual fact.\nSo then Mr. Wetherell need not have\ngone eight thousand miles and more to look for\nwhat can best be found in a book to be bought\nfor a shilling in the Charing Cross Road.\nI happen just now to be making a few\ndesigns depicting Robinson Crusoe. After\nmaking a few rough sketches about a month\nago I had the usual spell of weakness which\naccompanies all such attacks to which the\nillustrator is subject. I too longed to see\nthe Island.... to know exactly what kind of\nseas, what kind of rock formation and what\ntrees Robinson was in the midst of\nI wasted some days looking for these in\nbooks and magazines illustrated by photo-\ngraphs of coral islands, Pacific and Atlantic\nwaves, and so on. I enjoyed it very much,\nbut after three such days I gave it up. I had\nfound a palm or two, a floating cask, a bit\nof beach,—but what was that?—what was\nthis ? -1 found I was losing the whole Island\nand its single inhabitant, and all for a cask,\na palm, and a little sand.\nIt is practically what Mr. Wetherell did\n—but I stopped in time ; he went doggedly\non—went on 8000 miles. Good dog Dingo.\nBut he should have tired of his search\nafter three days as I did. His imaginative\nfaculty should have revolted and saved him\nand the situation as it did for me. For I\nwent back to the book—I relied only on\nDefoe, and I am now making an authentic survey\nof the Island of young Robinson. Not one\ntrue inch is being recorded—all is Defoe's\niantasy, and my fidelity is at the service of\nthat madman.\nDefoe's the thing and he isn't photo-\ngraphable ; but I fancy that after six months\nor six days handling the tools of the Film\nTrade I too could produce Robinson Crusoe\nto satisfy a few millions who have never read\nthe book and never will.\nIII.\nTHAT is the worst of it. The Cinema\nprevents one reading a book from which\na film has been taken. I know it for it has\nprevented me from reading the \" Promessi\nSposi \", the romance which Walter Scott\npraised unstintingly and which this year has\ncelebrated its centenary.\nI wanted much to read it and by chance\nI saw the film;—and when I began to read\nit some months later the Sim kept on coming\nbetween me and the book. Manzoni fled.\nSo, rather than see such a spectacle as a\ngreat author beaten off and out of his own\nwork by a film 1 put down the book and\nshall not take it up again. I know the story\n—I saw it all happening—it was so real that\nunless 1 again see certain things in the Manzoni\nbook which were shown in the film (and I\ncouldn't find them) I shall not believe ; and\nfaith for a reader is essential, no matter what\nlies the story-teller may tell you.\nIV.\nSO much for a first attempt to criticise the\nfilms. The Rev. H. S. Mc Lelland will\nnot be satisfied, I fear ; but I will try to do\nbetiei next time. EVERARD PEUMBLINE.\n\nMONEY.\nREAL AND FANTASTIC.\nFIRST class stuff, money.\nReal money - pay-as-you-buy money.\nThe other thing had better be called in.\nBut how call in fantastic money—air mo-\nney talked money—confidence trick money ?\n1 hate to mention the name of Mussolini\nlest 1 be rapped severely over the knuckles\nby my good Editor, who leaves me generally\nat large but calls me to account if I grow\npoetical or political.\n1 will beg him to allow me to defend\nmyself here by admitting that I cannot be\neither poetical or political and never try. But\nI'm as fond of the notion Byron and the no-\ntion Mussolini as any man, and that's all 1\never mean.\nI like the swing of the first and the stride\nof the second. Two doctors,—one smiles,\nthe other frowns. And if a frown in Eng-\nland would rid us of these great financiers\n'£j\nand save them from committing suicide, it\nseems to me it would be better for us all.\nAssuredly better for our Theatre.\nWe need a little money to run our Thea-"}, {"page_pdf": 23, "page_imprimee": "101", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.23", "texte": "tres for the Public. We do not need finan-\nciers to work them for us. Because financiers\ncannot work theatres. If they were artists, if\nthey were actors or dramatists,—if they were\nable to devote all their time to this curiously\ndifficult undertaking—the providing of first-\nclass Theatre work for the Public—we would\nthrow down our tools and welcome the\nfinanciers and beg them to show us how to\ndo it. *\nBut the day a financier sets his foot on\na stage, even if so modestly retiring as was\nMr. James White, that theatre is ruined. It\npays its way and goes to hell at once.\nIt can't be helped ;—it must come to ruin\nand the public suffers.\nTHE PUBLIC SUFFERS.\nHOW does the public suffer ?\nWell, it's a dear old public after all,\nisn't it ? Let us blame everyone from artists to\nfinanciers—but let us remember the public is\nall of us at our best,—waiting and ready to\nbe pleased.\nAnd the fare which even the greatest of\nfinanciers would spread before it must disa-\ngree with it.\nSeeing a plentiful dish, it swallows it.\nIt even learns to bolt it in time. And we cri-\ntics then pretend to be surprised that it is\nsuffering acute indigestion.\nThis is how the too rich food of the finan-\ncier causes the Public to suffer.\nFinanciers and their money are supposed\nto be very real practical things. No non-\nsense about them, says everyone.\nArtists and their arts are held to be\nvery fanciful unreal things—essentially un-\npractical.\nBut the truth is that the arts are perhaps\nthe most real things we possess, as we may,\nI hope, come in time to realise more se-\nriously.\nNot so that we may take our pleasures se-\nriously, but that we may not continue to be\nsuch fools—fooled by a show of money—\nfooled by every pretense rather than under-\nstand a bit better.\nNumbers of professional people will dis-\nagree with the notion that the financier should\nbe asked to keep his place. It pays them\nto have him near. The argument is sound\nand contemptible.\nBut while a financier such as White can\nutterly ruin a theatre or two, there probably\nexist one or two financiers who are sound-\nmen : by that I mean men who do not sprawl\nover the stage they are happy to support.\nSuch men of course do not squander vast\nenough sums on the Theatre, nor do they\npromise it airy millions which don't exist.\nThey do not talk like White saying \" I have\nthe best theatre and the best ' stars \" ; they\neither become Theatrical managers—-drop oil\nand the stock exchange and become one of\nthe profession; or they support it and no\none hears of them: —they prefer very wisely\nnot to be heard of. When they listen to a\ndinner table of guests saying \" Quite the best\nTheatre in London \" they smile to themselves\nand derive real happiness from that.\nThey are not great financiers if their\npleasures are not procurable without ruining\na whole theatre.\n\" Jimmy White was intensely proud of\nall his shows \" writes a friend of his. There\nwe have it:—proud of rubbish.\nSuch a man might have been proud in-\ndeed had he helped to establish a theatre in\nwhich the best artists of the age were assem-\nbled : but proud of it not because he'd\ndone it but because....\nBut it is quite useless for us to suppose\nthat financiers of that type can ever under-\nstand anything.\nSome day we shall be able to be proud\nof our financiers. At present we are not.\n\n\"LIFE A BIG FRAUD\".\nWHAT JAMES WHITE THOUGHT.\n\" T am 60 years of age \" he said, or rather shouted in\n1 my ear \" and I tell you life is a damn fraud, What\nare we but a heap of hungry animals, thrusting each other\naside and climbing over each other *\\\nDaily Mail. July j. 7927.\nIT is just because most money men think like this and\nmost artists do not, that some things are safest if trusted\nto the artists and not to business men.\nYET White was left in charge of London Theatres and\npeople are surprised that the Theatres were and still\nare going to the dogs."}, {"page_pdf": 24, "page_imprimee": "102", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.24", "texte": "REINHARDT AND CO.\n\nREINHARDT and his organization have never\nbeen adequately dealt with in \" The\nMask yet it is one of the very best orga-\nnizations of the modern European stage, and\nthe organization which shares with The Moscow\nArt Theatre the honour of having given birth\nto almost all the organizations which today\nstruggle together for precedence.\nThese two have done more than any\nothers to popularize the ideas to which artists\ngave birth at the end of the last century.\nMuch has been written in books and\nmagazines about Reinhardt, but not very much\nis really known of the way he works. The\nbest and certainly the most entertaining book\nabout him appeared in Germany in 1920,\nentitled \" Reinhardt und seine Buhne \" by\nErnst Stern and Heinz Herald. Published\nby Dr. Eysler and Co, Berlin, it soon ran\ninto twenty thousand copies and has by now\npassed that figure.\nThis is mainly because of Reinhardt's\npopularity in his native land. But its success\nwas largely due to Ernst Stern the designer,\nwho crammed the book (not a large one)\nwith little sketches, big drawings, end pieces\nand what not on every page. Were I a\nfirm like Reinhardt and Co. I would value\nsuch a useful artist highly. And it must not\nbe thought that I am here poking fun at the\nProfessor who has done so much for the\nGerman stage because I speak of him and\nhis company as a Firm. I poke no fun, for\nit is a very serious matter.\nIt is because it is serious, a serious Firm,\nthat it has pushed its way to the front. No\nother firm can for a moment be compared\nwith it. I am sometimes tempted away from\nthis description of Professor Reinhardt's affair:\n1 am often tempted to call it The Reinhardt\nBrothers ; for, if the able Professor is head of\nthe whole show, his brother, Edmund Reinhardt,\n(who deserves to be raised to a professorship)\nis of an importance which cannot be over-\nestimated. He is head of the whole business.\nHis is the genius for organization, and\nwithout him the lucky professor would have\nhad a much rougher time. I very much\ndoubt whether he would not have been forced\nback into the ranks of the theorists, whereas\nnow he passes as one of the really practical\nmen. \" What Craig dreams Reinhardt prac-\ntises \" has for many years now been the\ncry (l): but he would not have practised at\nall lacking his brother Edmund.\nAgain, these two alone would have not\ngone very far had it not been for the super-\nlative talents possessed by Professor Max.\nHis first talent is this : he can pick out able\nassistants and manage them (aided by Herr\nEdmund) as few other managers are able to\ndo. He can put them to producing for him\na play or an opera or a ballet as certainly\nno one in Germany had deemed possible.\nHis second talent is an astounding capacity\nto listen to suggestions and to pick up ideas\nfrom other people, and apply them.\nWhen he began to manage a company\nsometime about 1902 or earlier Richard Va-\nlentin was one of those who provided him\nwith clever notions none of which were\nlost on the clever Reinhardts.\nOur English and American publics are\napt to suppose that the work of this Firm\nhas always been of the quality shown in\n\" The Miracle \" CEdipus Rex \" and\n\" Sumurun \", whereas it was once very\ndifferent. In fact no one who saw a \" Rein-\nhardt\" production in 1902-1903 would suppose\nit to be by the same group that produced other\nand more ambitious things later.\nPerhaps the group did change and perhaps\nnewer agents were brought in who were set\nto gathering ideas to submit to the\nBe this as it may, let us not stop to bother\nabout that: let us rather take a look at the\nkind of thing the firm of Reinhardt put its name\nto in 1902-3. The new generation may care\nto have it made a little clearer.\nTHE REINHARDT TOUCH IN 1902-4.\nI give you here a photograph of half the\nscene for \" Elektra \", Hofmannsthal's\n\" Elektra \". The whole being 12 feet high\nby about 20 feet broad 9 suppose ( 15).\nThe figure in the foreground is that of\nGertrud Eysoldt as \" Elektra \", and in the\ndoorway stands Rosa Bertens, the \" Kjitem-\nnestra \", and two attendants holding torches\npresumbly by Baruch. We have to note the\ncramped and rugged effect of this half scene,\nthe other half of which was twin to it. Nobility\n\n(i) Craig began by doing the thing in 1900 before, anyone\nelse, and damme if he isnt called theorist."}, {"page_pdf": 25, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.25", "texte": "ELECTRA.\nAs Produced by the Reinhardt Company (1903).\nPlate 15.\n\nTHE MASK\n1927"}, {"page_pdf": 27, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.27", "texte": "KABALE UND LIEBE.\nAs Produced by the Reinhardt Company (1904)\nPlate 16.\n\nTHE MASK\n[927"}, {"page_pdf": 29, "page_imprimee": "103", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.29", "texte": "of line there is none: the colour was that of\nany other cellar; the stone-work more or less\nrealistically dabbed in by good scenepainters\nand made to look very real.\nThe performers (especially Fraulein Ey-\nsoldt) , were more or less realistic in their\nactions and their speech. If anything a little\ntoo jerky, but ernst, very admirably ernst.\nSome critics said that the attempt to be downright\nsincere at all cost, cost a good deal too much :\nthe tragedy never seemed to wake up never\nthrilled ; but everyone had to admit that it\nwas treated all very much more realistically\nthan Berlin had been accustomed to see its\nElektras treated. Elektra herself was clearly\ndefined as a young woman in revolt. She\nhated Klitemnestra; one could see that plainly\nshe was really quite cross and worried and,\nwhat is more, she launched her invective with\nsuch force it seemed nearly to shatter her\nevery time she did it.\nWhen 1 saw the piece I remember feeling\nsorry for this young actress. I must explain\nthat I was unaware it was the great Eysoldt\nwho was before me and I was sorry because\nI believed that some young understudy had\nbeen put on at a moment's notice to pull\nthrough and I applauded loudly. I was\nrivetted upon her doings and sayings I\nwas so anxious. When it was all over I\nlooked at the programme yes, it was \" die\nEysoldt! ! \" I asked my neighbour if it was\nshe ; he said it was and said he was so glad\nto notice how thrilled I had been.\nThe whole production of this tragedy was\nadequate not more.\nMuch more than adequate was the pro-\nduction of \" Kabale and Liebe \" ( 16)\nSchiller's brilliant drama in 1904.\nIn this Reinhardt acted, and Valentin too\nand Lucie Hoflich who later became Frau\nReinhardt. Emanuel Reicher and Winterstein\nwere in the cast which was as good an all-round\ncast as it could possibly be wished. And the\nscenic side of the work was admirable. As you\nsee by the picture here. Neat, gemutlich, clever,\nnothing over-done, or under-done; it was quite\none of the best things this German firm ever gave.\nAs is natural. For the Germans are by na-\nture able to deal with the kind of drama.\nReinhardt acted splendidly; though not a\n\" great \" performance it was better than\n\" great \" : it was excellent.\nScene after scene was neat and good ;\nall went rapidly on ; there, and not since,\nwe had a genuine Reinhardt German show.\nFor \" Salome \" ( Pla 17) had not been\nquite genuine: it was the beginning of the end.\nSomeone had told the producer that big\nblue cloths, unnatural acting, plainer costuming\nand decorative effects were being used two\nyears previously in London, and that \" style\nin mise- en-scene was now to replace \" historical\naccuracy \" or\" actualities \". And Reinhardt\nsaid quite simply \" My dear Edmund, if der\nstil is a la mode in the Theatre we must\nbe in der stil \". And he set his agents at\nwork to search for it all around Germany(l).\nAll the talk at that time was about this thine\nO\nnew to Theatres der still, and the aim\nwas to stilisieren (2) everything on the stage.\nIt's a queer thing to realise, that style can\nnot be found by searching for it in that way.\nStill, they worked hard and became more\nand more decorative and less and less realistic.\nInnerlich.... ausserlich was all very well,\nthought the Firm, but v/e must first get it in\nbefore it can come out.\nAnd then began the complete Craigization\nof the great Firm of Reinhardt (3).\nThat was about the year 1901-5. It had a\nwhile earlier been trying to learn(4) from Moscow\nMoscow's speciality, ie, how to do the realistic\nplays. To a certain extent it made good\nhere ; \" Nachtazil \" (5) was not entirely the\nbest Moscow Art Theatre brand but it was\nan honest attempt to be and it achieved\na distinct success and ran into five hundred\nperformances.\nThen \" The Winter's Tale \" : here\nthe Reinhardts believed they had got hold of\nthe Craig notion ; but while the production\nmade quite a stir and a success, the group\nfelt it had not quite got hold of der stil.\nMeantime the artists collected together by\nReinhardt designers, stage managers, and\nmen with clever notions, were kept at work....\n\n(1) Reiiihardt's group were not alone in hunting this\ncockatrice : many a hardy German scholar and artist joined\nin the quest of what it must be admitted was anyhow a fabu-\nlous little animal.\n(2) Stilisieren. v. a. to write elegantly or carefully, to\nwork to reduce to geometrical forms. (Tauchnitz).\n(3) The reader will find illuminatiou on this point by\nstudying, in the light of the Reinhardt Cempany's later work,\nthe two designs by Gordon Craig reproduced in plates 14\nand 18.\n(4) 44 Learn to dance 44 learn to be gay n, 44 will to\ndance 44 wi11.... n and so on and so on, was being repeated\nand repeated all over Germany in iqoo and iqos.\n(5I Maxim Gorki's play known to us as 44 The Lower\nDepths \", first produced by Stanislawsky in Moscow and\nsoon after in Berlin by Reinhardt's group, Valentin again\ndoing a lion's share."}, {"page_pdf": 30, "page_imprimee": "104", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.30", "texte": "and this is so very much to the credit of\nGermany: for, if it had not patiently sup-\nported the Firm of Reinhardt, these artists\nwould not have been able to have been kept\nhard at work. If Reinhardt and Co. have\nwon through it is because of loyal and lasting\nsupport by Germans ; it is because Reinhardt\nwas never allowed to ask twice for funds,\nfor men, and enthusiastic support of all.\nBre source of delight to this firm was\nns Diehbuhne or turning stage: and because\nit was such a delight and a genuine native\none, good results of the attractive Drehbuhne\nKind were obtained. To \" Macbeth \", to\n7 , e, Merchant of Venice \", to \" Midsummer\nNight s Dream and to \" Faust \" in fact\n:2, near'y f their plays at the Deutsches\ntheater this turn-table stage did good service.\nEspecially to \" Penthesilea \" by FCleist\nwas it useful, and especially well did Stern\nmake it act: simple and good was his\nwork here.\nBut all the time the Firm was feeling\ncramped. It was wanting to develop more\nof the larger English ideas and it knew that\ntais would be impossible in the cramped\nup space of the stage of the Deutsches\ni heatre; it wanted to realize that vast\ntheatre sketched in a certain booklet of 1905\nwhich that year appeared in Berlin in its\nGerman translation.\nBefore long it had realized it to a great\nextent and again it is greatly to the credit\nof the Germans who supported their German\nProfessor that it was realized. It is also\ngreatly to the credit of the German Jews,\nwho not only like works of art, but are fond\nof the Theatre and are glad to find the Christian\nelement of the people of Germany not anti-\npathetic towards advance and experiment;\nhappily the Germans are never indifferent\nto the arts of the theatre (I>.\n1 he Grosses Schauspielhaus was then, as\na result of all this, conceived by the Firm.\nThe Reinhardts, supported by dozens of\nbackers, took a circus, and, marching their\ntroop of producers, designers, actors, actresses,\npainters and architects into the place, trans-\nformed it into a theatre for tragedies and\nmelodramas.\nThe \" Trilogy \" of /Eschylus was attemp-\nted and \" CEdipus The Firm was rather\npleased with itself: the idea was born in\n1910 we are told : but this is not true: the\nidea was born in 1900 and in England, and\nin 1910 this Firm saw away with good\nGerman aid to realize it.\nAll its experience from 1902 in its four\nsmaller theatres (l), each theatre over-lapping\nthe other with most methodical good sense,\nall this experience of eight years with four\ntheatres, was of the utmost value to the Firm.\nIt knew what its combined force could\ndo when now it ventured out to do more in\nthe Grosse Schauspielhause: it knew what\nstage directors, artists, actors, singers it could\ncall on: it knew its supers. Again let us\nremember that this experience of eight years\nwith four theatres had only been made pos-\nsible because of the loyal and patriotic sup-\nport of Germans for Germans.\nThen as soon as it could move, it tried\nall sorts of big things: \" The Miracle \"\nwas one of these.\nIt is not difficult to produce such a spec-\ntacle : all that is needed to do it without a\nhitch is eight years' experience with four\ntheatres performing for three hundred and\nsixty five days and nights per year and the\nloyal and enthusiastic support of the largest\nand best part of a nation : and the valuable\nantagonism of a large section of the public.\nAntagonism to a man of talent with an\nidea of value who is supported is not\nbad : antagonism to any such man not sup-\nported is merely foul play.\nReinhardt and Co have not been unlucky.\nDuring the war and the German Revolution\nthe Firm suffered less than did the Moscow\nArt Theatre another organization well sup-\nported by funds and the enthusiasm of the\npublic.\nAnd now this German organization, some-\nwhat changed, is proposing to repeat its\nold success \" The Miracle \" with the remark-\nable trappings of Mr. Geddes the American\nto help to make it seem new. But still\nthis Firm has no IDEA of its own:\nborrowed notions or notions bought and paid\nfor is the most it ever has to offer. As\nperhaps will be seen more clearly if the\naccompanying designs are looked at curiously.\nWere 1 a German I would put up a\n\n(i) This is not the case in all lands : unfortunately\nit is not the case in England or in France, where only the\nold-fashioned elements are felt to be. safe, and where indif-\nference is encouraged as a sure sign of superiority.\n(T) Kleines Theater, 1902-1905 : Neues Theater, 1903-1906 :\nDeutsches Theater, 1905-1910: Kammerspiel, 1906-1910."}, {"page_pdf": 31, "page_imprimee": "105", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.31", "texte": "statue some day to Edmund Reinhardt; and\non one side of the pedestal should be in low\ni • /• ®\nrelief a group of financiers, all good old\nGerman jews, bless them for their pluck; and\non the other side would be the group of\nGerman assistants. Max would not be visible>\nbut he would be in the heart of the statue of\nhis great brother.\n—— 1\nTHREE LITTLE THEATRES\no OF PARIS. o\nREPRODUCED FROM\nNEW PARIS GUIDE FOR 1 859.\n\nANTONIO GALLI.\n\nTh. des Dèlassements Comiques, 1841.\n\nThèâtre des Jeunes Elèves, 1814.\n\nThèâtre du Petit Lazzari, 1830.\n\nTWO LADIES.\n\nHE said: \" It is the same with ladies\nas with dramatists—bad dramatists, I\nmean \".\n\" What do you mean by that ? \" I asked.\n\" Bad dramatists nowadays believe that\nthey are only on the road to writing a great\nplay when they can teach something through\nit, and ladies stupid ladies, I mean—are\nequally serious about teaching. But I do\nnot mean dull ladies, but clever and charming\nladies who become stupid thinking it all\nout\n\" Thinking what all out ? \".\nThinking how they can get their own\nway—bring us all up.\nAnd do they ? 1 asked, \" do they\nbelieve that in getting their own way they\nare teaching the others something ? \"\n\" Apparently \" he replied, \" for look at\nthis story of the Princess des Ursins. Was\nshe not quite the stupidest woman of her\nage, and for all this considered one of its\nvery cleverest ? And most of the other court\nladies of her time—how stupid they appear\nin this book He tossed it over to me.\n\" Have you read it ? \" I asked.\n\" Every line \" he said, rising and putting\non his overcoat.\n\" And you think 1 have time to read it\ntoo? 1 asked, for 1 felt that as he had read\nit he might have taken the little extra trouble\nto review it and thereby save me the task.\nUnless you read it you won't be able\nto review it, and when you've read it you\nwont know what to say.... 1 don't.... so 1\nleave it to you. It's not a history, it's a long\nseries of novels, and not a dull line from be-\nginning to end \".\nif you were to stop a while and tell\nme the story in your own way and briefly,\ncouldn t I by taking down what you say\navoid reviewing the book and read it after-\nwards ? \".\nHe seemed to like the idea, and so, over-\ncoat and all, he sat down at my table in the\nfurthest corner of the Cafe Rcsse and\nbegan :\n\" This is the story of a fool —she was\ncalled the Princess des Ursins : no real Prin-\ncess at all but of a younger branch of the\nTremo'ille family. A Frenchwoman—pretty"}, {"page_pdf": 32, "page_imprimee": "106", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.32", "texte": "—lived to the age of eighty ; for the first\nfifty-eight years did practically nothing ;—then\ngoverned Spain for about fourteen years,\ntwice was nearly crowned queen, and held\nby Saint-Simon to be \" illustrious \" among\nthe most illustrious of her time—and was\nactually a really great fool\nHe didn't lean back, nor puff out the\ntraditional three rings of cigarette smoke nor\nfrown. His eyebrows were neither raised\nnor lowered : his voice was neither emphatic\nnor lackadaisical. He was looking steadily at\nthe corner of the book which he had again\ntaken up when he began to speak. This he\ncontinued to do until he had finished and he\nnever moved. \" That \" I thought, \" is just\nthe concentration I should not have brought\nto bear on the beastly book'',—for it was\nthe fourteenth book I had had to review\nthat week.\n\" She was indeed a charming woman, this\nyoung but matured lady of fifty-eight: she\nwas beautiful as she was charming, as able\nas she was beautiful, as talented as able,\nand a great fool. She believed that she\ncould manage people, took people for pup-\npets, and it is of course one of the greatest\nfollies to do that. And so from ruling Spain\nshe fell, and in one hour. She fell out of\nthe throne into nothing, ....wherein she floun-\ndered and died \".\n\" She had as puppets the King of Spain\n-—Philippe V, that monarch who, promising\nas a youth, was practically an idiot after her\nfourteen years rule. She was his guide from\nthe age of nineteen and she was the guide\nand confidante of his young wife—his first\nwife:—consider how great her failure that\nshe was unable to shape him in those four-\nteen years. All she could do was to \" boss \"\nhim, her, and the court. You know what I\nmean by \" boss \" : 1 cannot find a better\nword to express precisely what she did and\nfailed to do. We rule, we bring up, we\nmanage or we boss She bossed. It is won-\nderful how often we see women blessed with\nthe capacity to bring up children, especially\nfemale children; also to manage some depart-\nment ; but seldom can they rule, and never\nshould they boss \".\n\" This lady was so very charming, with\nsuch honesty and truth in her disposition, that\nI grieve to think she fell so suddenly and\nthat it was all through her own fault\".\n' This writer here\"—he held up the\nbook \" tries to find all kinds of reasons for\nher failure and never alights on the correct\none. She puts it down to the enemies of\nthe Princess ....it can only be put down to\nherself\".\n\" Among her friends was Louis XIV—\na curious man who never let himself be\ngoverned though the others supposed he\nwas well under their control. A man who\nbrought himself to do and say the right thing\nto everyone although another excessively\nfoolish woman, Madame de Maintenon, for\nmany years too many, made it more difficult\nfor him than was necessary. Still, presumably\nshe filled a certain need as did the many\nhundred others who surrounded the King.\nThere is no doubt that he was a King,\nwhereas Philippe V, of Spain (his grand-\nson) around whom the Princess des Ursins\nbuzzed, was not quite a king. Whether this\nmade it easier for her or more difficult it\nwere hard to say. Richelieu might have\ntrained such a being as Philippe V—or he\nwould have removed him. She had not, we\nare to suppose, ever dreamed of removing\npeople : she was charming : she supposed she\ncould pull the strings of anything and it would\ndance as she wished : she found it danced\nas she wished nine times out of twelve. She\nwas playing at the game of marionnettes,\nwhich in itself is a silly thing to do if you\nonly have flesh and blood for dolls. Flesh\nand blood dolls are the very worst kind of\npuppets \".\n\" The author of this book is always talk-\ning of puppets. I should rather compare\nthe Princess des Ursins to a ring-master.\nShe has that air—and she cracks her whip\nall the time \".\n\" There is another woman whose book\nhas just appeared ; a certain beile Otero—\na Spanish dancer—celebrated. You have pro-\nbably never heard of her \" : ....here he did\nlean back and puffed out some imaginary rings\nof smoke.\nI hadn't heard of this book; I pricked up\nmy ears:—a book by a dancer, ....why I\ncould easily review that: but he was off on\nto it and I could only scribble down quickly\nall he said.\n\"This Otero ....a very fine woman in many\nways, gives the Princess entirely away, for she\nsays that once, when she had quarrelled with"}, {"page_pdf": 33, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.33", "texte": "SALOME.\nAs Produced by the Reinhardt Company (1902).\nPlate 17.\n\nTHE MASK\n1927"}, {"page_pdf": 35, "page_imprimee": "107", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.35", "texte": "her lover Pacco or Quaco or some name like\nthat, she left him and went to live alone in\na Hotel. She says that \" she liked \" (I re-\nmember the words for I read them over so as\nnever to forget them), \" I lifted\" she said \" to\nbe thought proud, wild and a little formidable\nbut at the bottom the whole thing was a\nbluff \".\n\" The Princess never admitted that.\n\" I could tell you more of this belle Otero\n....a very fine woman in many ways.... but\nyou had better read that book yourself \".\n\" To return to the Princess \", he went on:\n\" Her fall was brought about by the se-\ncond wife of Philippe V. The first wife\nwas one of her \" puppets \"; she bossed\nher; she told her she was a badly dressed\nslut or words to that effect, bustled her,\nhustled her ; flattered her; mentally drew on\nher and held her at the pistol's mouth \".\n\" After that fourteen years went all right\nwith that queen, though in all those years\nwhile she bossed the King she never chan-\nged him, bettered him or brought him to\nunderstand an ything \".\n\" The Queen died and a second Queen\ncame along. The Princess went to meet this\nnew Puppet so as to show her who was who.\nAnd like a great donkey she began imme-\ndiately to bustle her and hustle her about her\nlooks and dresses—just as she had done\nwith the first Queen. Result,... in three to\nfour minutes she was under arrest as a luna-\ntic, the second Queen objecting to that sort\nof thing and, having thought of the same\ntrick as la belle Otero thought of, (yes, a\nvery fine woman in some ways) the Princess\ndes Ursins was taken out of Spain the same\nevening \".\n\" And all because instead of being a\ngenuine mother or friend she was merely\na boss \".\n\" It is ludicrously tragic. And as you\nread this book you realize that this lady is\ntypical of so many other ladies of that age\nand of this—most of them ludicrous bosses—\nnot tragic because most ladies are not of so\nmuch worth as the Princess des Ursins \".\n\" I have felt the utmost interest in this\nclever woman but she awakens in me no\nsympathy for her; she is so utterly insincere\nin her whole existence. Truthful she said\nshe was to Louix XIV, and I think she\nwas; and clever and but I've told you I\nadmire her. But for all that I consider her\na fool for not knowing that if you are a\nwoman you eannot rule a King, you cannot\nrule a Queen, but you may, if lucky, be a\nfriend to both if you want nothing for yourself,\nnot even the phrase \"It was through my\ndevotion that he did this and she did that \".\n\" Then you want an angel.... \" I said.\n\" Yes, 1 want an angel—and it's curious\nhow many angels have been near kings and\nqueens—\n\"How do you know ? \"\nI believe \" :... he puffed no more ima-\nginary rings of smoke but rose and went away.\nI went to find the book by belle Otero,\nthat book which even I could review. It\nis called MY STORY and is by La Belle\nOtero. \" My! what a story \" would have\nbeen as appropriate a title— for it really is a\ngreat big story!\nIf we hadn't her word for it we might\nsuppose it to have been written for her by a\nvery able American journalist, assisted perhaps\nby a Frenchman.\nThere is a good deal about money in\nthis work which makes it interesting : \" in a\nvery short time I had 340,000 pesetas to my\ncredit \" she writes : and there is more about\nwhat she calls \" love \".\nSeveral fights are recorded and once she\nknocks another lady over with an iron chair,\nslightly frightening her: \"it was magnificent\npublicity for me \" she writes.\nMany kind acts are recorded very sim-\nply : I have counted five. Most of them were\nexaggeratedly generous acts. How intrigued\nI am as I read this book by what my friend\nhas just told me of the Princess des Ursins\nto whom generosity I gather must have seem-\ned to be something vulgar. Presumably it\nis, which is all to the good.\nLa Belle Otero tells stories of King Ed-\nward, of the Kaiser, of Thompson the English\nmillionaire and of Count Kessler \" director \"\nof the Eden Museum in New York or rather\nits Paris agent: of Russian Grand Dukes\nand of Rasputin ; of Baron Ollstreder, and an\nAssyrian host of lovers.\nShe is, like others who are what we call\n\" frail \", rather down on \" frailty \". Put it\nin a less Victorian way:—she is anything\nbut moral, and down on those who are like\nherself, especially if they are men. She"}, {"page_pdf": 36, "page_imprimee": "108", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.36", "texte": "winks at Bill, calls him Cheri and then cries\nout \" Why did he steal my purse ?\" ; and\nof Harry she writes \" he came of decent\nfamily enough but he was too fond of light\ngirls\nIf I were a light girl I should write a wiser\nand a sadder book. 1 should call it \" Their story\"\nand I should set forth in the very best phras-\neology at my command how sweet, how strong,\nhow dashing, how daredevil, how terrible\nand awful and wonderful were their light\nways. I should show how genuine was my\ndelight in discovering others like unto me,\nbut i should note with special pride the\ndastardly touches which differentiated their\nlightness from mine. I would not bewaii in\na cheerio worldly way their shortcomings, for\nI'd hate to be supposed to be hankering\nafter a fame which could never be mine, for\nthe good reason that 1 really considered such\nfame to be worth two cents at most.\nI allude to the fame of the immaculate.\nBut this book by La Belle Otero is like\na hundred others. I have seen it compared\nwith Casanova's Memoirs. There is not\nthe slightest resemblance; for Casanova's\nbooks blaze with genius and this one is not\neven smug with talent: but that is not the\nfault of La Belle Otero. X. Y. Z.\nTHE PRINCESS DES URSINS by Maud Cruttwell\nDent & Sons. Price 8/6 net.\nMY STORY by La Belle Otero. A. M. Philpot\nPrice Isj~ net.\n\nVALDIMAR MOLLER\nACTOR AND CARICATURIST.\nC.\nTHIS letter-sketch I have translated. It is the highest\nhonour one can receive to be knighted by a fellow artist,\nDEAR Sir Gordon•\nHearts thanks for letter.\nYou have gone away in the train and left us in the\nrain and the cold and you are sitting in the warm sun\nsmoking a cigar and near enough to Monte Carlo to\ngamble if you Want to\nAia Aia Allala\nValdimar Moller — Facista.\nTHERE are too many good actors in the Royal Theatre,\nCopenhagen for one to call Valdimar Moller the\nbest actor there—but he is certainly one of the best.\nAnd, as you see, he is a caricaturist.\nHe seems to be fond of drawing and is often to be\nseen behind the scenes during a performance making\nlittle records of everyone.\nThese appear regularly week by week in Politiken,\nthe Daily Mail cf Denmark.\nI do not know if Moller can assume many disguises,\nwhether a clever versatility is one of his particular assets,\nbut 1 do know that he has that rare thing, weight with-\nout heaviness. \" This is some one \" I say, as I see\nhim rehearsing ; \" assuredly *\\ I add when I see him per-\nforming. He is sure—he has power and I am persuaded\nthat he has not yet given the best he can give.\nOf no one in the Theatre is one more inclined to\nsay \" He has more in him than he ever shows"}, {"page_pdf": 37, "page_imprimee": "109", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.37", "texte": "FRANCESCO GALLI DA BIBIENA\nArchitect and Scenographer. 1659-1739."}, {"page_pdf": 39, "page_imprimee": "111", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.39", "texte": "VITTORIO BIGARI\nPainter and Scenographer. 1692-1776."}, {"page_pdf": 41, "page_imprimee": "113", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.41", "texte": "STEFANO ORLANDI\nScenographer 1681-1760."}, {"page_pdf": 43, "page_imprimee": "115", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.43", "texte": "A NOTE ON THREE\nSCEN OGRAPHERS\nWITH THREE PORTRAITS.\nFRANCESCO GALLI DA BIBIENA was born\non Friday December 12th 1659 and was\nthe second son of Giovanni Maria Galli and\nOrsola Possenti, being two years younger than\nhis somewhat more famous brother Ferdinando.\nFrancesco in his youth was a very hand-\nsome fellow as the Autoritratto in the Galleria\ndegli Uffizi at Firenze shows us. He lived\nto the age of eighty, leaving behind him five\nchildren. The engraving of him here shows\nhim well advanced in years, and was pub-\nlished the year of his death which happened\non Saturday January 21st 1739.\nThis family was closely connected with\nthe Theatre, seven of them being architects\nof Theatres or Scenographers, and some of\nthem were both.\nPerhaps the most brilliant of the family\nwas Giuseppe, son of Ferdinando, and assu-\nredly he took after his uncle Francesco.\nNever could anyone say of old Ferdinando\nthat he was brilliant. He was steady, he\nwas gifted; he laboured; he was silent; he\nwas an idealist. Not so Francesco and nephew\nGiuseppe (!). They were chatterboxes and\nrakes. But if they were mercurial they could\nlabour too could labour very hard as the\nfacts show: but they had to cut up in life to\nget through it, and ir art too in order to do\nwell; and this their work and their faces\ntell us.\nSTEFANO ORLANDI, (1681-1760), and\nVITTORIO BIGARI (2), (1692-1776), both Bo-\nlognese, when the two Bibiena Brothers\nFerdinando and Francesco were well into\ntheir stride, were painters of prospettiva. Not\nonly in the Theatre was this playful craft\npractised but in the small courtyards of the\nPalaces of Italy, especially in those of Ro-\nmagna; and the value of these perspectives\nis best guaged today by looking into these\ncourtyards as you pass the big gates of the\npalaces of Bologna. Large and small pain-\ntings of Perspectives were also much loved,\nand two of their best today hang in the\nPinacoteca of Bologna and are certainly\nfantastic, likeable, and very theatrical.\nOrlandi was more often occupied in sce-\nnical things than Bigari, and in 1713 when\nhe was the pupil of Pompeo Aldrovandini,\nwent to Roma to paint some sceneries for\nthe Teatro Capranica.\nFilippo Juvarra was then doing marvels\nof scenic work in Roma, and Orlandi must\nhave seen some of it for he stayed there for\ntwo years and eight months.\nThese two, Bigari and Orlandi, collabo-\nrated upon many a canvas together, Orlandi\npainting the architecture and Bigari the fi-\ngures; and it is a fortunate collaboration for\nthey assuredly work together like one man.\nOrlandi was a very able, useful, man, for\nhe acted not only as assistant to Aldrovandini\nand Bigari but also to Orsoni for seven years,\nassisting him in painting scenes and the audito-\nriums of Theatres in Bologna, Lucca and\nTorino. It was in Lucca and Torino that\nJuvarra worked about the same time, so that\nhe seems often to have been near that master.\nNATURE CONTAINS THE ELEMENTS, IN COLOUR\nAND FORM, OF ALL PICTURES, AS THE KEY-\nBOARD CONTAINS THE NOTES OF ALL MUSIC.\nBUT THE ARTIST IS BORN TO PICK AND CHOOSE,\nAND GROUP WITH SCIENCE, THOSE ELEMENTS,\nTHAT THE RESULT MAY BE BEAUTIFUL.... AS THE\nMUSICIAN GATHERS HIS NOTES, AND FORMS MIS\nCHORDS, UNTIL HE BRINGS FORTH FROM CHAOS,\nGLORIOUS HARMONY. TO SAY TO THE BAINTER\nTHAT NATURE IS TO BE TAKEN AS SHE IS, IS TO\nSAY TO THE PLAYER, THAT HE MAY SIT ON THE\nPIANO. Whistler.\nTHE AIM OF ART IS NOT TO COPY NATURE, BUT\nTO EXPRESS IT. Balzac.\n(1) A portait of Giuseppe Bibiena with a brief Note on\nhis life, appeared in \" The Mask \" January 1926.\n(2) Vittorio Bigari must not be confused with Francesco\nBigari, a decorator of Theatres who flourished in Bologna\nabout 1760,"}, {"page_pdf": 44, "page_imprimee": "116", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.44", "texte": "CORRESPONDENCE.\n\nUNFORTUNATE MR. IVOR BROWN.\nJ. S.\nThe following is a private letter written by Mr. Gor-\ndon Craig to Ihe Mask Editor in reply to some com-\nments on an article in \" The Saturday Review May 21\nby Mr. Ivor Brown respecting The Mask and its staff.\nBeing a private letter we have perhaps taken a liberty\nin printing it ; but as it touches the spot we have thought\nwell to publish.\n\nE. G. C.\nMY dear Semar :\nDon't ask me what I think ought to be written\nin reply to Mr. Ivor Brown's columns about \" The Mask \"\nin \"The Saturday Review\". These articles are writ-\nten week by week ; a dramatic critic has a dog's life of\nit: if he yelp, snarl or whine, I am never surprised.\nWhat else can he do ? Yes, he can write well—some\nof them do. Brown seems to me to write well. Don't\nbe cross with him because he hasn't troubled to read\nthe things I wrote when he was a boy : don't hurl\na brick at him because he never heard of my rough-\ning it and producing plays under the most exaspera-\nting difficulties. He's not alone in being too much out of\nsympathy with what I've done and what I do to bother\nabout reporting me correctly. And why should he ? ....if\nour London public isn't alive to the value of Shakespeare,\nCongreve and Wycherley, if it has not sufficient pride to\ndemand a fine Theatre architecture, magnificent players\nand popular prices, and English opera and a palace to\nhouse it in, it won t mind what it's dramatic criticism is\nlike : it will ask young Brown to do his worst and our\ndear old Ervine to do anything he pleases.\nIt's this little English public (some 100,000 or so out\nof millions) that is the trouble. This little group is a\nselfish group and thinks Britain was made for it to play\nwith. If there arrives a Bolschevic Ballet from Lenin-\ngrad it thinks it has come solely to delight a rare few :\nif an airman flies twice round the world in six hours this\nlittle public goes out to meet him, pushing and pulling\neach other; the individuals of this little group cry \" Bravo \"\nand are quite assured that they have settled the whole\nmatter:—if they say \"Bravo \" Bravo it is.\nAnd Brown has to serve this group : if he didn't\nhe'd be sacked and lose a small salary, which I trust has\nbeen raised since he kicked at the shins of \" The Mask *•\nNow, be reasonable! Just forgive Brown and thank\nGod you are not tied as he is to any public: try to\nrealize that you would lose nothing if you sacked yourself,\nfor you get nothing for working about twice as hard as\nBrown.\nIf Brown thinks you and your staff are \" Florentine\nexquisites \" and happy-go-lucky idiots, let him : if he en-\nvies you, why should you object. If he takes you for an\nidler, what on earth does it matter to you. His readers\nthink he is far too kind, for they have already put you\ndown as a thief, a sponger, a drunkard or a what-not.\nYou live in Florence ! that's enough I I But if anyone wants\nto throw mud at Florence they will have the Fascisti to\ndeal with—your position, remember, is that of a guest.\n\" Damn them \" you say of such a public—l know ;\n-—damn them by all means, but don't bother about the\nmen who write for them.\nNever bother about anyone who writes in papers for\na gang. Wait till you are pressed into that service and\nthen curse yourself for an idiot.\nThe mind of that public is like the minds of the same\nlittle group in Paris, New York, Berlin, everywhere, and\neven in Florence remember.\nif you ever read the works of Monsieur Bombet\nyou would know that in 1808 and in 1814 the mind of\nthe French public was a weak blank in regard to all the\narts; and our Public in England—this small section of\nthe British Public—is as blank, as weak, and almost as\nobjectionable.\nIf you say you once saw a cat cross a road their\nminds busy around in the hope of finding the offal the\ncat may have picked up or passed by. If they can't find\nit they will invent some offal, and there you are. It's their\nway you see; they are that sick lot that was here in\nItaly some years ago, always drawling out their discon-\ntent with all things. You recall how sick it was: Mus-\nsolini told it so and began to prescribe. It has vanished :\n—perhaps it's only hiding, but at any rate here in Italy\nwe are not any longer pestered by the dirty little thing.\nIt made life \" unendurable\"—as it makes life in\nLondon and Pans and Berlin and New York \" unendu-\nrable \". Still, in those great centres this sick portion of\nthe public is tolerated to an astounding degree, the huge\npublic actually finding something amusing in its antics.\nDo forget, when feeling too bitter about Mr. Brown\nand Mr. Agate and those who seem to you to \" mis-\nrepresent \"all \" The Mask \" is doing, that they are the\nslaves of this group and simply cannot help it.\nDo you see ? It's a sort of penance that Mr. Ivor Brown\nhas to undergo ; not for any sin of his own for I'm sure\nhe is guileless and quite unspotted by the world; but\nthere you are again. The guileless generally have to\nsuffer when they take and the guileless labourer\nalways tries to be worthy of his hire.\nYours"}, {"page_pdf": 45, "page_imprimee": "117", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.45", "texte": "FOREIGN NOTES.\n\nGLASGOW.\nPETER PATTISON.\nWE have occasional longings for our own Drama and Thea-\ntre here, for a Scottish Theatre, and a Scotch Drama.\nIt never gets very far, but it will get further some\nday. Meantime the Oxford Players have been here. You\nmay at first discover little connexion twixt the Oxford\nPlayers and the Scottish Theatre : Later that\nthe two are inseparably linked by Tchekov, Strindberg,\nPirandello, and Bernard Shaw. To fail to discern how\nItaly, Stockholm, Moscow and London link Oxford and\nGlasgow here, is to admit here one is an ignoramus, so\nwe all nod our heads, and w th a volume of Tchekov in\none pocket, and our Burns in the other, we go about\nhoping for the best.\nThe coming of the Oxford Players was announced\nas though that was going to settle it once and for all:\nWell, they have come and gone.\nThe financial result was apparently satisfactory to those\nbehind the visit, although, of course, it was by no means\nthe most interesting of plays that received the best support.\nThe probability now seems to be that we shall have\nanother •• Commercial \" theatre added to our existing houses\n—an actual repertory theatre or a Scots theatre directed\nwith imagination still seems as far off as ever.\nPerhaps an outline of the situation here would interest you.\nBefore the war there was a Glasgow Repertory Thea-\ntre which was begining to pay its way and gain ground\nwhen 1914 put an end to its career. After the war\nthose who had been interested in it had either died off\nor had got beyond caring whether there was a serious\ndrama or not ; it was not resumed. Instead, however,\nthere had oecured an impetus towards a national expres-\nsion gtnd, when things began to shake down towards a\nmore or less normal, one form this took was the institution\nof a Scottish National Theatre which started as an off-\nspring of the St. Andrew's Society of Scotland.\nYou can see what that meant; the impulse towards\na theatre was captured by the tartan-waving brigade. It\nseems dubious from the begining, but it was supported by\nthe Press and those who had hopes that it might even-\ntually shake itself free from this influence. It has not\ndone so ; it continues to be dominated by a group who\nare limited *to a Burns-supper outlook ; its products are\nchiefly of two kinds—Lowland comedy in which the range\nis from a type that corresponds to ihe pre-war Manchester\nproduct to something not so deft in its appeal to popula-\nrity but similar in genre to the \" Bunty Pulls the Strings\nand Highland sorrow drama framed on the Synge recipe,\nwhich we have christened the 4< Ochone— Ochee School\nAt their best these might quite please a wandering En-\nglishman who would see in them something unsophistica-\nted and natural, something that would correspond to his\ncaricature idea of a Scotsman as a sentimental elder with\na whisky bottle in his pocket, or a gentleman sorrowing\nby the sea in a kilt. But, if they ever did, they no lon-\nger represent the true Scotland.\nAnd anyway was there ever any good came out of a\ndeliberate national literature? When we get to trying to\ndo that, is it not a sign that we have passed the mark,\nthat we are fighting a lost cause ? It seems to me that\nthe product of such an impulse must naturally be the\nbloodless bric-brac, its appeal to the sentimental and the\nantiquar'an.\nYou are in the position to have an international mind,\nis that true or is it not ?\nI know, of course, that we must fight out our own\nbattles, but when one is a porpoise in a school the rest\nof whi ch are chasing tartan fish one cannot help wonde-\nring if the lure one follows is a phantom.\nTo the Scottish National Players must be added a\nnew influence which is making itself felt in a group cal-\nling themselyes The Scottish Renaissance Group. Of a\nhigher artistic purpose and with a wider outlook than the\nPlayers they too are wedded to the dialect and the idea\nof a deliberate national literature. So far as regards their\nstage-work, they have given two or three separate perfor-\nmances of one-act plays of Scottish-life. They have as\ntheir guiding light Mr. C. M. Grieve, who is regarded as\nsomething of a firebrand in Scottish literature circles, and\nfor producer Mr R. F. Pollock, who works on the as-\nsumption that the Scot is by nature a taciturn fellow,\nwho, he holds, cannot be faithfully represented by verbal\neloquence. For words he would substitute gesture, move-\nment, intonation, rhythm. To obtain the effect of real\nlife he introduces a wealth of gesture and movement,\nwhich seem, to a mind accustomed to the economy of\nthe commercial stage, to be irrelevant, but which has the\neffect of holding the attention closely. So far he has\nworked on a limited stage and with one-act pieces which\ndid not suit his purpose too well. His methods of pro-\nduction include the numbering of each movement, and by\nthis means, he says, he has a highly effective control over\nhis actors. That is to say that by a Number 1 125, for in-\nstance, both he and his company know the exact positions\nof each character. He is thus able to take up rehearsal\nat any point, and although I have seen but his one set of\nplays I must say that his actors, small-town people, were not\nonly word perfect but had an ease on the stage that would\nnot have shamed an experienced professional company.\nOne more dramatic fluttering remains to be touched\nupon. Last year the British Drama League extended its\norganization to Scotland and instituted the first dramatic\nfestival which was held in Glasgow. You will probably\nbe able to imagine better than I can describe what it\nwas like. Anyway it ran true to type. It will stimulate\nacting in the country, but I do not think can improve the\nstandard of acting and production until there is an estab-\nlished headquarter theatre, either in Glasgow or Edin-\nburgh, from which they can draw on for ideas and expe-\nrience.\n\nAMSTERDAM.\nX.\nIN the State Museum here was held last month a large\nexhibition of Mr. Gordon Craig's designs and woodcuts\nand books. The rooms were arranged by the architect\nH. Th. Wijdeveld, who cannot touch anything, even a\nlittle thing like a catalogue, without adorning it. This one is\nalready a rare item with collectors, printed in black and\ngold on white with a Foreword by the Dutch poet\nWerumens Buning. The poster in brown and white was\ndesigned by Herman Kloppers, the actor.\nThe exhibition was a spontaneous tribute to the ar-\ntist by his Dutch friends, all the woodcuts having been\npurchased by them before they were exhibited.\nThe greater number came from the collection of\nJ. Mees P. Rzn.\nThe exhibition remained open for a month and was\nvisited by about two thousand people."}, {"page_pdf": 46, "page_imprimee": "118", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.46", "texte": "BOOK REVIEWS.\n\nTHE THREE SITWELLS. A Bio-\ngraphical and Critical Study. By\nR. L. Megroz. The Richards Press.\nPrice 8/6 net.\nUNFORTUNATELY I have never\nhad the pleasure of meeting one\nof the clever Siiwells, Almost every-\none but I seems to know the Sit-\nwells: even actors lunch with them.\nAnd I am pretty sure of this ; that if\nI knew the Sit wells I would write of\nthem far more sympathetically than I\nintend to do, for not only have I\nheard from their friends that they are\nthe most winning of persons, but they\nhave no foes to say the contrary.\nAnd I suppose I should have had\nthe pleasure of meeting the Sitweils\nand been charmed by them had I\nnot been an ordinary book-reviewer—\nmainly of Theatrical books; a reviewer\nof the old school, and, I may add, of\nthe old coat and old hat.\nBut it is not the school, the hat or\nthe coat that must be blamed ; and if\nI am behind the times, it is mainly\nbecause of the Theatre : it is due to the\nfact that I am so often behind the\nscenes when I should be out at up-to-\ndate teas, at luncheon parties, popping\nin here, there, everywhere. Had I\ndone that I should then have been\nalways coming across the Sitweils and\ncould have agreed with everyone else\nthat they really were the life and soul\nof the party. For 'tis the modern recipe\nfor being a success to be all over the shop.\nPut him in his little bed\nSure to fall out on his head\nIn one place he never could stop\nHe was herey there, everywhere—\nall over the shop.\nI Perhaps these lines, (sung so often\n| as you remember by Maestro Tich)\nhave influenced people more than\n| we suppose: perhaps they have in-\nj fluenced the Sit wells ; they ought to\nj have influenced me; only, as I say,\nj I am so very often tied to one place\n| —behind the scenes. To me the Fub-\n| he is something on the move seen\n| through a hole in the curtain : it is a\nthing, not a lot of persons : it is not\npossible to meet it casually ; it is only\nencountered face to face and then —a\ntough fight. This is the ancient way\nof estimating the others if you are one\nof the ones.. ... by that I mean one of\nthe workers.\nAnd in my day we had but a single\nambition—not to be one of the others.\nThis is a particularly theatrical fail-\ning ....confession or boast. To us the\nstage is the world and the world a\nrather poor stage. We are the only\npeople really alive—the others out\nin the stalls, pit and gallery, have\ncome to our playhouse to get a breath\nof fresh air. Our theatre can give\nthem that, for it is more immense\nthan the narrow little world in which\nthey dwell. A bell rings—the lights\nare dimmed—the audience out there\nobey the signals; the great curtain\nrises; the souls of the spectators are\nreleased.\nIt may seem strange to the reader\nof these lines that I, (an ordinary re-\nviewer of books) should write as\nthough I belonged to the theatre : but\nso I do, and that is not difficult to\nexplain. I am what is called a\nsupernumary ; I walk on. The manager\nof the fine playhouse whose boards I\ntread at night does not know that I\nam a reviewer of books: it would not\nconcern him if he did; the arts do\nnot concern us much in the Theatre.\nWhat concerns us is our profession—\nand getting it over. And this I have\ncome to learn during the run of many\nfine pieces. I may say I am a great\nadmirer of the old Pro, his sole aim\nbeing to get it over, to bring down\nthe house, to help a brother ark-floater\nin need when he is forced to spout\nbilly. They say they are pretentious\nfolk, these actors: it is not true : for\nan actor is only really himself when\non the stage and off it he does not\nreally exist.\nOff the stage he has to be often\ndoing things he hates doing. He is\nnot like the other artists : is he quite\nan artist ? is he not rather an artiste ?\nThese other artists are the poets, the\ncomposers, the architects: and the pain-\nters are artists, and the sculptors and\nthe novelists, and the writers of all\nkinds (all but reviewers). These are\nthe lucky ones: we theatre folk are\nnot lucky. What I mean exactly by\nthat I will attempt to tell you.\nIt is lucky—very lucky—not being\nforced to keeP incessantly before the\npublic : how lucky it is to be able to\ngo away to write, to go away to paint,\nto go away to compose, to mix with\nthat world which people believe exists\noutside and beyond a theatre while\navoiding that trash..,, the gang-made\npublics of the cities ; that trash which\nknows everything; that trash which\ndecides and shapes all things for a\nshort time—for about twenty years an\ninnings. How lucky for the good\nartists I have named to be able to be\nas it were invisible and pass through\nthis sweating sweated crowd and get\naway from it— so as to shape and de-\ncide little things which last for ever\nand bless for ever those who find\nthem. What matter that today one\nof the crowd from which he escaped\ndamns Chopin to exalt Ravel; these\ntwo alone count, and the crowd and\nits damned gangs are of no ,account\nwhatever.\nBut we of the stage are not so lucky\nand there is no \" escape \" for us, so\nwe stay behind, and, in defence, we\nthrow up barriers—the old footlights\nfor example. On this side of them we\nare entrenched, on that side there are\n\" the others \" ; they are no longer in-\ndividuals they are a thing—they are\nthe Public. To the thing as an idea\nwe doff our caps ; we are its \" loving\nand obedient servants The indivi-\nduals have faded into the distance\nand have become but a wave of the sea.\nWe \" artistes 0) —am I never co-\nming back to the Sitweils—ever since\nthe time of Thespis have had to work\nunder certain disadvantages, the chief\nof these being,\n(1) we had to appear personally in\nfront of the public;\n(2) and at fixed hours ;\n(3) we had to advertise ourselves\nand our show;\n(4) we had to risk the quick dis-\npleasure of the public and suffer\nor enjoy its approval.\nAll this being a distinct handicap\nto us (and a terrible ordeal for our\nwork), we were allowed certain com-\npensations. We alone were allowed\nthem by grace of some unwritten law\nand we are still allowed a few of\nthem. Cursed with the responsabili-\nlies of publicity we were recompen-\nsed by the privileges.\n\n(i) Perhaps a still better title is\n\" performers \"."}, {"page_pdf": 47, "page_imprimee": "119", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.47", "texte": "(1) We were not expected to mix\nin society :\n(2) We were excepted from atten-\nding regularly at church on\nSundays:\n(3) We were able to escape recei-\nving invitations to lunch, tea or\ndinner for we were forced to eat\nand drink when we could, not at\nthe proper fixed hours :\n(4) Our photographs were taken and\nexhibited free of charge and we\nwere given any copies we needed :\n(5) We were always able to pass\nfreely into any entertainment from\nthe Opera to the Zoo :\n(6) We had the special privilege of\ngiving a few free seats in our\ntheatre to friends :\nPoor privileges but our own.\nBut nowadays these privileges are\nno longer ours alone, for a great num-\nber of persons who 44 do things \"\ntoday claim the right to all these pri-\nvileges without accepting any of the\ngrim responsabilities. Everyone claims\nthe right to get and give away to\nothers our tickets, to get free entrance\nto all entertainments, to have their\nphotographs taken and put in the pa-\npers, to go to the Zoo free of charge,\nto avoid high teas and toppling lun-\ncheons and so forth.\nPerhaps today certain dilettante\npoets, painters and those others who\ndabble in the fine arts have been fa-\ntally stung by the realization that\nTennyson, Browning, Swinburne, Ros-\nsetti and so many fine writers and\npainters of the Victorian age passed prac-\ntically unnoticed by the crowd, where-\nas the performers (snorting thought I)\nIrving, Toole, Hare, Bancroft, Tree,\nthe Kendalls. Ellen Terry, Lily Lang-\ntry, were known far and wide in our\nIsland and their pictures were in a\nthousand shop windows, their doings\nrecorded in every journal, their slightest\nmovements chronicled. And this seem-\ned just the very thing to arouse en-\nthusiasm in the public for their idols\nand to attract the said public to the\ntheatres.\nPerhaps to a dilettante poet of today\nthe notion of being forced to sit or\nstroll quietly at Farringford, down\nChelsea way or up in Putney holds\nsomeihing chilling and forbidding in it.\nIt certainly was an ordeal in those\ndays to be a great Poet And then\nsuddenly the Press came to the rescue,\nand released the poets and artists, who\nnever wanted to be released at all, by\nturning them adrift loose in the field\nwhere the actors and other 44 artistes \"\nmunched at the marigolds and mangle-\nwurzels.\nT I T - B I T ART.\nTOWARDS the end of the Victo-\nrian era it became more and\nmore difficult for an artist to live for\nhis work, or to get even a little no-\ntice, because a newer journalism was\nfeeding the mind of the public with\nsuch a quantity of Tit-Bits, Scraps, and\nAnswers to hundreds of questions it\nhad never asked :\n44 How to make a rabbit-hutch out\nof a soap box; how to write a short\nstory ; how to act; how to paint \" :\n-—and every ore began on the rabbit\nhutch, until he found that acting,\nwriting and painting in bits was far\neasier. Then he took to the arts and\nno longer troubled so much about the\nsuccess of Penley or Irving because\nhe too could make just as much stir\nas they did, with a very little trouble,\nThe next thing the new recruits had\nto learn was how to sell these tit-bits\nof work. But there again advertise-\nment helped.\nA\nAdvertisers asked for the rubbish\nand got it : 44 We want short stories \"f\n44 Actors wanted A minimum of\nexperience sufficient And now not\nonly tenth-rate wqrk is held to be\nbetter than first-rate work but is ad-\nvertised as first-rate, even as every\nlittle afternoon-tea is heralded by trum-\npets as though it were some state\nDrawing-Room at Buckingham Palace.\nIs this not true ?—open the half-\npenny paper and see for your self.\nIf Mrs. Mc J ones the charming little\nnobody takes a walk, photographs of\nher walking are despatched to all the\njournals in Europe and America: if\nthe cat of the Countess Posh dies it\nis photographed and we all see it\nbeing lowered into its homemade tomb :\n44 the design for this and for the coffin\nwas made by the Countess herself,\nwho is as clever at sculpture as EP-\nstein. She made this small nest for\nher loved little Trixie out of an ordi-\nnary Sunlight soap box \". And if to-\nday a young poet writes a tit-bit of a\npoem (provided it is not anything so\nsolemn as the poems of Francis Thomp-\nson), by Jingo, then there's a stir\namong the London amateur press\nagents... provided that some other poet\nat the same time fails to supply a\nmore trivial poem.\nThese amateur press agencies I need\nnot picture to you : you can see them\nany day by the hundred.\nAs you know, on many of the\ndoors of Cavendish Square, Port man\nSquare, Belgrave Square, St. James's\nSquare and Grosvenor Square, on the\ndoors of many of the most swagger\nhouses of London today the word\n44 PUSH - is to be seen outside and\ninside.\nTwenty years ago, so they tell me,\nthis same PUSH was a word found\nonly in the city on its office doors:\nand in Fleet Street, and on the doors\nof all business houses, professional press\nagencies, advertising agencies and so\nforth.\nBut with the growth of tit-bit art\nand the development of the amateur\npress agencies there has been born in\nBelgravia and Mayfair the desire to\npush that art, to keep it before the\npublic, to advertise it and those who\ndo it; and even, when possible, to sell\nthese bits in their drawing-rooms.\nTHE AMATEUR.\nI rather like the amateur : but I think\nI like him only so long as he acts\nlike one Many a lady and more\ngentlemen have in the past been ama-\nteurs. Some wrote verse, others wrote\nprose ; some have painted, others have\nacted ; a few took up architecture and\nplayed quite prettily with it; more\ninclined towards music and did that\nwell. I don't mean sold well,—that\nwas not the aim of the amateurs yes-\nterday. They loved the things they\ntried to create and loved to practise\nhow to perfect them when amongst\nthemselves. Some of them would give\na great deal of time to their acting,\nsinging, verse-writing; and some would\nspend quite a little fortune preparing\nlittle performances of big plays or con-\ncerts for their special group ; ... but\nthey always respected the professional\nand never robbed him of a paragraph\nor a penny: today they do.\nNowadays an amateur comes out as\nquickly as possible before the general\npublic, and behind him come a hun-\ndred and more press agents—his per-\nsonal friends-—pushing and cackling like\npeople on the Bourse.\nThen they all begin to make money\nout of their job.\nSome make a great deal—especially\nthose who, on the strength of being a\nsocial celebrity and pretty or charming,\ntake up the stage and, at an hour's\nnotice, submit to being pushed into\nroles a professional actress does not\nlook to fill, or to fill successfully, for\nat least ten years.\nFor certain Jews bent on exploiting\nour Theatres are ever on the alert\n44 gallantly '* snapping up such people.\nThe fact that they are Jews is to\ntheir credit but no one supposes that\nthese Jews represent that ancient race\nas it likes to be represented. And if\nthe three Sitwells bad gone in for"}, {"page_pdf": 48, "page_imprimee": "120", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.48", "texte": "theatricals rather than for verse-writing,\nwe should be hearing of their triumphs\nin plays of the kind that Professor\nReinhardt, assisted by Gest the agent,\nlikes to juggle with in America. His\nability, his capacity to make a silk\npurse out of] an amateur's ear, is re-\nmarkable— and he makes a feature of\nthe trick.\nI think that were I a famous pro-\nducer, and if I held my profession at\nall in honour, I would keep amateurs\nin their place if I had any such ladies\nor gentlemen working with me. I think\nthere is probably a good deal of hope\nin the amateur;—but I for one would\nhelp him and her to keep their place.\n1 his would not only bring them finally\nto be rid of the last marks of ama-\nteurism, but it would be the very least I\nshould owe to my profession and my\nprofessional associates.\nNow though I cannot feel that the\nSitwells have been so ill-advised or so\njuggled with by their impresarios as\nhave the few amateur performers of\nunfortunate celebrity, I do feel that\nthey are running a big risk by too\nhastily coming out with a blare of\npublicity and all for rather too little.\nThe risk they run is that of being\nshortly forgotten.\nThis book about the trio has made\nme feel that the Sitwells are not par-\nticularly important. Which is too bad\nof the book.\nTheir work is pretty enough here\nand there, and quite curiously well-\nknown considering the short time they\nhave been writing.\nMR. R. L . MEGROZ.\nAND now Mr. Megroz comes for-\nward with his book in which he\nexplains the meaning? of these writings.\nI wonder why that is necessary ?It\nmay be because they have not been\nat it long enough that their work\nstands in such need of explanation.\nMr. R. L. Megroz probably offered\nto explain it to the Public and the\nSitwells said he might: but when he\nhas explained I am left feeling any-\nthing but happy it all.\nVerse which needs explaining coup-\nlet by couplet had better have been\nrewritten before it was subjected to the\ncontempt of authorized explanation.\nSome of the Sitwell verses need\nno word of help from Mr. Megroz,\nas, for example, these perfectly clear\nlines :\nThe countess sit and plays fantan\nBeneath the portrait of great Queen\nAnne.\nThat is perfectly clear—all but the\nuncertainty as to whether it was a\nsingle. Countess who sit or several who\nplays.\nNext I\nThe shuffled cards like the tail of a bird\nUnfolding its shining plumes are heard.\nMr. Megroz, after quoting these\nfour lines, proceeds to make us wise\nabout it all, the notion being that after\nwe have had it explained to us we\nother amateur verse-makers can all go\naway and, pointing out the effects to\nour special circle in our own words,\ncan have a shot at something like it\nourselves thus showing how clever we\nare : that will help the boom.\nThis is what Mr. Megroz writes:\n\" In this remote music may be heard\nthe preludings of the unfaltering de-\nlicacy of the 4 Elegy on Dead Fas~\nhion '. The fluent phenomenal uni-\nverse of nature is seen stilled and\nremote in a diminishing mirror while\nthe still, inanimate objects are re-\nanimated with a vitality transferred\nfrom the world of living things '*.\nIt now only remains for one of the\nSitwells to explain the meanings of\nMr. Megroz. I love a far fetched joke,\nbut only if it last a short time; so if\nthis book by the Spanish gentleman be\na joke, it only fails because it is too\nlong and too cumbersome. But to go on.\nWhile the Countess or Countesses\nplays cards:\n4< The maid in her poivder-closet soon\nBeneath the fire of the calm full moon\nWhose sparkles) rubies, sapphires spill\nFor her tipon the window sill\nWill nod her head, grown sleepy, I wis\nAs Alaciel or Semiramis,\nPasiphae or the lady lsis\nEmbalmed in the precious air like spices.\nThe Sitwells are too much and not\nenough.\nThree is too many—and they seem\nto have lost the formula for stopping\nthe machine, and so come out with\nverses, verselets, couplets; there is no\nstopping them. And who would want\nit to cease if the voices were sufficient.\nThey are insufficient; but this is not\nbecause each Sitwell is not in away\na poet in him or herself, but is mainly\nbecause there are three Sitwells instead\nof one and the three are blatantly\nand clumsily over-boomed.\nLet one of them call himself Smith,\nanother Jones, and leave, to the best of\nthe three, the honourable name of\nSitwel!. Then we shall be able to\nhear him as he sings. As it is we\nare rather inclined to laugh at the way\nthe amateur reclame agents have mud-\ndled the whole show for these young\npeople. It is these agents, not the\nyoung artists, who are to blame. It\nis the agents who have allowed three\nof the same name to be billed toge-\nther, even encouraging them to sing close\nupon one another, and the result is a\nracket.\nIt is typical of most amateurs, this\nignorance of the business,—how to do\nit and how not to.\nIf the Sitwells were acrobats they\nwould form a charming group. They\nwould out-Voke the remembrance of\nthe Vokes family.\nIn their spangled livery I see this agile\ntrio swinging from the trapeze to the\nhushed orchestral tunes they surely love\nso much. But would these vivid crea-\ntures submit to the necessary disci-\npline ? i\nIt would take even three Sitwells at\nleast six or seven years* training to\nshape a little show out of their com-\nbined activities ; but it would he a\nshow—three as one—a little group\ndoing a single act. As it is it is din\nand a blunder.\nAnd this book which unites them as\n\" the Sitwells \" commits the very same\nblunder as do the young poets them-\nselves.\nHad Mr. Megroz divided his work\ninto three parts—and had he skipped\nall the unnecessary showman introduc-\ntion about the \" Londesboroughs and\nthe Beauforts \" Sir George Sit-\nwell and \" the meaning of Sitwel-\nlism \", he would anyhow have done\nsomething.\nI do not believe that the young poets\ntake themselves half as seriously as he\ndoes, and, as I turn back to some of the\nmany verses quoted in this book, so as\nto see whether I have not been utterly\nunjust about them, I feel I am far\nmore just than ever Mr. Megroz has\nbeen. For anyhow can I say that\nall this promises something.\nIt is a calamity that three such in-\ntelligent beings should have been en-\ncouraged to adopt the actors* and\nshowmen's tactics, to blunder over these,\nto appear under the one name, to sing\nthe same song in three different keys ;\nand to fail to entertain. But the future\nholds promises.\nI think I can see through the dust\nraised that, should Mr. Osbert Sitwell\nbe engaged by a good circus manager\nand do his turn alone, he will after\nmuch practice really do something worth\nwhile.... if only his brother and sister\nwill stop it and sit still. The distin-\nguished-looking sister Sitwell too would\nshine brilliantly, be seen and even heard,\nif only the two brothers wouldn't keep\nhopping around and raising such a din.\nAs for Mr. Sacheverell Sitwell, .„»well,"}, {"page_pdf": 49, "page_imprimee": "121", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.49", "texte": "he is bound to do something some day\nvery worth while:—but then his sister\nand brother must first be far off shining\nquietly, not disturbing us or him : and\nthus their brother's pitch will not be\nqueered.\n\n<IT MI U r 111111111 ■■(■■ll———mmmuanarnmnmm IMJ. -HI mm maMmmammmmgamammMaam\nSCARLET AND BLACK, A C/iro-\nnicle of the 19th Century. Stendhal.\nTranslated by C K. Scott Moncrieff.\n2 Vols. Chatto & Windus. Price\n7j6 each.\nOH, to be Mr St. John Ervine for\nonce ! for here is something good,\nand I utterly incapable of damning it.\nI may not praise I may not pull\nit to pieces—it is far too perfect ; but\nwere I St. John Ervine I could do it\n1927 parochial justice;—l could sus-\npect it. Seeing it so very fine I could\nside with the public, that often, but\nnot always, sound thing : that anyhow\nbig and fearsome thing : I could, per-\nsuaded by them, doubt my senses : and\nis that not pretty St. John's way.\nI take it to be the hall-mark of jour-\nnalistic honesty, this way of refusing to\nbe fooled at the suggestion of the many.\n44 What's that you say—God wai-\nting to see me - tell him to wait.\nTill I have consulted the public\nThe audacity is very small, the assump-\ntion no more than that which can be\nput on with a little spirit gum—the\nnet result pathetic in the extreme ; yet\nthe whole performance naturally im-\npresses some five to ten thousand\nreaders who perhaps believe him a\ndescendant of the great English actor\nand speak of him as 44 courageous\nMr. Herving \".\nWould 1 could be courageous in\nhis way after having read 44 Scarlet\nand Black \", so that, by putting Sten-\ndhal in his place, I could find a seat\nfor myself.\nAll I can do is to admit that my\ndelight has been so great that, were\nthe book packed with faults, I am ut-\nterly unable to see one of them.\nHe does invite one to pause and\ncriticise : woe betide him who should\nseize that opportunity; the muses\nwould rend him as they did Pentheus.\nAnd on second thoughts perhaps I\n<lon't regret not being St John Ervine\na regular Pentheus - one who has\nhis head screwed on the right way,\n~,.but will ultimately forfeit it if I\nknow the muses:\nA Life of Stendhal I have not\nread ; I do not know if he has yet\ncome to his own but I gather he has\nnot. Yet he was born in 1783,\ndying in 1842 ; knew and loved Italy\ndeeply, and is a product of the Na-\npoleonic times. It is exactly a hun-\ndred and four years ago that he\nwrote 44 Scarlet and Black \" so that if\nhe is not yet well known it is a pity.\nIt is a pity we should have come to\nknow the work of his imitators and that\nwe should have troubled to dislike them\nonly because we saw a vague some-\nthing behind all their work, which\nwasn't genuinely of them.\nDoubtless we are always being chea-\nted of the best by this process. But\nwhat has delayed this translation so\nlong ? Probably the fact that Mr. Scott\nMoncrieff was not born earlier,—is it\nthat?—is he the only living English-\nman who can translate these master-\npieces ? Possibly no one else in our\nislands ever read them in French - but\nhaving read them why hesitate to get\nthem translated ?\n\" That remarkable man who,\nwith a Napoleonic tempo, traversed\nhis Europe, in fact several centuries of\nthe European soul, as its surveyor\nand discoverer\", wrote Nietzsche of\nStendhal; and Nietzsche not given to\nover praise; adding 44 it has required\ntwo generations to overtake him one\nway or other.... he had the most pro-\nfound eyes and ears of any Frenchman\nof this century\nYet in certain centres there is a\nloud call raised today for Fascist art\n—for a sign of art created with a\nMussolini tempo. We can be happy\nif in a hundred years we even observe\nthat: it will be with us soon, but we\nshall not see it.\nWe shall have ninety others of in-\nferior gifts thrust under our eyes by\nthe coming Ervines. Stendhal him-\nself predicted that he would have a\nlittle success about the year 1880—\nmeaning he would be read by about\nthat date. Bless him for a sceptical\nenthusiast.\nTaine said he had read 41 Scarlet\nand Black \" thirty to forty times. No\nsooner read but you want to re-read it.\nDoes that explain the intense excite-\nment that is in the book ?\nHis better known work 44 La Cha-\ntreuse de Par me \" is as wonderful a\nthing 8s this book 44 Le Rouge et Le\nNoir \" if what you call wonderful is\na stunning good story so alive that you\npass out of this age and enter into the\nother, know the people, and, mixing\nwith them, are hurried breathlessly\nthrough the adventures which speed\nalong like a perfect working film,\nonly it is far more exciting than any\nfilm you have ever seen—the breath-\nlessness is not artificial; it's the ge-\nnuine thing.\nBut we have to realize that it is\nnot for his religion, his satire, his\nmastery of psychology or for any of\nthe things for display of which we\nover-praise our Shaws, Pirandellos and\nthe rest, but for the way he does his\nwork—for his touch-for being Stendhal,\nthat we delight in him and all great\nwriters, and it is for this reason that\n1 predict what many a better critic\nalready knows ; that in 1960 or 1980\nit is Beerbohm who will be held high\nand Shaw and Co forgotten.\n\nMUSIC. Classical, Romantic and\nModern, by Eaglefield Hull. Dent\n& Sons. / 0/6.\nTHIS big book of almost 500 pages\nis very unreadable: by that I\ndo not mean mischief but I mean that\nunless you are a composer, or a con-\nductor, or a musician, or a musical\ncritic you cannot follow it. They can,\nfor they can correct it as they go\nalong with their 44 Ah, he likes Cho-\npin \" or 44 Oh, he dislikes Debussy \"\nand that to these signifies something\ndefinite. I cannot see what he likes\nor dislikes and if I did, it would sig-\nnify nothing, so I am the very man\nto have a say about 44 Music, Clas-\nsical, Romantic and Modern \" and i\nwill say straight away that the title is\nmisleading. Modern music may be\nClassical or Romantic or bolh; Ro-\nmantic music may be classical and the\nclassics of music as we know are mo-\ndern, more than up to date, right\nahead of the times. ....Monteverdi for\nexample, at least so they tell me.\nThe author is a sane man and\nsides with the angels. Says he 44 We\nbelieve with Bizet that there are only\ntwo kinds of music, good and bad \" :\nthen why, I ask myself, did he not\ncall his book Music : good and bad ?\npresumably because he objects to say\n44 this is bad music \"or 44 that is bad\nmusic \" and always prefers to say it\nis good even when bad.\nHe writes of Preclassical, Classical,\nthe Rococo, Romanticism, Realism, of\nneo-primitivisrn, neo-classicism, impres-\nsionism, expressionism, atonality, bi-\ntonality, and of politonality.\nThese labels are a nuisance and\nI have rarely heard a serious musician\nwho used them : they are made to amuse\nthe beginners who invent them. Who\ninvented the term Expressionism ? as-\nsuredly not Kandinsky or Schonberg ;\nsome budding journalist perhaps, clever\ndog. I have never heard any of the\nmusic of Schonberg ; it is my task to\nwrite about music not to listen to it."}, {"page_pdf": 50, "page_imprimee": "122", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.50", "texte": "When forced to listen, 1 like the worst,\nbut I will come to M. Darius Mil-\nhaud by and by.\n1 was somewhat alarmed about\nSchonberg one day in London in, I\nthink, the year 1912 or *l3 ; it was\nreported to me one day from a reliable\nsource that M. DiagelLw had asked\nCraig to stage a ballet with music by\nSchonberg. It seems to have occurred\nto the Russian that the Englishman's\nmise-en-scene and the Viennese music\nwould outrage London society. That\nis what alarmed me.\nI for one have never found any\nsense in Craig's scenes : they simply\ndont appeal to me ; but I see nothing\nin them to flutter the dove coteries at\nCovent Garden. And so I wondered\nwhether Schonberg's music v/as not\njust as ordinary as Ciaig's scenes. In\nfact I was disappointed to think that\nthis Austrian music (which I had ne-\nver heard) might be quite good; I\nmean by that quite reasonable.\nMr Hull, (the author of this book)\nhas quite a little to say about Schon-\nberg, his 44 ugliness \", his theories, his\nfreedom, and his restless mind. He\ncalls him a 4 4 ferocious innovator \" and,\nreferring to the first part of his 44 Pier-\nrot Lumaire \", calls it 44 miraculously\ndistorted I do not care what he\ncalls him, cr it, but I like to hear that\nafter Schonberg had written it (in\n1912) the composer abstained from\nwriting music altogether for eight years.\nWhat I like about Schonberg is that\nhis whole progress has been one of\nthrowing things overboard because peo-\nple would perch on them like birds\nand like birds misbehave. Naturally\nhe throws things overboard. He likes\nto go on quietly and not in a mess.\nThe publicity of journalism assisted by\nprivate curiosity are all against that:\nno sooner has Schonberg seated him-\nself at piano, at table, or in a caf£\nthen up start two journalists or three\nbusy-bodies and ask 44 Do you believe\nin utterly destroying G Sharp \" ? On\ngetting the brief reply, they tender\ntheir effusive thanks and go home and\ntry to find the word in a dictionary.\nAs they cannot find it they decide\nthat it must be an expressionism.... as\nindeed it is.\nBut 44 bad \" words lead to a lot of\nbother like 44 bad \" music and here I\ncome as 1 promised to M. Darius\nMiihaud.\nI have heard some of his music :\nI think it is the most horrific music\nin the world, and I like it very much.\nI know I like it, because I want to\nhear the same piece again. 1 regret\nthat Mr Hull, (the author of this\nbook) does not inform his reader\nabout 44 Les Malheurs \".\nThis short opera Mr Hull does not\nmention ; did he not dare to ? I dare,\nand indeed confess to a longing to\nhear it many times until I come to\nknow it. I am as you see on the\nhigh road towards turning my back on\nit as old stuff, but how do that, I ask\nyou, until I know it, oh so well.\nOn first hearing it I began to spy\nits one weakness ; I found myself being\nenchanted by the dirge sung by the\nanimals as they carried Eurydice to her\ntomb. I said to myself 44 that's good \" •\nthat was a bad sign and I want to\nhear it over and over again so as to\ncome to say of the whole piece 44 that's\ngood and that is good \" and then good\nbye 44 Orph6e \". And what else, I\nask you gende reader, is art for except\nto be rid of it and pass on to newer\nart (1).\nThere is much dissonance in this\nopera; I wont say too much disson-\nnance until I come to know it through\nand through, but there is certainly not\nenough blue sky in it from which to\nmake a sailor a pair of breeches, and\nyou must admit that the sky was made\nand then dyed blue for that very\npurpose.\nM. Miihaud does not want his\nopera to be cut up to make blue bags\nfor anyone, and if you will pause for\na moment you will recall that the aim\nof mankind is always to use art for its\nown exalted purposes.... the exalted\npurposes of mankind.\nThis book by Mr Hull will help\nto thwart mankind, so 1 admire it,\nnay, more, I love it for that. The\nmore books which talk of neo-policy\nand semi-pottery, and pre -expressions -\ntical mysteries the better. Thwarts for\nthwarters say I, but if I say it quickly\nsix times running I shall make myself\nridiculous.... so you say it for me.\n\nHAKLUYTS VOYAGES, with //-\nlustrations. Volumes 1, 2, 3& 4.\n/. M. Dent & Sons, Prices 7/6 a\nVolume (for the complete 8 volumes\nwhen issued £ 3).\nWHILE attractively illustrated by\nold and new designs, some by\nThomas Derrick, and with an Intro-\nduction by Mr. John Masefield, who\ngives a great deal of interesting infor-\nmation on the structure and equipment\nof Elizabethan ships, there ought to\nbe many people to sit down to read\nfrom end to end the full eight volumes,\nin their charming old English; but\nanyhow it is a book into which\nmany more will dip with ever renewed\ndelight, and wherever they shall put\nin a thumb they can be fairly sure of\npulling out a plum.\nThe chapter headings themselves are\nrich in promise; as, for example,\n44 The voyage of Sir Hugh Willoughby\nknight, wherein he unfortunately peri-\nshed at Arzina Reca in Lapland,\nAnno 1553 \", or 44 The voyage of\nM. Anthony Jenkinson into Russia the\nthird time, Anno 1566 \", and pre-\nsently *4 A briefe rehearsall of all the\ntravailes of M. Anthony Jenkinson \"\nand 44 A note of all the necessary\ninstruments and appurtanances belon-\nging to the killing of the Whale \".\nIn short, a rich and genuine work,\nand we look forward to the issue of\nthe remaining four volumes.\n(i) If there be any one who knows\nanother use for it will he communicate\nit to me. My name is Jones —B. O. Jones,\nC|o The Mask, Box 444, Florence.\n\nLE MASQUE ET L'ENCENSOIR.\nGaston Baty. Blond et Gay. Paris.\nPrice 16 Francs.\nM GASTON BATY is one of the\n• energetic men in the French Thea-\ntre whose energy is doubtless looked on\nwith anything but favour in those\ntheatric circles where energy is held to\nbe rather deplorable, I allude to energy\nof mind, vivacity of fancy not to beefy\nenergy. That, thank heaven, still com-\nmands respect—if not exactly the respect\nit deserves.\nLet us never despise beefy c nergy :\nthere are men who have proved its value\non every stage. I wouldn't disparage\nMr. Seymour Hicks for worlds: M.\nGrettilat has my lasting reverence;\n44 Here we are again so long as\nthe lungs can stick it, is never to be\ndenied. Let physical energy and its\naccompaniment of seeming mental energy\nbe ever welcome : why, for all I know,\nM. Gaston Baty has that too.\nAnyhow, he is alive ; alive in other\nways. Born in 1885 he is but foity-\ntwo. Always a lover of the theatre,\nhe aimed to be metteur en scene, not\nactor, not author.\nA curious aim. Melteur en scene\nis what we call producer ;—but abroad\nit means producer with ideas—not a\npicker-up of notions. It is a position*\na rather creative mind can fill.\nWe often read the careless (or de-\nliberate) paragraphs about such and\nsuch a man producing, let us say,\n44 The Miracle \". Only last week I\nsaw the name of Mr. Morris Gest\ndown as having \" produced \" that"}, {"page_pdf": 51, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.51", "texte": "production, which all the world well\nknows was turned out by Reinhardt's\nGroup. Groups produce and creative\nindividuals produce; theatrical agents\nlike Gest never do.\nM. Baty seems to be no group.\nHe is, with Jacques Copeau, Dullin\nand Pitoeff, one of the promising indivi-\nduals of the avant-garde in Paris.\nHe is then to some extent a fol-\nlower of Mr. Gordon Craig, which is\nall to the good ; —but—and here he\nwill find support today and lose it to-\nmorrow— he \" n'accepte pas toutes les\ndoctrines \" writes M. Brillant in his\nlong and interesting Preface to this\nbook. Which means that M. Baty\nwill accept all he can understand and\nthat is more than most theatre folk do.\nThey mostly accept the ideas they can\nturn into dollars, marks and francs.\nM. Brillant quotes a passage from\nMr. Craig's \"On the Art of the\nTheatre \" (1911) where the English-\nman tells the younger men to take\ncare not to suppose that the founda-\ntion of two or three little Theatres in\nParis, Berlin or London will bring\nabout a renaissance—for only by the\ndiscovery of the Laws of the Theatre\nwill this be brought about.\n\" J'ai !a conviction 99 adds M. Bril-\nlant, \" que Baty a ' decouvert * ces\nlois et c'est pourquoi j'ai confidence en\nson succ&s et dans la fecondite de son\neffort \".\nBut M. Baty has not yet defined\nthese laws 4f decouvert \". In his\nbook which is full of spirit and many\na good thing he tells us about /Es-\nchylus and the Mystery plays of the\nmiddle ages, and does not deny that\nit is something besides the script that\nis the play. We still wait to hear\nwhat are his ideas as to the Laws ;\nand there is no reason to suppose he\ncan not tell us,—nay, more, contribute\nsomething towards their interpretation.\n\nPIETER BRUEGEL THE ELDER,\nby Virgil Barker, with 55 Illustra-\ntions. The Arts Publishing Corpo-\nration, New York* Price $ 2.\nI IAViNG no name, and he more\n1 1 than two days old, this painter\nof the north, waiting in vain for some\none to name him, named himself.\nBreugel was his village and he sup-\nposed that he had crept out of that\nvillage like one of those temptations\ntroubling Saint Anthony.\nUnknown is the date of his birth,\nand his parents equally unknown.\nThey say he was a proud, over-\nbearing, kindly, preposterous, level-\nheaded man, this son of a village;\nand that while people tolerated his\ngenerosity they bridled if he laughed\nat their stupidity.—Where do I get\nmy facts? ....why, from an Archive\nof course.\nHis first master was Coeck—and I\nshould like to quote extensively from\nMr. Virgil Barker's account of his pro-\ngress. But if you do not get the bcok\nand read it every word for yourself\nwhy should I help you to a few\ncrumbs ; and if you do you won't need\nthe crumbs from me. That you will\nget it I do not for a moment doubt.\nIt is the only book in English on this\ngreat painter, this moving artist, and\nis well illustrated. The fifty-five repro-\nductions will last you your life-time :\nhave no fear that you will tire of them.\nYou cannot tire of them because there\nis not a square centimetre in anyone\nof the fifty-five pictures that is not a\ndelight. I almost added \" to the eye \" :\nbut I stopped in time, knowing how\ncontemptible is the eye to so many\ndramatic critics of the hour.\nThese queer folk suppose that the\neye is a kind of inferior brain, or a\njoint of the tail. They are puzzled\nhow intelligent people can descend to\nenjoy things through the eye. That\nthey are defective in that sense they\nwill not admit: they prefer to find the\ndefect in their brother's eye and dis-\nparage this little organ of the soul.\n\" Sensual, I call it \", they mutter.\nIn pictures it's permissable, in Thea-\ntricals, it's not : Pictures are the work\nof painters, and painters \" have no\nminds \" as Mr. Tom Craven of Ame-\nrica said but recently. And when peo-\nple have no minds how far is it then\nto Tipperary.\nSome of our Dramatic critics make\na great to do with their superior snif-\nfing about the detestable eye of the\nspectators in a theatre. These spec-\ntators enjoy spectacle ; that is enough\nfor the Dramatic critics. Such men\nwould have asked Disraeli to leave\nthe theatre because he rather liked the\nscenical and was always saying so.\nIt appeals \" only to the eye \" is\nthe bald utterance of an Ervine and\nhis prompters. Pluck it out, Ervine,\nbut pluck your own out first. Then\nyou will no more see to pluck out\nours—and you will no more see the\ntrees, or the sunlight, or the sea; and\nyou will not see these beautiful dra-\nmatic pictures by Bruegel, pictures\nwhich are full of the things actors still\nneed to learn, and stage directors are\nalready learning.\nBruegel lived in the days of Rabe-\nlais and Lucas Cranach, ana died ac-\ncording to Garollo in 1569. Married\nin 1563, he had two sons, Jean and\nPierre, who were also painters.\nMr. Virgil Barker claims for him\nthe company of Shakespeare, Cervan-\ntes and Montaigne; (what will Ervine\nsay?) and indeed, but for the awful\ndefect of appealing to the eye, he\nwould deserve that place.\nFor my part, remembering Goethe's\nwords expressing a desire to cease from\nwords and to depict things only, I\nplace him above these three.\nBut to do so you have to be prejudi-\nced : to be cross with a pack of Pu-\nritans and, as that's not worth it, let\nus leave the old painter with those\ngreat men of letters and rest assured\nthat the good sack or wine will prove\nthat after all when all's said all's one.\n\nMAN—AN INDICTMENT, by\nA. M. Ludovici. Constable S\" Co.\nPrice 14/- net.\nTO begin with, this book could\nhave been brought out at far less\nthan fourteen shillings ; and yet do you\nblame the power seated in the office of\nthe firm Constable and Co. for wish-\ning to rake in a few more shillings if\npossible ? 1 for one cannot indict the\npower—Cannot, ....what am I saying ?\n.... I will not; not because it would\nbe of no earthly good, not because 1\nam a Christian with a sense of humour\n(vide Mr. Ludovici, Page 214) but\nbecause, if not a Jew, I am Jewishly\ninclined. I admit it without any hag-\nfling—l am strongly under the in-\nfluence of Jewry.\nAnd so I rather like this book,\nwhich is an indictment of some Eng-\nlishmen.\nIts title is quite an exaggeration, for\nno man in his senses indicts MAN;\nand Mr. Ludovici is in his senses.\nBut while I agree with the writer\nthat English men, French men, German\nmen and so forth all need the big\nstick as Mussolini administers it, I do\nnot think they deserve the little switch\nof the pedant, and that's all I could\nadminister were I put in authority,\nand really I'm not sure whether Mr\nLudovici could do more either.\nThe worst of an indictment is that\nthe wrong people come bustling along\nwith theories of Reform. And even\nAction too. \" Why I could do it\nbetter myself vide Mr Hannen Swaf-\nfer's article on late James White.\nI see nothing about Mussolini or\nmodern Italy in this book - and how\nthe author could have gone on wri-\nting while Mussolini was doing all he"}, {"page_pdf": 52, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.52", "texte": "advocates, and not refer to him, is\nnot a little staggering,\nMr. Ludovici is urged to call for a\nMasculine Renaissance. Italy has amongst\nother things been giving rebirth to her\nmasculinity. They who live in Eng-\nland and only hear vaguely about the\nnew Italy, cannot be expected to un-\nderstand that the Mussolini renaissance\nis something outside and very far beyond\npolitics.\nThere is far too much in this book\nabout ladies and their everchanging\npoint of view regarding males. Who\nis and who is not masculine enough\nfor ladies the world will always hear.\nHush! In 1927 James is not mas-\nculine enough and he is a bit of a\nfool, I admit. Zitta! in 1929 Peter\nis not masculine enough, and he ob-\nviously awfully masculine—and rich.\nIn 1931 Walter is tried (and sorely\ntoo). Poor Walter, he did so well,\nsuch a strong athletic sort of being—\ngetting paler and paler e!/ery day—\nnot masculine enough. In 1933 ....but\nlet us hope that by that time there\nwill be a new book and I will sug-\ngest the title 44 Some Men and some\nWomen : An Apology \".\nBut I won't write it—unless I have\ngrown silly or discontented with life\nand the other fools who make up such\na diverse and, taken all in all, such a\nkind and merry party, ....even if the\nwhispering confidante and the confider\nare as arrant a pair of rascals as ever.\n\nTHE STORY OF NAPLES by\nCecil Headlam. Mediaeval Towns\nSeries. /. M. Dent & Sons. Price\n5/6 net.\nEACH addition to this useful and\nwell-known series is welcome, and\nNaples has so varied and sparkling a\nhistory that the story of the city's many\nvicissitudes makes good reading. The\nbook is illustrated with photographs,\nplans, and with drawings by Benton\nFletcher.\nThe rabid student of the stage will\nwish that a little more space had been\nallotted to theatre matters, both as re-\ngards the city of Naples itself, and in\nthe section devoted to Pompeii, consi-\ndering how very important a part\ndrama and spectacle played in the life\nof these southern people.\nMarionnettes, we are told, 44 still\nflourish in a tiny theatre near the Sta-\nzione Centrale (Via Foria, Via A. Poe-\nrio), in spite of the competition of the\nCinema 4fe Probably \", adds Mr\nHeadiam, \" the scene and the au-\ndience will prove more interesting than\nthe story of the Reali di Francia,\nwhich the dolls, still arrayed in their\ngorgeous traditional costumes, perform\nso well. Your visit to this house—it\nis just a room with two low galleries\nbuilt into it—will probably be a short\none, For you will find it crowded\nwith fellow-creatures—and others—and\nthe atmosphere is unendurable \".\nThese conditions are often endured\nby those who adore the Cinemas, the\npit of any theatre, and an afternoon\ntea in Mayfair, so I cannot see that\nMr. Headiam had anything to worry\nabout.\n\nEURIPIDES THE IDEALIST by\nR. B. Appleton, M. A. : Dent &\nSons. Price 6/~ net.\n44 r 1 \"HE great and growing interest in\nA Euripides, the most modern of\nGreek dramatists, makes the appea-\nrance of this book particularly oppor-\ntune \", says the announcement on the\nwrapper.\nI should have supposed the interest\nto be diminishing —compared, for in-\nstance, with the interest in the Cinema.\nAnd though I do not compare the\nTheatre of today with the Cinema\n(for reasons which I hope the Editor\nof 44 The Mask \" will allow me soon\nto state), I do compare a big modern\nentertainment with a big entertainment\nof the past.\nThese Euripides plays and those by the\nother famous playmakers of those times\nwere the big entertainment of the past.\nI have nothing I wish to say about\nthose who were the entertainers but I\nwish I had thirty pages that I might\nfill them with stories, facts, pictures\nand what not about the entertained.\nThere were flappers in those days....\nbut flappers ! ! Gee! I know so little\nabout flappers; I even do not quite\nknow what the term signifies in all its\nramifications; but 1 take it to stand\nfor charming young ladies or less of\nabout sixteen to twenty-0ne.... who\nalways know what they want and\nsometimes get it.\nIn the far-off days of Euripides pre-\nsumably there were admirable flappers\nwho wanted his plays.... he seems\nto have written down to the flappers\nof his time. Darker /Eschyius sternly\ndenied their existence, his only great\nflapper being represented as a crazy\nwoman—l allude to the divine Cas-\nsandra.\nWhat an age ! What a number of\nastounding women lived in those days;\nand tell me?—was not the vote given\nto those excellent girls.\nEuripides, who was the the Barrie\nof Greece, was a mild graceful heart\ncompared with his sterner predecessors\nand contemporaries. Aristophanes de-\nrided him but that was only his fun ;\nhe really envied Euripides, as he who\nwrites down to his public always is\nenvied. Ihe two of them dwelt in the\nAdelphi at Athens.\nMr. Appleton devotes a good deal\nof his space to the politics and phi-\nlosophy of Euripides and his religion\nand eke his defense of women. This\nseems to us unkind of Mr Appleton.\nFor a playwright has his duties and\nshould not waste his strength and his\npeculiar privileges. The whole strength\nof a playwright is in his inability to\ntake sides. Shall he support the strong,\nor attack them. Shall he deride the\nweak, or ever sympathise with them ?\nHe lifts veils—we may see the whole\nof humanity if he be dexterous in his\nplay, on his stage.\nIt is this, it is this that I dread\nabout play-writers who are not play-\nWrights, ....that they will not stick to\ntheir trade and its immense privi-\nleges.\nSo to tell me that Euripides the\narch-entertainer of the city of Athens,\nwas for or was against this and that\nis to destroy another of my old dreams.\nAnd then does not my interest in Eu-\nripides grow less and does not my in-\nterest in the Cinema grow more ?\n\nTHE LIFE OF CHARLES\nDICKENS by John Forster. Everyman\nSeries. Dent & Sons. 2 Vols. Price\n2f each.\nTHE more I see of the Everyman\nSeries the better I like it (0 ; and\nwhen I think that for two shillings a\nvolume you can get almost any of the\nmost readable books in the English\nlanguage, in a volume you can hold\neasily and read clearly and which\ndoesn't break after you've read it five\nor six times, I am astonished, and\nwonder how the House of Dent has\ndone it.\nIt's no explanation to say that the\nLife of Dickens is no longer copyright,\nnor the Life of Mozart nor the Diary\nof John Evelyn ; for, if these were free\nto the Dents they were free to anyone\nelse who wanted to reprint. But then\nno one else has had quite the clever-\nness to plan out so perfectly a series\n\n(i) Twenty more volumes have recently\nappeared, iucluding Vasari's u Lives\nBlake's poems ; Sternes Sentimental Jour-\nney ; The Life of Abraham Lincoln and\nother useful works."}, {"page_pdf": 53, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.53", "texte": "which has so many attractive qualities.\nThese two volumes by Forster are\npacked with good things.\nTo one who does not like to be\nobliged to carry large books about\nwith him when slipping from his rooms\n(mine are off Fleet Street) into his\nchop-house (where 1 do most of my\nwork of reading after I have lunched)\nsuch light little booklets full of solid\ngood stuff are a blessing. A not quite\nperfect Index helps me to find what\nreaders of 44 The Mask \" know I\nalways seek for in all books—-a word\nabout the Stage.\nDickens loved theatricals and,\nwhat is never amiss, theatrical people.\nSome there are who adore theatricals\nand are bored by theatrical people*\nDickens visits Madame Viardot\nthe sister of Malibran in Paris.\n44 The Viardots have a house away\n44 in the new part of Paris, which\n44 looks exactly as if they had moved\n44 into it last week and Were going\n44 away next, Notwithstanding which,\n44 they had lived in it eight years.\n44 The opera is the very last thing\n44 on earth you would associate with\n44 the family. Piano not even opened.\n44 Her husband's an extremely good\n44 fellow, and she is as natural as it\n44 is possible to be \".\nWhat a charming thing to have\nsaid of one if one were of a theatrical\nfamily instead of being merely a re-\nviewer of theatric literature in Fleet\nStreet.\n\nA FLORENTINE DIARY from\n1450 to 1516 by Luca Landucci,\nTranslated from the Italian by Alice\nde Rosen fervis. /. M. Dent. & Sons.\nPrice 7/6 net.\nTHIS is an excellent translation of\nthe book of daily jottings, set\ndown in laconic and forceful style by\nLuca Landucci between the years\n1450 and 1516, and continued by an\nanonymous writer who carries on the\nrecord till 1 542.\nPerhaps the very terseness renders\nthe effect of these daily everyday\nevents the more sensational, and Lan-\nducci would have made an excellent\ncontributor to the Daily Mail of his\nday. No editor could accuse him\nof wasting space or being verbose.\nHe deals with battle, murder and sud-\nden death, pestilence, famine, upheavals\nof government, in paragraphs of a few\nwords or a few lines, and, as he lived\nin stirring times, he had plenty to\nrecord.\nFor students of Florentine life of\nthe period this new translation, well\nannotated, will be of value, while for\nany who like genuine records of actual\ndoings narrated in an entertaining way,\nit affords good reading, and throws\nmuch light on the doings and reactions to\ncircumstances of many a man and wo-\nman, obscure or illustrious, of five\nhundred years ago.\n\nLORD BYRON IN HIS LET-\nTERS, Edited by V. H. Collins.\nJohn Murray, Price 12/- net.\nLORD BYRON'S CORRESPON-\nDENCE, Edited by John Murray.\n2 Vols. John Murray. Price 25/-net.\n44 the classics, I know about as\nV-/ much as most school-boys after\na discipline of thirteen years ; of the\nlaw of the land as much as enables\nme to keep 44 within the statute \"\nto use the poacher s Vocabulary. I did\nstudy the 44 Spirit of Laws \" (*) and\nthe Laws of Nations; but when I\nsaw the latter violated every month I\ngave up my attempts at so useless an\naccomplishment : of geography ; I\nhave seen more land on maps than I\nshould wish to travel on foot;—of\nmathematics, enough to give me the\nheadache without clearing the part\naffected ;—of philosophy, astronomy,\nand metaphysics, more than I can\ncomprehend ; and of common sense so\nlittle, that I mean to leave a Byronian\nprize at each of our 44 Almae Ma-\nires \" for the first discovery,—though\nI rather fear that of the longitude\nwill precede it.\nI once thought myself a philosopher,\nand talked nonsense with great deco-\nrum : I defied pain and preached up\nequanimity. For some time this did\nVery well for no one was in pain for\nme but my friends, and none lost\ntheir patience but my hearers. At\nlast, a fall from my horse convinced\nme bodily suffering was an evil ; and\nthe worst of an argument overset my\nmaxims and my temper at the same\nmoment, so I quitted Zeno for Aris-\ntippus, and conceive that pleasure\nconstitutes the TO XCCXOV \".\nTHIS extract is from a letter writ-\nten January 21 1808 when Byron\nwas twenty years of age.\nHis public is of course immensej\nbut there is one large group that does\nnot know him at all and these are\nthe artists of all kinds ; so 1 wish that\nthis latest collection of his Letters, or\nanother like it, could be issued at a\nlow price so that the artists who cannot\npossibly pay 12/- for any book could\nenjoy the brilliant things.\nI suppose that very few musicians,\npainters, architects, draughtsmen, young\nactors will come across this book. I\nknow very few of such Englishmen\nwho know Byron at all—and a know-\nledge of him early enough would ba-\nlance a lot of them who lack that\nqueer, good stuff, common sense.\nI doubt if even very many writers\nread him.\nThis is the day for reviving jane\nAusten and Trollope, and the boo-\nming of Tchehov and Pirandello, of\nProust and of Shaw, all of whom are,\nI believe, wonderful good stuff. Yes,\ngood stuff : but Byron is all that they\nare and a big bit more.\nTo cap it all he is a first class\nmaster.\nI doubt the quality of the pupils of\nTchehov, Shaw and Proust. I dread\nthose whom Pirandello will train, and\nI query if the Jane Austen, Tchehov\nand Trollope schools will yield quite\nenough.\nTo fine writers, to men of the same\ncraft, Trollope and Jane Austen are natu-\nrally a great delight; and of course\nthe name of Byron smacks somewhat\nof a coloured postcard showing a\nmoonlight scene in Venice. It is all\nthe fault of the public, for Byron is\nnot a bit like that, and they have not\nmuch knowledge of what he isn't or\nwhat he is.\nYou go to his verse soon after you\nare reading his prose.\nIt is a superb style ; he is a clear\nthinker and never caught pondering.\nNo one has ever seen him worrying\nabout an idea—lost in thought—or at\na loss for a word. He was practi-\ncally without any pose: never self-\nconscious : had good health; rode\nmuch, swam much and shot a good\ndeal with the pistol; was accounted a\ngood swimmer, horseman and shot.\nResponded to life—did not hum\nand haw and hesitate. Fine eyes he\nthought finer than they were,—he sup-\nposed they indicated fine feeling and\nfine manners. There he made a mis-\ntake, but one that is becoming in any\nman between twenty and thirty* T le\nwould speak or write to Lady Caro-\nline Lamb or to Miss Milbanke or to\nLady Oxford as though they were\nlike his friends Clare and Hobhouse,\nKinnaird, Moore, and would play fair.\nThis was really too much honesty—\ntoo gallant and, if you like it too\nstupid.\nLady Caroline Lamb seems to have\n\n(i) Montesquieu's Esprit des Lois."}, {"page_pdf": 54, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.54", "texte": "spent a good many years of her life\nsaying the most damnable things she\ncould invent about Lord Byron while\nhe lived.\nIn 1824 she was driving with her\nhusband near Nottingham when By-\nron's body passed them in its hearse.\nA few days later she wrote to Mr.\nJohn Murray: <4 I am sure I am sorry\nI ever said an unkind word against\nhim \".\nWhy she should trouble to regret\nthe one word and forget the million\nothers is no more to be understood\nthan the other eccentric playfulnesses\nof this pretty lady.\nBut there is every excuse for her.\nShe could always be sure of a hearing,\nNot only ladies listened ; gentlemen\ndid too ; and the only thing we can\nsuppose is that they had all lost the\nvirtue which especially belongs to la-\ndies and gentlemen. They all loved\nlistening at keyholes ; glued their eyes\nto cracks in the partition which divi-\nded their distinguished selves from the\nordinary working peers and ploughmen.\nThey were the idlers —at least we\nmust suppose that. On thinking over\nMiss Milbanke's case and after life, it\ndoes seem a pretty empty existence\nan awful waste of her time and Eng-\nland's strength, for she bamboozled Eng-\nland right enough.\nOne comes across her in Miss Fanny\nKemble's reminiscences: she is gene-\nrally busy paying some clergyman a\nfee or some lawyer, or she is making\nwise remarks ; she is not doing any-\nthing—just robbing the orchard all\nthe time:—when caught she remarks\n44 I was only playing Little darling.\nLady Caroline Lamb appears too in\nMiss Fanny's books: 44 Gueth how\nmany pairth of thtockingth I have on\"\nshe asks Mr. Harness one evening at\na bail, and while Mr. Harness is splutte-\nring 44 Well l'm sure—1—wh0....I—wh0....\nshe shows him and says 44 Thixth \".\nOf course we discuss nothing half\nso dull as mere stockings at balls\ntoday, and I grant that Lady Caroline\ndid help us to get on and over the\nground and up to more dangerous\nstupidities: our talk is more lurid, I\nadmit it. But is there nothing \"twixt\nthe lurid and skittish, and the dull and\npuuipous ?\nOut of fifty things I like in Lord\nByron one is that he is so devilish\nBritish. Hare he goes off to Italy and\nsparkles Britishly amidst a volcano of\nVenetian or Pisan sparks.\nHe guarantees for Britain that ours\ncan and shall be British sparks ; never\nis his fire at all like the Russian Bal-\nlet, for example.\nHis sparks are mostly all smiling and\nmerry ones —if devilish, then devilish\nhappy. They don't burn or scorch,\nthey illuminate.\nAnd not every Britisher of genius\neven of comic genius—did that.\nSterne, Swift, Sheridan, <0 all are ra-\nther saturnine and poke their fun at\nyou with the tongs.\nIf Byron's days were troubled with\nmany too many griefs than they need\nhave been, out of 365 days he gave\n265 of them this brightness, this erect\nhappiness.\n1 suppose it is just that which\nexasperated the watery ones. Well,\nwell, they would, and they will, always\nfind their own level.\n\nTHE FALSE RED NOSE.\n\nTHREE PLAYS William Archer.\nConstable. Price / 0[- net.\nTHE Preface which Mr. Bernard\nShaw has written to this book Is\nwithout any jocularity, is charged with\ngreat tenderness (and there is a touch of\nfun too), and is, if one can speak so\nhappily of anything so sad, delightful.\nArcher wore an unsympathetic mask\nand 44 the air of a stoic\" ; but Mr. Shaw\nawakens all our sympathies for him.\nThe mask slips off by Shaw's express\nwish, and it is a beautiful thing in\nmany ways that we see, and I am left\nwondering. What on earth, I won-\nder, made Archer,... but all is explained\nby Mr. Shaw who, besides winning\nall our affection (rather too late) for\nthis dear old Archer, who certainly\ndid shoot at frogs, wins a large si ice of\nit for himself.\nWhat are they all doing, one muses.\nWhat are they at masquerading in Lon-\ndon like this ? One did not suspect mas-\nquerade : one thought it all real. One\nsaid to oneself, ....the red nose, that's\nreal: first finger flat against side of nose,\n....that too is a real gesture : state of calm\nbordering on deathliness, or exuberant\nkick-a'bouts,—both are real, surely :\nalmost everything one had held was\nreal in this solemn pageant: and now\nShaw shows us it was all put on by\nsheer force of character.\n44 Howl Howl Howl \"—how does\nit go: go how it may, what is it all\nabout, this masquerading in broad\ndaylight,—doing it all in such an un-\ngainly fashion—no expense about it—-\nbless us, ...no, bless them, bless them\nfor muddlers ;—God sent, perhaps, God\npossessed, but lunatic muddlers assu-\nredly.\nFor if you feel—if you be really\nhuman —if you have hearts, you have\nthings worthy to be seen. Brains, lo-\ngic, and quiet control of even the best\nof red noses supplied hy the wig-\nmaker cannot avail —they lead nowhere\nexcept towards the climax of an awful\npractical joke.\nHere lies poor Archer dead, and\nonly now does anyone tell him to\nlake off his stupid mask of a stoic.\n44 No wonder he seemed a monster\nof insensibility to those who did not\nknow him very intimately \".\nBut why did he wear that thing of\nNovember sth ? ...why did any of\nhis friends let him wear it ? Why\ndid they join him in the deadly mas-\nquerading ?\nI think these plays of Archer are\njolly good. What was friend B, and\nfriends C and D, doing that they de-\nnied it while he was living ? Why\ndidn't they produce them, shame Ar-\ncher, and turn him from the accursed\npath of dramatic criticism into the\ngayer one of dramatic writer ? No.\nProvidence had nothing to do with it,\nnor his friends either; something else\nit is which makes these humans in\nEngland pretend to be dour stoics,\nred-nosed socialists and all the other\nsilly and quite badly-done masquera-\ndings.\nThese plays I shall read and re-read\nso as to see the real Archer, and also\nwhen ever I wish to be reminded of\nthe crass silliness of the kind of jest\nwhich England believes is so useful,\nand which is of all things the most\nuseless—and the most harmful.\nWas Walkley Walkley? 1 ask myself,\nwas he a great fool, writing not so\nill, vain to a degree, convinced that\nthe theatre without him could not go\nstraight, elaborate in his thoughts, fussy\nyet calm, pompous, utterly vile as a\nguide about theatrical things —was he\nall this or a plain excellent natural good\nfellow ?\nYes, he was a plain excellent natural\ngood fellow, and damme, he too put on a\nred nose ; he too was frightened with\nsomething and disguised rather than be\nhimself. He played the role of dra-\nmatic critic in the ghastly manner we\nall know so well; and all for what\nreason ? Explain, at length if you like,\nbut by every law of humanity explain;\nout with it and then let it stop.\nFor these people, so charming, and\nso able in some hidden way, are so\n\n(i) Sheridan's humor, or rather wit,\nwas always saturnine, and sometimes sa-\nvage. He never laughed (at least that I\nsaw—and I watched him) but George\nColman did Byron in a letter to\nGeorge Colman."}, {"page_pdf": 55, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.55", "texte": "hideously poisonous to simple public\nopinion when they turn dramatic\ncritic.\nNow I begin to think of St. John\nErvine, of A.gate ; these two who are\nquite impossible, writing nonsensically\nwith the air of pontiffs, these are possibly\nborn playwrights of an eccentric kind\nperhaps—perhaps of a noble kind ;\nlike Archer, perhaps really born to do\nmelodramas well after some practice—\nand prevented by the fatuous notion\nof the readers of Sunday papers that\nDramatic Criticism is of any worth\nat all.\nBut anyhow this is a lovely thing\nby Shaw.\n\nTHE COMEDY OF THE CRO-\nCODILE with introduction by Latriebel.\nOxford University Press. No Price\ngiven,\nA NEW WAY TO PAY OLD\nDEBTS. Massinger. Clarendon Press,\nOxford. Price 6/- net\nTHE SOURCES OF 8 HAMLET'.\nSir Israel Gollancz. Oxford University\nPress. Price 7/6 net,\nTHE WOOD DEMON. Anton\nTchekhov. Chatto & Windus. Price\n5/- net.\n88 Comedies are writ to be spoken,\nnot read; remember the life of these\nthings consists in action 99.\nfohn Marston in his\nPreface to *' The Fawne 1 1604-6.\nWHY do we keep on denying the\ntruth ? We know perfectly well\nwhat the Theatre is for. We have\nbeen told quite clearly and at least\nfifty times; every ten years someone\ntells us just what John Marston the\nDramatist said in 1604,\nWhy do so many people pop up\neager to deny the truth ? And in\nIsles too. Why there ?\nThere are several reasons.\nOne is that men who write plays\nare not in their right place. Each serious\nplaywriter should belong to some com-\npany of comedians and learn his busi-\nness : but then * companies * rarely\nexist nowadays : for a company to\nexist a playhouse is needed. So that\nsome excuse is to be found for play-\nwriters being out of their right place,\nfor the place is no longer in the right\nhands or put to its right use.\nIt is not therefore fair to judge\nthese pieces—-these 88 plays\nThis 88 Comedy of the Crocodile \"\nseems made for acting, and here is a\nbook about it, and all of it mighty\ndull to my thinking.\n8 Hamlet *, too, seems all right to\nplay ; but here we have ye merry olde\n88 Historic of Hamlet \", and, though\nSir Israel is a graceful essayist, again\nI am bored. I mean politeness: I\nmean drat all this talk about plays,\nlet's have the plays performed. But\n1 know what you mean,-—the expense !\nAh ! What an asset.\n•te\nIncidentally the book is a catastro-\nphe in the way of binding.\n88 The King's Classics \" which it\ncopies, and copies blatantly, was a fine\nlittle piece of book work. The bor-\nder of the title-page of this book is\nalmost a facsimile of the title-page\nused in the King's Classics series.\nI don't think that's playing the\ngame.\nAgain, lacking Edmund Kean's as-\nsistance, I am not at all thrilled by\nMassinger's 88 New Way \" : I am bored\nby it.\n88 The Wood Demon\" is by Tchehov,\nand the names of the people in it\ndestroy me. 88 Look here \", as Tchehov\nwas won't to say. 88 Alexander Vladi-\nmirovich Serebryakov \", 88 Marie Vas~\nsilievna Voynitsky 88 Leonid Stepa-\nnovich Zhelloukhin I'm not ma-\nking these up; there they are, and\none is supposed to be able to read\na play with these names to fuddle one.\nRather give me Ham ; and Oph : any\nday.\nBut Tchehov is for acting; I have\nseen the piece played in its stage form\nof 88 Uncle Vanya \", which Prince\nUrusov held was a 88 spoilt \" 88 Wood\nDemon Spoil if you like—smash,\ndo what you will, but let's have the\nplays on the stage ; let them be jud-\nged from the loges, stalls, dress circle,\ngallery, and pit, and from nowhere\nelse; judged solely by the public in which\nthe critic is a very small man indeed\nand should be sat on. I'm a critic:\nsit on me; but only do that after\nyou've restored the Drama and Thea-\ntre for yourselves, It's yours.\nAnd as for this growing epidemic\nwhich is seizing on everyone who can\nwrite at all, to write a play and publish it,\nI've had enough of it, for it's already\nexceeded all reasonable proportions.\nDoctor it, but don't let us any more\nask a sane nation of playgoers to sit\nand judge a non-result.\nUntil played, no one can say if the\nplay is good or bad. Give each play\nits fair chance ; do not subject it to\nthis preposterous ordeal.\nAnd do not delay another twenty-\nfive years: it costs far too much to\ndelay as you do.\nTo whom am I speaking ? To the\nplaygoers.—Who else matters?\n\nTHE COMPLETE LIMERICK\nBOOK by Lang ford Reed. Jarrolds.\nPrice 7/6 net.\nTHIS is a second and more com-\nplete edition of the complete book\nwhich appeared in 1924 by the au-\nthor of a number of highly successful\nscreen plays and other amusing works.\nI had heard much of this book\nfrom the London papers and I sup-\nposed it would be a jolly little pocket\nvolume one could take out with one\nwhen going to tea or to one of the\nmore literary theatres or in a train;\nand it turns out to be the size of a\nsmall portmanteau. But it is full of\nfun instead of ties so no one will\nmind.\nMy favourite in this book is that\nby Mr. Arthur Stanley illustrated by\nH. M. B.\nThere was a faith-healer of Deal\nWho said, \" Although pain isn't real,\nIf I sit on a pin\nAnd it punctures my skin,\nI dislike what I fancy I feel\".\nAnother by George du Maurier who,\nwe must remind our readers of 1927,\nwas the father of Sir George du Mau-\nrier, is of a 48 different order \" and\npretty good,\ntl II existe un'Espinsteie a Tours\nUn peu vite ; et qui porte toujours\nUn ulsteur petiu-de-phoque,\nUn chapeau bilicoque\nEt des nicrebocquers en velours 5\nAn able Introduction gives weight\nto the book.\nWe are told that Tom Moore is\nthe father of the Limerick. We also\nlearn that writing these kind of jingles\nis a favourite pastime with some par-\nsons and bishops, and that Mr. Ber-\nnard Shaw doesn't and Sir Arthur\nPinero couldn't. That they should be,\nas Mr. Shaw says, 88 left for oral tra-\ndition \" is, like much that Mr. Shaw\nsays, correct. This book certainly"}, {"page_pdf": 56, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.56", "texte": "seems to prove it. For this reason\nthe size of the volume is all wrong.\nA little affair on thin paper would\nhave been quite enough, price 2/6 net.\nI would draw Mr. Reed's attention\nto a series of Limericks by M. B. on\n\" The Characters of Shakespeare \"\nwhich appeared in \" The Mask \" in\n1924 for he has evidently never seen\nthem.\n\nLA R. ACCADEMIA DEGLI IM-\nMOBILI ED IL SUO TEATRO\n\"LA PERGOLA \" (1649-1925)\nby Ugo Morini. Pisa. Privately prin-\nted. Price not given.\nTHERE is no index in this, the first\nattempt to prepare a definitive\nCronistoria of the celebrated Teatro\ndeila Pergola of Firenze. It is printed\non a very inferior class of paper: it\nis, for such a theatre, insufficiently il-\nlustrated : there are some serious omis-\nsions, and the book was printed in\nPisa instead of in Firenze, ... perhaps\nbecause the author lives in Pisa which\nis, after all, sufficient reason.\nAs a rule Italian cities great and\nsmall do better than this for their\nTheatres. I have the books on the\nTheatres of Pistoia, Milano, Napoli,\nBologna and some more; so I am\nable to judge from these what is the\nItalian standard for such a book.\nI see that in every case an Index\nis required, excellent paper used, and\nthe book printed in the city of which\nit treats ; and in most case~, when the\ncity has archives, illustrations of the\nmost documentary kind are supplied.\nThis book on the Florentine theatre\nis not comparable with that on the\nTheatre of Pistoia, a neighbouring city\nand very much smaller.\nThe Florentine book has more il-\nlustrations but these are not selected\nwith sufficient care and some are ill\nprinted or the blocks carelessly made.\no r»e omission is a plan of the buil-\nding. We give one herein Plate 12.\nThis plan seems to have escaped the\nnotice of every one in Italy.\nThere is another omission on page\n194; \" The famous lady Virginia de\nBlast's \" is referred to as having sung at\nthe Pergola in April 1838, but not a\nword is said of her having died the\nsame year—in May or June, I forget\nwhich for the moment—nor is it recal-\nled that on June 15 th there was\nperformed in this same Teatro deila\nPergola a cantata written especially to\ncelebrate her by Andrea Nencini.\nPresumably the manuscript of this\ncantata and the plan of the building\nhave been lost or .they would have\nbeen noted amongst the cimeli which\nare \" preserved and guarded with jealous\ncare in the Archives of the Accademia\ndegli Immobili the Academy which\nhas owned this theatre since it was built\n(1652-1657) by Ferdinando Tacca.\nThis has to be said for the\nauthcr, that he has done his work\nvery well; but I fancy that the con-\nditions under which he laboured were\nnot all that could be desired.\nIn his Preface, addressing Signor\nConte Bali Albert deila Gherardesca\npresident of the Academy of the Im-\nmobili, he gracefully hopes 44 that my\nmodest work tnay attain the end\nwhich you had in view when you or-\ndered its publication This then is\na done-to-order work. Looked at as\nsuch it does not say very much for\nthose who ordered it. The ship has\nbeen spoiled for a ha*porth of tar;\n—but I for one am very grateful to\nthe author for the effort he has made\nto supply us with the best possible\nbook under the circumstances.\n\nELOCUTION FOR TEACHERS\nAND STUDENTS by Rose /.\nPatry. George Allen and Unwin\nLtd. Price 46.\nTHERE are some who beg the elo-\ncutionist to recite and others who\nfind the elocutionist an impossible per-\nson because, 44 If you ask her to re-\ncite she gets up and does so ! \"\nAnd after all it is so much easier\nnot to. Elocutionists generally seem to\nbe intense enthusiasts who think that\nwhatever they can't do they can at any\nrate speak, and so they pour a measure\nof boundless zeal into the study of\nhow to turn their speech into an art,\nthus inverting Browning's process of\n44 Using nature that's an art to\nothers\nStill Irving's recitation of The Dream\nof Eugene Aram showed that there\nare great things to be done in this\nline. Producing the effect it did, there\nmust have been something which was\nanalysable even as JJhere is something\nwhich the critic of painting and of\nmusic may analyse. Experts who\nwrite handbooks on the art of the\nreciter may reasonably be looked to\nfor some intelligent appreciation of the\nmasterpieces of the art. But that is\nnot what Miss Rose I. Patry gives us\nin this, her second book on Elo-\ncution.\nShe has all the familiar enthusiasm\nof the reciter. One of her conclusions,\non the art of Public Speaking, is that,\n44 A real enthusiasm for the subject\nchosen, and a bright and interesting\nmanner, will go far in securing the at-\ntention of those present In reciting\nthis same enthusiasm of the performer\ntoo frequently smothers the design of\nthe \" piece Nothing is expressed\nexcept the personal emotion of the\nreciter which is quite another thing\nfrom the expression of the 44 ecstacy\nremembered in calm \" of the poet.\nMiss Patry opens her book with a\nchapter in the examination-paper form\nof question and answer. This has the\nmerit of being direct. The questions\nare all very well but the answers gi-\nven cannot be awarded full marks by\nthe examiner. 44 What is Rhythm ? \"\nMiss Patry asks, and answers (with\nacknowledgements to somebody's dic-\ntionary), 44 Measured motion ; division\nof time into short portions by a regu-\nlar succession of motions, impulses,\nsounds, producing an agreable effect\nThis won't do, for a rhythm may be\nas long as an aeon, it may be irregu-\nlar and produce a very disagreable\neffect. No question is asked about\nMetre (which may properly be de-\nscribed as measured motion) but a few\nexamples of English measures are given\nwith the classical Greek terminology\nwhich is now better discarded. It is\na puzzle to know why certain other\nthings are included in the book. For\ninstance, three pages of definitions of\nthe Figures of Speech are extracted\nfrom an ordinary Grammar book and\ngiven here without any comment on\nthem from the elocutionary standpoint.\nSeven pages of 44 Difficult Words and\ntheir Meanings \" are thrown in without\nany remark on their pronounciation\nwhich might justify their inclusion in a\nhandbook devoted to speech.\nExercises consisting of consonant and\nvowel combinations by the page make\nup the greater part of two chapters.\nThese are recommended for stamme-\nrers and other defectives. Any ordi-\nnarily able person would be capable\nof combining the sounds in as many\nvarieties as need be without the help\nof Miss Patry's columns of SHEESH-\nSHASH - SHAHSH - SHAWSH -\nSHOHSH-SHOOSH.\nSome of the exercises include the\ninstruction to draw strokes which form\na couple of mountains, a hat with a\nfeather, a stalk with a cherry, an en-\nvelope with a seal, triangles, figures,\nand letters, simultaneously with the\npronunciation of certain sounds : it looks\na little like a parlour-game, but Miss\nPatry assures us in her Introduction\nthat all the exercises 44 which are the\nresult of many years' experience in\nteaching, have been of real practical\n»»\nuse ."}, {"page_pdf": 57, "page_imprimee": "129", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.57", "texte": "COSTUME AND FASHION, Vo-\nlume 2. Senlac to Bosworth. / 066-\n1485. By Herbert Norris. Illustra-\nfed. /. M Den/ (S* Sons Price 31 /6 nef.\nI have not had the advantage of\nseeing the first volume of this very\nuseful and most entertaining work on\nCostume, but in a Foreword the au-\nthor tells me that it had a 44 gratifying\nreception...... particularly in America \".\nI am sorry England lost this little\ntussle. We should begin to see to it that\nall comments about gratifying reception\nend up with 44 particularly in England \".\nI think that when completed it will\nbe one of our most complete studies\nof Historical Costume, and we have\nnot very many in our language.\nUntil now the French and Germans\nhave done this preparatory Theatre\nwork exhaustively. Viollet-le-Duc and\nRacinet, Hottenrcdt and others run\ntheir books into five or six volumes\napiece,—and I always regret that the\niirst had not covered as much ground\nas did Racinet, who starts with the\nyear one and goes on till he reaches\nhis own day.\nFrom Racinet Mr. Norris takes no-\nthing ; but from Vioilet-le-Duc he\ntakes a good deal, as indeed every-\none must who deals with the Costume\nbetween 1066 and 1400.\nDr. Fischel s studies always in-\nterest me, and Fairholt and Blanche\nare ever useful; but Mr. Norris knows\nof many more sources than ever I shall,\nand into these he has dipped and\ntaken something to add to his own\nknowledge which must be staggering.\nHe has prepared his book with\ngreat care and a with diligence extraor-\ndinary. before each chapter is placed\na list of contemporary historical events,\na sensible thing to do, omitted as a\nrule from too many books on special\nsubjects. So that on seeing the pic-\nture of 44 a Norman noble \" (page 4)\nand wondering how on earth anyone\nin poor old England in 1066 could\nafford such luxuries as he is trapped\nout in, one turns to the list of events\nand is reminded that since these fo-\nreigners the Normans were rich enough\nto buy the country, they were rich\nenough to have their stuffs and jewels\nand the rest sent over from France.\nI had forgotten that England passed\nout of the hands of the English in 1066\nand Mr. Norris has reminded me.\nAs a Theatre book it is a valuable\nmine of information for Professional\nas well as Amateur performers, for\nMr. Norris gives us hundreds of cuts for\ncloaks, gowns, cottes, sleeves, hose, (a\nvery useful cut this one), pelicons, mantels,\nfoot gear, and in short for everything\nwe need when producing a Historical\nplay. Crowns are not forgotten, nor\nany lordly ornaments and we even\nhave patterns of stuffs handed to us.\nHe explains everything—each term,\nas well as the use of each piece of\neach dress ; and his drawings help us\nto understand what can't be explained.\nSometimes in his diagrams he lets a\ncertain something escape which I miss :\nfor example, in his 44 circular mantle \"\nFig. 294. This he has of course co-\npied from Viollet-le-Duc, but he has\nmade it podgy whereas Vioilet-le-Duc\nmade it elegant spite of the fulness.\nIt is all doubtless very historically\naccurate, and now and again, as on\npage 358 where he shows us 44 the \"\nline 44 desired by all fashionable men\nin Henry Vl's reign \" he is accurate\nto important ends.\nIn some rare instances I have found\nsome of those queer contradictions the\nfortunate reviewer loves to spot, and\nI cannot conceive how it is that the\ncrown of Henry VI should be one\nthing on page 383 and quite another\non page 455, unless he had one crown\nfor workdays and another for Sundays.\nThere are 24 full page colour plates\nand 682 black and white diagrams\nand sketches, and these drawings are\nmuch more carefully drawn than those\nwe find in Blanche or Fairholt, and\nare essentially done with a view to\nhelping us who make costumes, not so\nthat the artist can show off his skill as\na pen draughtsman.\n\nTHE LIFE OF JENNY LIND by\nMrs Raymond Maude O. B. E. Cas-\nsell & Co. Price 10/6 net.\nLIFE'S FITFUL FEVER by Mar-\ngaret Wynne Nevinson /. P., L. L. A.\nA & C. Black Ltd. Price 15/- net.\nI glanced at the index of the first\nbook to see if Mr Bernard Shaw\nhad somehow been dragged into the\nbook ; not a word. But then there is\nnothing touching the Dolly Sisters or\nMr. Charles Chaplin. And this too is\nextraordinary. But there I found Mr.\nChorley.\nMr. Chorley wrote musical and dra-\nmatic criticisms long ago when Jenny\nLind wss floating through life's fitful\nfever as only a performer (if she's good)\ncan float through it.\nA performer who is a woman has\nso many advantages over the other\nwomen. The excitement of the life\ncarries her through the fever—unless\nshe sits down and mopes about the\nexcitement like old Mrs. Macready did.\nMr. Chorley, a bit of an old wo-\nman, (the James Agate of that day)\ndid his best to stagger through the\nfever by writing for the 44 Athenaeum \".\nThe story of Jenny Lind is here\nset down for us by her daughter,\nand of course a daughter is quite the\nvery last person who should be permitted\nto write a life of a famous mother,\nThe best person to write is is an or-\ndinary accountant. Someone used to\nsums. Figures, dates and facts should\nsupply the whole material: from this\nthe accountant can tot up the sum.\nIt's absurd to try and blacken or\nwhitewash a character; it is prepos-\nterous to suppose any such attempt\nwill have the desired effect. It's as\nabsurd to try and do justice to an ar-\ntist, to tell people how he painted or\nwrote; and as for dreaming of at-\ntempting to pass on to us the way he\nsang, acted or played on the fiddle,\nis it not ridiculous ?\nThe daughter of Jenny Lind Gold-\nschmidt does not do that and so we\nare still to allowed to try and imagine\nhow she sang. She was a Swedish\nlady and was trained at the School of\nthe Theatre Royal: she was rather rude\nonce to the beloved Hans Andersen;\nand she was an astounding success.\nMrs. N evinson has not been an\nastounding success, but she has probably\nbeen more and achieved more.\nHer book is that of a woman who\nhas worked for others, especially other\nwomen, for whom she thought it worth\nwhile sacrificing all personal success.\nSeriously and with a fine sense of hu-\nmour she writes this story of her life\nwithout any trills. It is full of fun\nand there are few bouquets.\nHad she been born in Sweden and\ngifted with Jenny Lind's voice what a\nbook she could have written and\nwouldn't have written.\n\nRIVISTA MUSICALE ITALIA-\nNA; Anno XXXIV. Fasdcolo I. Fra-\ntelli Bocca. Torino. 30 lire a copy.\nTHIS has ever been one of the very\nbest Reviews published in Europe.\nThe present issue contains the se-\ncond chapter of an interesting series of\n44 Lettres de Must dens ecrites en fran-\ncats da XV aa XX siecle some by\nAuber, Herold, Ha!£vy and Adolphe\nAdam being in the number; 44 Un\ncodice piemontese di teorici musicali\ndel Medioevo\": two or three other\nuseful articles, and the usual excellent\nbook reviews.\nThe price is about 6/9 of our En-\nglish money, for which we get 168\npages of serious writing on most en-\ntertaining or instructive themes."}, {"page_pdf": 58, "page_imprimee": "130", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.58", "texte": "EDITORIAL NOTES.\n\nFER TILIZERS.\n\" The music-hall, the circus, Ame-\nrican negro orchestras, all fertilize an\nartist to a degree equal to that of\nlife Jean Cocteau.\nTHE cross between American negro\norchestra and an artist—what sort\nof brat is that?\nThe Circus we know was fertile\nthe Romans developed a real Circus.\nThe Music-Flail has attracted some\nof our European artists; Sickert, Lau-\ntrec and a dozen others who have\nloved its artifice.\nBut we must not misapply M. Coc-\nteau's offhand remark, nor over esti-\nmate it. A man of sense, we expect\nhe meant by the term Artists, not the\npainter or the poet, but the music-ball\nartiste, the circus * artiste * and the\nnegro artiste. If so he did well to\nre-state the obvious. The less obvious\nnotion, ie that the circus, music-hall\nand Jazz fertilize musicians, painters,\npoets, architects, sculptors and the\npractitioners in other branches of the\nfine arts \"to a degree equal to that\nof life \" is not acceptable.\nThese things intoxicate like wine\nrather than fertilize, and, very good\nas wine is, it is not yet'equal to life\nitself. Cut off all wine and you still\nhave life. What would life be with-\nout wine ? One must try that for\na month or six to discover. Till then\nhow can one tell ? We are afraid that\nafter all we have to admit that it is\nonly Life itself which fertilizes the artist.\nThat the circus, music-hall and ne-\ngro orchestras have all affected many\nof the younger artists of today to a\nstaggering degree is not to be gainsaid.\nBut then all odd sort of drinks do\nthat especially the mixed ones.\n\nWANTED. A BOOK ON THE\nTHEATRES OF LONDON.\nWHILE Mr. Beresford Chancellor\nis devoting his time to giving\nus remarkable books on London, unrol-\nling for us the whole big panorama, can-\nnot someone else help him with a small\npart of the work ? We want a book\ndealing with all the Theatres of Lon-\ndon (as buildings) since the earliest times.\nWe want all the plans, views, exte-\nrior and interior ; sectional architectural\nplans; views which have been made of\nruins; facades;—we want it all and all\nin two volumes.\nThere was a book issued some years\nago called \" Old Time Aldwych\nwritten by Mr Charles Gordon. There\nis no date to it ; Mr. Fisher Unwin\npublished it.\nIt is just such a book (but this time\ndevoted to London's Theatres from their\nearliest days) that we need, for none\nexists. Some sixty to seventy well chosen\nillustrations made the book we refer to a\ndelight: it was printed on paper which\nwas real paper and not a woolly rab-\nbit skin shaved close; and the fact\nthat it was full of theatrical informa-\ntion makes me wonder whether its\nauthor cannot be persuaded to do this\nbook for us. It would have to be\nsolely topographical and architectural,\nand no talk of what was acted in the\nbuildings, or who acted, or it would\nrun into ten volumes. We suppose\nthat two volumes would cover the\nwhole subject, and, provided we were\ngiven some hundred illustrations in\neach volume, we should be content.\nSuch a work should have a steady\nsale in every European state and in\nAmerica, for the problem of theatre\nbuilding is once more occupying the\nminds of hundreds of men.\nOr turn from \" Old Time Ald-\nwych \" t > \" The London Pleasure\nGardens of the 18th century \" by\nWarwick Wroth assisted by Arthur\nE. Wroth and published by Macmil-\nlan in 1896 : it is another such book\nas the \" Old Aldwych \" volume, only\nrather more detailed and is the kind\nof book needed on Theatres. If Pleasure\ngardens deserve such a book, surely\nour British Theatres deserve no less.\n\nPRETENDERS AND THE\nREAL THING.\nJ. S.\nIF you have attended the Royal\nWelsh National Eisteddfod you\nknow that Drama is not one of its\nweaknesses. That weakness is now to\ncome upon it this August.\nNo Greek play will be performed.\nLet us reassure anyone who believes\nthat the sole thing to do when brea-\nking the ice at a Royal. Eisteddfod\nis a Greek play. Nor will anything\nWelsh be attempted. Ibsen's play \" The\nPretenders \" will be given, with pro-\nbably a German setting and acted by\nRussians.\nWe say probably, because already\na Russian has been invited to produce\nthe piece. It's colossal, this un-British\nway of behaving. Whether the old\nscenes and costumes of 1913 will be\nused is not certain.\nIn 1913 \"The Pretenders\" was\nproduced by Laurence Irving with\ndesigns by Sime. Lord Howard de\nWalden was somehow connected with\nthat production as he is with the\nshow to be given in Wales this autumn.\nThe Pavilion being built will hold,\nit is said, 12,000 people—if 12,000\ncan be found to fill it. Yet surely\nfor the reasons above stated it must be\na safe speculation.\nDrama is not something to have a\nweakness for. Lord Howard de Wal-\nden has a weakness for it. It is some-\nthing to have a very strong passion\nfor, or it is best that you leave it alone.\nIt's only fiddle-faddling to play with\nit as some people now and again play\nwith race horses, yachts and charity.\nAll these things are really best left\nalone unless one can bring a good big\nbit of force into (British work\ntoo—not Russian) and so help them\non to something worth while.\nThe fiddling dilettante \" supporter \"\nwho bears the whole expense of a\nproduction is so often a nuisance be-\ncause he more often than not runs to\n£ 200 if its a Scotch enterprise, may\nbe to £ 2000 if in England, but\nseems not to possess the force to do\nmore. He leaves it to ordinary hard\nworkers like Lord Rothermere who\nassuredly does things properly. Did he\nnot run \" Polly '* in a big way ? Anyhow\nhe buys paintings properly—and generally\nis known to support the arts like a\nconnoisseur. He has wise advisers and\n•>\nlistens to them.\nA short time ago we heard a good\ndeal in The Express, London, of the\nscheme initiated by, we believe, Lord\nBeaverbrook through which he was\ngoing to support the younger artists.\nWhether he did anything is not\nknown to us, but all England learned\nthat Lord Rothermere had bought the\npainting by Mrs Dod Proctor exhibi-\nted at the Royal Academy.\nOne would have expected Lord\nBeaverbrook or Lord Howard de Wal-\nden to have done this, and 10, Lord\nRothermere slips easily past them and,\nwhile the others are talking, he brings\nit off. That's not fiddling—its a little\nstroke of genius.\nBut he's always doing it, and we\nshall always admire that kind of spirit."}, {"page_pdf": 59, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.59", "texte": "GEORGE COLMAN AND\nO HIS BROAD GRINS. G\nIN 1871 (it was the Victorian Age) the\nBroad Grins of George Colman the\nyounger were issued (or re-issued) by\nMessrs. ;Chatto & Windus with a Memoir\nof this younger Colman by G. B. B. who-\never that may be.\nThe 44 Grins4' are a collection of\nlate 18th century and early 19th century\nrubbish ; buthnterspersed among them are\na number of facts which are valuable to\nthe historian of the English Stage.\nAlthough the younger Colman was\nthe author of the well-known opera\n44 Inkle and Yarico of 44 The Heir at\nLaw \" and of the melodrama 44 The Iron\nChest 99, the latter played by Edmund\nKean and presumably found to be a va-\nluable asset to his repertory, it would\nseem that he and they have now been\npractically forgotten.\nI have not read either nor seen ei-\nther performed, and I dare say you have\nseldom heard of them ; yet the author\nwas 44 acknowledged as the foremost\ndramatic writer of the age \". So there\nmust have been something in his work\nfor it to be found remarkable.\nDr. Allardyce Nicoll calls him 14 a\ncapable dramatist \" and reminds us that\n44 The Iron Chest \" was one of the\n\" outstanding successes of the 18th cen-\ntury \".\nMankind never wearies of telling us\nthat an outstanding success is what\nshould be striven for, and so again\nthere must be something in this 44 Iron\nChest \".\nColman won a reputation as a pun-\nster rather than a wit and should Jyou\nread 44 Broad Grins \" yon will probably\nfind most of it very dull : nearly all of\nit seems unconscionably dull to me, but\nthere is one gem,—a really good piece\nof brilliant paste.\nWe would hardly reprint it but that\nit has a strong moral tendency, and doubt-\nless it was this which urged Messrs\nChatto & Windus to publish the whole\nbook.\nIt is entitled:\nUNFORTUNATE MISS BAILEY\nI.\nA captain bold in Halifax, that dwelt in country quarters,\nSeduced a maid who hanged herself one morning in her garters :\nHis wicked conscience smited him ; he lost his stomach daily ;\nHe took to drinking ratafia, and thought upon Miss Bailey.\nOh, Miss Bailey ! unfortunate Miss Bailey !\n11.\nOne night betimes he went to rest, for he had caught a fever.\nSays he, il lam a handsome man, but I'm a gay deceiver\".\nHis candle just at twelve o'clock began to burn quite paleley ;\nA ghost stepped up to his bedside, and said. 44 Behold Miss Bailey I\nOh. Miss Bailey ! unfottunate Miss Bailey I\n111.\n44 Avaunt, Miss Bailey / \" then he cried. 44 Your face looks white and mealy I \"\n\" Dear Captain Smith the ghost replied, 44you've used me ungenteelly \".\nThe crowner's quest goes hard with me because Pve acted frailly,\nAnd Parson Biggs wont bury me, though lam dead Miss Bailey \".\nOh, Miss Bailey / unfortunate Miss Bailey I\nIV.\n44 Dear corpse says he, 44 since you and I accounts must once for all close,\nPve got a one-pound note in my regimental small-clothes ;\n44 Twill bribe the sexton for your grave \". The ghost then vanished gaily,\nCrying, 44Bless you, wicked Captain Smith / remember poor Miss Bailey \".\nOh, Miss Bailey I unfortunate Miss Bailey 1\n\nCHI S A . . . .\nM. Balieff told a newspaper corres-\npondant that when the music for the Toy\nSoldier fun began he now was obliged to\nstop his ears as it sent him crazy, $0 often\nhad he heard it.\nBALIEFF voices the unuttered cry of\nthe popular singer of all ages,—Poor\nMalibran—poor Yvette Guilbert.\nYou have to go round from city to\ncity, whether you want to or no. To\nstop would be fatal, perhaps—lo sa.\nThe good Malibran arrives in Mi-\nlano, with her husband M. de Beriot in\nattendance, or comes to London—has to\nsing 44 La Sonnambula gets, it is true,\nsome £ 250 for singing it one evening\n44 payable on the morning of the perfor-\nmance \". But she was most conscien-\ncious- always avoiding when possible dis-\nappointing her audience,—and travelling\naround from city to city singing 44 La\nSonnambula 99 or another of her roles,\narriving tired, beginning to wear a look\nof determination as she sits 011 her boxes\nin the Hotel porch—for the old habit of\nfussing over details best left to her suite\n(and it consists generally of M. de Be-\nriot) still rules in her.\nWhy does she go on?-for money?\npresumably. What she does not do is\nto sing new songs, undertake new roles,\n—why should she ? Yet she hates the\nold ones that she has to repeat and\nrepeat.\nEven as M. Balieff puts cotton wool\nin his ears when the terribly popular\n44 soldier \" tune begins, so would Mali-\nbran-so would every singer who is an\nartist.\nThen tell me why the more popular\nones go on and on and on singing their\nsame old repertoire. Is it the fault of\nM. de Beriot?—the helpful impresario?\nRare is it to find a singer who as\nshe tires does not become careless. Ma-\ndame Yvette Guilbert is particularly care-\nful—and she must often feel tired of\nthe same songs.\nIt is not a question whether a song\nbe good, for one can tire of the very\nbest—if one goes over it too often.... it\ncan become laboured.—too excellent for\nso slight a thing.\nWhat puzzles me is the inability of\nthe singer to escape.\nI would not have her 44 wreck her\ncareer \" as the silly phrase has it, but 1\nwould have her always essaying new\npaths and thus careering.\n44 That would wreck her career19\nreplies her impresario—and so there's\nan end of it.\nBut what a comment on the artist\nif it be true.\nWhether true or false I will hot\ndiscuss—an impresario is supposed to\nknow. But still what a comment on the\nartist, coming, as it does, from the one\nperson supposed to know.\nWhy it would wreck her career is\nnot quite evident either; if it mean any-\nthing it means that the artist could not\nperfect a new programme every six\nmonths—though it also means that her\npublic will only come to hear the old\nsongs.\nChi sa?... evidently Monsieur l'im-\npresario.\n\nLAST WORDS.\n\nADELPHI OR WHITEHALL COURT\n\"THE MODESTY OF G. B. S. 99\nMR. Bernard Shaw really is inimi-\ntable when being interviewed -in\nhis genuine journalistic mood ; no one\ndoes it better and so no one keeps more\nmodern: he is the freshest of them\nall.\n44 The Modesty of G. B. S. \" was the\nhead line ; 44 Who cares where I live \"\nthe sub-head line in the Daily Mail.\nAnd he began; \"I would advise\nyou to forget about me. I do not be-\nlieve that one 50th per cent of the peo-\nple in this country are sufficiently inte-\nrested in me to care where I stay or\nwhether I leave Adelphi or not\nWhat is one 50th per cent of the\nEnglish people ? The whole population\nof England (and we are not counting\nWales) is given by Whitaker's almanack\nfor 1927 as 35, 678, 530 for the English\ncounties. One 50th per cent of them tots\nup to some odd 7135 persons.\n44 I do not believe that 7135 persons of"}, {"page_pdf": 60, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192707-01.1.60", "texte": "England are sufficiently interested in\nme to care where I stay or whether I\nleave Adelphi or not \" is a splendid\nflourish for seventy-one and Mr. Shaw\npretends to be past seventy.\nThen he adds a little pathos to show\nthat he can put on that as well as all\nelse:—No, I have got to the stage\nwhen I don't care where I go. I do not\nmind going to Whitehall Court at all \".\n44 Do not mind \" is delightful—be-\ncause in reality G. B. S. is simply lon-\nging to go to Whitehall Court or any-\nwhere out of the old Adelphi Terrace.\nHe knows how refreshing it is to\nmake a change, but he knows that his\npublic expects him to be pathetic—so he\nsighs, shrugs his shoulders sadly —gazes\nacross the Thames -and says 44 I do not\ncare.,.. I do not mind\nThere is no one who can say these\nthings like G. B. S.\nQf course he does not mind—he is\none of the most courageous figures in\nthe world even if one of the worst of\ndramatists.\nHis is a spirit of great strength\nand frail he is not in body.... and in\nmind more agile than any one in Lon-\ndon today.\nA little bit of a teaze perhaps, for\nto go to live next door to St. John Er-\nvine in order to show a young man how\nmuch livelier an old one is, is rather\ndastardly.\nBut then he goes into that neigh-\nbourhood so as to have a rare old gos-\nsip, to spread the good word, the latest\nnews,—tor Shaw has that fault, and\nbadly.\nWhat a little one after all, '...1 mean\nconsidering how much harm it can do.\nYes, he is quite chummy with the shades\nof Caroline Lamb and Miss Milbanke.\nBut he thinks clearly; 44 What non-\nsense \" he says when the polite inter-\nviewer suggests that Adelphi and Shaw\nare synonymous, meaning that Adelphi\nand the Brothers Adam are synonymous,\nand that even the names Garrick and\nthe Savage Club cannot be linked with the\nname of the Adelphi. Garrick we link with\nDrury Lane, nothing less; and Shaw's\nname will be linked with that of the\nEuropean Dramatists of the first part of\nthe 20th century.\n\nAT THE OPERA: MAY 1927.\nO. m. G\nI can hear them what is it makes\nthem seem to doubt it ? My neigh-\nbours too,—all of us can hear them. Yet\nthey are barking on and on like dogs,\n....and they first-class operatic singers :\nand it is understood that they are paid to\ndo this.\nThey are singing 44 Pagliacci \" and\n41 Cavalleria Rusticana\nI remember hearing •• II Matrimonio\nSegreto \" in Venice at the Teatro Fe-\nnice. They buzzed a little as small\nbees do, but there was none of that\ndoggish noise which offends me tonight,\n—why do they keep it up ? why don't\nthey sing, or, failing that, speak quietly ;\nor strike and refuse to sing music which\nsounds like noise.\n\nEPIROTES AT PLAY.\nTHE FREAKISH FUN OF\nSOME LONDON CRITICS.\nWE halted at the khan of Episkopiy\nclose to a little stream full of ca-\npital water cresses which I began to ga-\nther and eat with some bread and cheese,\nan act which provoked the Epirote by-\nstanders of the village to ecstatic laughter\nand curiosity. Every portion I put into\nmy mouth, delighted them as a most\ncharming exhibition of foreign whim ;\nand the more juvenile spectators instantly\ncommenced bringing me all sorts of\nfunny objects, with an earnest 7-equest\nthat 1 would amuse them by feeding there-\nupon forthwith. One brought a thistle,\na second a collection of sticks and wood(\na third some grass; a fourth presented\nme with a fat grasshopper the zvhole\nscene was acted amid shouts of laughter,\nin which I joined as loudly as any. We\nparted amazingly good friends, and the\nwits of Episkopi will long remember the\nFrank who fed on weeds out of the\nwater.\n(u Journals of a Landscape Painter\nin Albania \" by Edward Lear. 1851.\nLondon.\nry*HE London Dramatic Critics of 1927\nJL must be some of the Epirotes from\nthat village. Even a most extraordi-\nnary happening, if foreign to their pro-\nvince strikes them as odd. They gulfaw\nat once.\nAnd when we read their reviews of\nThe Mask or of other modern Theatri-\ncals in the Daily and Weekly papers,\nwe too do as Edward Lear did with\nthe Epirotes, we join in as .loudly\nas any.\nIt has taken some of them years to\nbring themselves to review this journal\nof ours, acknowledged now as the best\ntheatrical journal in the world, and which\nhas been sent regularly to them.\nThe same courtesy (of a complimen-\ntary copy) has not as a rule been extended\nto us.\nAnd now fhe 44 Saturday Review \"\nhas done it at last.\nThe young man who was entrusted\nwith the job does not seem from what\nwe can gather to be at all fond of\nwork, for he supposes that we in Flo-\nrence are of the dolce far niente order :\nthat we 101 l and yawn and do as little\nwork as possible.\nHis kind words simply breathe envy\nfor our ability to 44 bask by Arno \" as he\nputs it.\nHe calls us 44 Florentine exquisites\nof the sniffing cult\nWe are not so sure that on first\nreading his review we quite liked that.\nFor a moment we feared it was unkindly\nmeant—that it even meant mischief: it\nsmelt to us like the words of a paid as-\nsassin who knows he is about to miss\nhis blow.\nBut in a moment the nasty suspicion\nhad fled and we saw that it was just\nfreakish boyish fun,—-an Epirote's sense\nof humour....\nYes, he too is like those raggamuf-\nfins who made old Edward Lear laugh\nwhen he was young. Had Lear been\nolder perhaps the fun would not have\nstruck him so immediately.\nThis Saturday writer doesn't ap-\nprove of us in Italy—and he is almost\nwhat can be called 44 down on \" Mr.\nCraig, for wasfing his time 1 1 ! Mr. Craig\nwho, as every one who knows him\nknows, is a pretty hard worker, is taken\nto task by the man who is Saturday and\nwho says he would like to transport him\n44 forcibly \" to England and set him to\nproduce plays in i( an ill-equipped hall\nnext door to a kinema in a manufactory\ntown .with an underpaid, overworked\ncompany and not a penny to spend\non new equipment of building or of\nbody \".\nThat certainly is young, and that is\nno fault: but the gentleman might read\na bit more, and study a little harder.\nDoubtless he potters around so as to\npickup 4 4 information \" but that's not\nstudying.\nIt would be better if he were te read\n44 The Mask\" carefully. But even then\nhe might not discover that before he was\nten years old Mr. Craig was producing\nin ili-equipt halls, in tumble-down thea-\ntres, without a penny of capital. Un-\nderpaid he was not—for he was not paid\nat all; nor overworked, for no one has\nyet heard him complain of too much\nwork.\nThe 44 Saturday \" writer in short\nhas been misinformed and has not trou-\nbled to inform himself. London is packed\nfull of these not-quite-well informed in-\nformers.\nBut after all no more so than Pa-\nris ; a lot of idlers or semi-idlers play\nthe informers. Mr. and Mrs Gossip are\na legion.\nA short while ago the information\nwas that the easy-going idler Gordon\nCraig receives £ 500 income regularly\nfrom some family source. That it is ut-\nterly untrue does not matter to the in-\nformers. The weary journalist is but\none of the listeners who are gulled. What\nsurer sign that journalists are tired out:\nand really sick of what was for long\nconsidered a distinguished branch of li-\nterature ?\nThe information about Craig's regu-\nlar supplies came from a certain gang\nof women and was spread around until\nno less a person than the sage of the\nAdelphi snapped it up and passed the\nnews along. Informing is such a de-\nlight There are so many sages living\nin the Adelphi so there we lose the trail.\nBut who'd have thought it of one of\nthem.\n\nA WORD OF THANKS.\nJ. S.\nTHE Plate showing a production of\n\"Romeo and Juliet\" in Bombay is\nreproduced by courteous permission of\nthe Shakespeare Association and the\nOxford University Press.\n\nAll Rights reserved. July 1927.\nDirettore responsabile Antonio Maraini\nTipografia Giuntina, Firenze."}]}