{"numero_id": "bm-bmtnaau-1928-01-01", "volume": "bmtnaau_1928-01_01", "ocr_sha256": "576bd2a0fd590631f698e5a8f959d91cc1262b686d8b14f82de5ebf133d695de", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1928/01_01/bmtnaau_1928-01_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1928/01_01/bmtnaau_1928-01_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01", "articles": [{"article_id": "bm-bmtnaau-1928-01-01-c002", "article_bluemountain": "bmtnaau_1928-01_01#c002", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 1", "page_fin": "couv. 1", "image_debut": 1, "image_fin": 1, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.2", "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=bmtnaau192801-01.1.1", "debut_caractere": 310, "fin_caractere_exclue": 1046, "texte": "SHAKESPEARE, OUR DUMMY, THE\nSTRATFORD - UPON - AVON MEMO-\nRIAL THEATRE FARCEO AMERICAN\nALMS FOR OUR NATIONAL POET, AND\nOTHER MATTERS RELATIVE TO SHAKE-\nSPEARE by John Balance, John Semar and Others.\nRECOLLECTIONS OF HENRIK IBSEN BY\nP. A. Rosenberg,Translated by Georg Brochur.\nMBOMBET AND EDWARD LEAR,\n, with entertaining details of Lord Byron\nand of Edward Lear's wanderings in Calabria,\nby Gixoon Craig.\nA TERRIBLE TRACT AND THE PRE-\nSENT-DAY EFFECTS OF A BRICK\nTHROWN AT WILLIAM BLAKE WHILE\nHAPPILY TRILLING HIS EARLY VERSES,\nby Di ury Pervil.\nTHEATRE AND MUSIC IN BADEN-\nBADEN by Paul McPharlin. ij\nSCENOGRAPHIC WILL'O THE WISPS\nwhose Scenic Designs we seek in vain to see,\nby J. S.\nARTISTS, IDEALISTS AND STEELE\nMACKAYE by C. G. S."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c003", "article_bluemountain": "bmtnaau_1928-01_01#c003", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 1", "page_fin": "couv. 1", "image_debut": 1, "image_fin": 1, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.3", "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": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.1", "debut_caractere": 1048, "fin_caractere_exclue": 1347, "texte": "ILLUSTRATIONS\nA VIEW OF THE ROYAL CIRCUS, LONDON AS REBUILT BY CABANELL\nJR.: SCENES AND PORTRAITS ILLUSTRATING THE THEATRICAL\nAND MUSICAL LIFE OF BADEN-BADEN IN THE NINETEENTH CENTURY.\nA VIEW OF THE THEATRE DU LUXEMBOURG. PARIS AND TWO DESIGNS\nFOR SCENES FOR OPERA ENGRAVED BY ARNOLD VAN WESTERHOUT."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c004", "article_bluemountain": "bmtnaau_1928-01_01#c004", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.4", "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=bmtnaau192801-01.1.2", "debut_caractere": 534, "fin_caractere_exclue": 1215, "texte": "LITERARY CONTENTS.\nFOREWORD J- S\nWILLIAM SHAKESPEARE, OUR DUMMY, . . John Balance . •9-\nTHE SHAKESPEARE MEMORIAL THEATRE FUND\nFARCE J* S * 4\nMY MEMOIRS OF HENRIK IBSEN .... P. A. Rosenberg. IHI\nTranslated by Georg Brochur . I . .7\nPIRANESI AND A DELUSION . Allen Carric 10\nA TERRIBLE TRACT Drury Pervil 11\nTHE SEARCH FOR LOVE Q. E. D '4\nTHEATRE AND MUSIC AT BADEN-BADEN, with\nBiographical Notes Paul McPharlin 15\nSC.ENOGRAPHIC WILL'O THE WISPS J. S 21\nARTISTS, IDEALISTS AND STEELE MACKAYE . C. G. S. . . ; . . .22\nM. BOMBET AND EDWARD LEAR .... Gordon Craig ..... 24\nA LETTER FROM DENMARK ! Lbbe de Neergaard . . . .33\nCORRESPONDENCE. FOREIGN NOTES. BOOK REVIEWS. EDITORIAL NOTES."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c005", "article_bluemountain": "bmtnaau_1928-01_01#c005", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.5", "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=bmtnaau192801-01.1.2", "debut_caractere": 1217, "fin_caractere_exclue": 1776, "texte": "ILLUSTRATIONS.\nTHE ROYAL CIRCUS, LONDON, RENAMED THE\nSURREY THEATRE . Anon- • • • Pla,e '» Face !\nCONVERSATIONSHAUS, BADEN-BADEN: TEMPO- > „ llf s 2, \" '\nRARY CONCERT HALL, BADEN-BADEN .\nMLLE. DELPHINE FIX ...•••• \" • 9 3> Precede 17\nTHREE CARICATURES • ) n ...» 4, » 17\nPORTRAIT OF JOSEPH STRASS. . ... ) ' ' ■\nTFJEATRE DU LUXEMBOURG, PARIS . . . Anon. . . . * 5, \"17\nDESIGN FOR A SCENE FOR AN OPERA . . . Arnold Van Westherhout \" 6, Face 40\nANOTHER DESIGN FOR A SCENE FOR AN OPERA \" ■ •\" \" 7, Precede 41\n\\ •\nHead and Tail Pieces from old and modern Designs."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c006", "article_bluemountain": "bmtnaau_1928-01_01#c006", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 3, "image_fin": 3, "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=bmtnaau192801-01.2.6", "titre_corps": "THE ROYAL CIRCUS, LONDON", "titre_sommaire": "THE ROYAL CIRCUS, LONDON", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.3", "debut_caractere": 0, "fin_caractere_exclue": 193, "texte": "THE ROYAL CIRCUS, LONDON, AS REBUILT BY GAB AN ELL JUNR IN 1806 AND RENAMED THE SURREY THEATRE.\nDestroyed by Fire. January 30th 1865. Rebuilt and opened December 26th of the same year.\nPlate 1."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c007", "article_bluemountain": "bmtnaau_1928-01_01#c007", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1", "page_fin": "1", "image_debut": 5, "image_fin": 5, "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=bmtnaau192801-01.2.7", "titre_corps": "FOREWORD", "titre_sommaire": "FOREWORD", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.5", "debut_caractere": 20, "fin_caractere_exclue": 973, "texte": "FOREWORD\nJ. S.\nTHIS year a hundred years ago Ibsen was born.\nThis year a hundred and ten years ago Shake-\nspeare was Bowdlerized.\nThe two dramatists are quite without any in-\nfluence at all in England. The British Stage likes milder\nand neater notions than those of Shakespeare and Ibsen.\nAttempts are still being made, and with quite a little\nsuccess, to render Shakespeare lit for the English Stage.\nIt was in 1818 that Dr. Bowdler was called in to\nperform an illegal operation on the body of Shakespeare.\nDr. Bowdler successfully rendered Shakespeare a eunuch.\nSo Shakespeare is tamed at last, and even actors can\nnow be seen in his company.\nEvery effort is therefore being made to interpret the\nwreck as tamely as possible. And, to help the good work\non, £ 250,000 is being spent on building this eunuch a\ntheatre from which it is still hoped that every taint of the\ntheatrical will have been eliminated before it is opened.\nCongratulate yourselves."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c008", "article_bluemountain": "bmtnaau_1928-01_01#c008", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "2", "page_fin": "4", "image_debut": 6, "image_fin": 8, "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=bmtnaau192801-01.2.8", "titre_corps": "WILLIAM SHAKESPEARE, OUR DUMMY", "titre_sommaire": "WILLIAM SHAKESPEARE, OUR DUMMY", "signature_source": "JOHN BALANCE", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 6, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 3043, "texte": "WILLIAM SHAKESPEARE, OUR DUMMY\nBY JOHN BALANCE.\nRUIN\n\"QHAKESPEARE spells ruin \" is an old\nO cry: it was first heard issuing from\nthe mouth of some English theatre manager\nwho meant that a Shakespeare play pro-\nduced in a Theatre of his would not pay\nand so he, for one, would be ruined.\nBut it has meant other things since.\nIt has been said that Shakespeare's\nplays are a danger to the Empire: spell\nruin to that. H m m ....\nRecently an attempt has been made\nto fan into a flame the last sparks of af-\nfection and pride for Shakespeare which\nsome of us believe cannot quite be ex-\ntinguished in the minds and hearts of English\nmen. But the result has been remar-\nkedly unsuccessful. In attempting to raise\nsome money, with which to re-build his\nTheatre at Stratford-upon-Avon, the col-\nlectors have been forced to go to America\nand ask for funds, admitting to America\nthat the English could not manage to raise\n£250,000 for their Shakespeare. In this\nway Shakespeare certainly is coming to\nspell ruin: for everyone naturally supposes\nthat, if our country can afford to raise\nimmense sums for valueless purposes, it\ncan at least afford a quarter of a million\nonce in a century to pay for its Shake-\nspeare.\nNow the whole world knows that\nthis is not so, yet it would surely have been\nworth three millions to stop the doubt\nfrom becoming a conviction.\nThere must be something to be said\non behalf of the idea that Shakespeare\nis not needed, and it is this.\nThe Shakespeare our forefathers swore\nby, has vanished: he has either decamped\nor has been spirited away, and in place\nof him is a Dummy.\nExactly when the original Shakespeare\ndisappeared is uncertain; how lost, no\nman can exactly say: it would seem that\nhe was lost by a general concensus of\npublic opinion. Anyhow this is not the\nman—tis the Dummy.\nThe Dummy is a most loveable crea-\nture— quite the sweetest little toy ever\noffered to a Baby Public.\nIt's not like the ugly Shakespeare at\nall: its a pretty daisy-eyed thing devised\nafter years of labour.\nFor years and years the work has gone\non and on: meetings have been held, produc-\ntions have been made, publications have been\nissued all to prove that Shakespeare, the real\nShakespeare, was not well, quite nice,\nbut that a very nice, tidy, sweet little Dum-\nmy was to be made to replace him ; now this\nlabour of love has reached its final deve-\nlopment and the Doll is ready. Shakespeare\nis gone, and this dummy called Shake-\nspeare is in his place accepted by all.\nUpon this very great work of the\ntribe of Bowdler the world now meditates.\nThe world stands with head uncovered\nin front of the Doll and silently wonders\nwhat it ought to say—and then it turns\nto its spokesmen with \" you say it for\nme ' and they begin.\nThe spokesmen, in a state of sheer\nfunk, are preparing to say what is expected\nof them, when it begins to rain and so\nthat's all right, and everyone goes home\nand the trying situation is over.\nTHERE have been men who have said\nwhat the real Shakespeare is, and others\nwho have tried their best to do so; amongst"}, {"page_pdf": 7, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 3364, "texte": "these have been some poets, (some of these\nare still living to-day) some actors, some\nscholars, and some statesmen.\nBut, except for these, everyone has\ntalked rubbish, being as 1 have said petri-\nfied by fear lest they should offend the\nworld and its top-hat, and pretty bonnet.\nAnd these four works, ('J which I\nam reviewing are but four out of four\nthousand of those publications which have\nhad to miss the whole point about Shake-\nspeare ; it was (they considered) their duty,\nit was (they considered) good manners,\nnot to question the genuineness of the Dummy\nof whom they were dreaming and whose\nadvent they foretold.\nThese four thousand writers then concoct\nextremely interesting or rather dull books\nupon this coming Dummy, and I really do\nnot think that four thousand Jesuits of\nthe 18th. Century could have done it better.\nAnd then the thing arrived and is\nbeing feted.\nProfessor Boas in his little work is\nvery readable ; it is an enjoyable book\nand he is one of our great scholars and\nis with-all a magician, for he takes this\nDummy Shakespeare, seats it on his knee,\nand, by the aid of some ventriloquism,\nmakes it seem that the Dummy is alive.\nAfter some patter the Conjurer says\nto the Dummy, \" Now then, Willy, sing\none of your nicest little songs to the\nladies and gentlemen\". \" But I don't\nknow any songs\" \"Oh yes, you do,\nWilly, you're a clever boy you know.\nYou can make up songs and (to the\naudience) that everyone knows. So\nnow sing one of your best—that one out\nof the \" Merchant of Venice\n\"Oh, that!\" cries Willy, and be-\ngins something on these lines:\nOh Mr. Dooly I love you truly\nYou're the finest politician ever grew\nSo diplomatic, so democratic\nOh Mr. Dooley-ooley-ooleyoo.\nGreat applause breaks out.\n\" Is'nt he wonderful\" says Molly.\n\" I'm so glad I came \". But she doesn't\nexpress any sorrow that Shakespeare s\ngone.... for she doesn't know.\nExcept for this unfortunate fact, this\nbook on the Dummy is the very best one\nto give to Molly.\nMolly will not read it, but her brother\nJim will; he'll know, leave Jim alone to\nknow.\nHe will later on write a book on\nShakespeare, and lecture on him, and\nproduce a play or two, and no one will\ncontradict him. But none of it will pay,\nall will be so much ruin.\nMiss Albright's book, which was\nfinished before Sir E. K. Chambers' more\nfamous book appeared, is very good. As\nMr. Greg points out in a rather unsym-\npathetic review of this book in the\n\" Review of English Studies \" (a review\nsimply devoted to the cult of the Dummy)\n\" Miss Albright has had very bad luck\",\nbecause she and Sir Edmund were going\nit hammer and tongs on the said Dummy\nat the same time, attacking the same rag\npatch and all unbeknown to each other.\nSir Edmund's scholarship is known\nall the world over. No Shakespearean\nscholar is more respected: his four volumes\nwere a revelation.\nIt stirred the group standing around\nthe Dummy as no other book has done\nfor a hundred years.\nIndeed if Sir Edmund chose to turn\n\n(1) Dramatic publications in England 1580-1640,\nby Evelyn May Albright 21/- net. Oxford University\nPress.\n\"Introduction to the reading of Shakespeare\" by\nF. S. Boas 2/6 net. Oxford University Press.\n\" A series of Papers on Shakespeare and the\nTheatre\" by Members of the Shakespeare Association,\n16/- net. Oxford University Press.\n\" The Review of English Studies \" Sedgwick &\nJackson 6/- net January 1928."}, {"page_pdf": 8, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.8", "debut_caractere": 0, "fin_caractere_exclue": 2526, "texte": "his scholarship to Adevoyle, he would illu-\nmine the darkness there, or if he elected\nto write upon a grain of mustard seed,\nhe could write five volumes on it. And\n1 believe Miss Albright could beat him\nat it; Mr. Greg calls her \" vague in\nthod\"naive\" in her reading, and\n\" pursued by a demon of inaccuracy \".\n1 cannot; if I did the straw would\nbe out of the Dummy, and that must be\nprevented at all costs.\nBesides I won't: what should all these\nbooks on Dummy Shakespeare be but\ninaccurate? \" Her insight\" says Mr. Greg,\n\" seems unreliable \"but then so is eve-\nryone's insight or they would all say\n\" It's a Doll \".\nBut, Mr. Greg is fair and admits\nthat \" Miss Albright has collected a\nquantity of interesting material some of\nwhich may be new even to the expert \".\nAnd doubtless in her very rich book\nthere is much about the man who dis-\nappeared—this Shakespeare who once\nplaced us all in such an awkward situation.\nThere are some curiously sugges-\ntive chapters in this book by the Ame-\nrican lady, one of them being entitled\n\" Subjects Considered Dangerous \". She\nherself does not whisper \" Dummy \" but\nthe chapter should be read.\nNot that after reading anyone will\nbe any the nearer discovering where the\nreal Shakespeare has been put; not if you\ncan read all four books, will you discover\nthat, nor even guess the spot.\nAnd now for that most praiseworthy\nvolume entitled \" Shakespeare and the\nTheatre \". It is by nine different authors,\nnot one of the nine gives you a single\nclue as to his whereabouts.\nIndeed it surprises me, and you must be\nsurprised too, to observe how it becomes\npossible to write so adequately on nothing.\nFor all this which remains to us is nothing.\nYou point to the plays.... but you know\nquite well that they are like the dreams of\nPharaoh and Nebuchadnezzar, which all\nthe wise men failed to interpret. It was\nmore than their place was worth to\ninterpret the truth.\nSo is it with us and our Shakespeare.\nAH that he dreamed and told next\nday has been misinterpreted systematically\nby the timid minds of the past centuries.\nAll that was rough has been cooled\ndown: all the exaggerations made reasonable\nand the truth smoothed out: all that was\nfiery has been explained away.\nWhat remains is something soft and\nflabby, righteously smug-looking, and eve-\nryone agrees that this is the very thing\nto usher into the new Stratford-upon-\nAvon Theatre which Miss Scott has\ndesigned so excellently: everyone will be\nhappy and will be the Dummy's guide,\nin his most need\nto go by his side—\nyou bet yer !"}]}, {"article_id": "bm-bmtnaau-1928-01-01-c010", "article_bluemountain": "bmtnaau_1928-01_01#c010", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "4", "page_fin": "6", "image_debut": 8, "image_fin": 10, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.9", "titre_corps": "THE SHAKESPEARE MEMORIAL THEATRE FUND FARCE", "titre_sommaire": "THE SHAKESPEARE MEMORIAL THEATRE FUND FARCE", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 8, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.8", "debut_caractere": 2528, "fin_caractere_exclue": 2965, "texte": "THE SHAKESPEARE\nMEMORIAL THEATRE\nFUND FARCE.\n\nA farce it is—to see America fooling\nEngland, but a tragic farce to watch\nEngland being fooled.\nWe are English, and so we are na-\nturally as much against this game as are\nmillions of English men and women.\nIn Stratford live Americans—and it\nwas these kindly people who first called\non America to send money over to help\nus rebuild the Shakespeare Theatre.\nIt was doubtless well meant. But in"}, {"page_pdf": 9, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 3327, "texte": "Stratford there also live English men and\nwomen. Yet left to them, Stratford might,\ntruly, never have had a theatre at all.\nEven if left to all England the result\nmight have been the same.\nWhat to do, then?\nObviously the one thing the good\nStratford Americans did,—that is, to get\nmore money from America, and a consi-\nderable number of Englishmen, seeing so\neasy away open, eagerly seconded the plea.\nMr. Bernard Shaw is right when he says\nthat this begging on behalf of the Stratford\nTheatre from the United States is shameful.\nFor the English are rich—rich enough\nto find £ 100,000 or five times that sum\nfor such a purpose as this.\nThe \" Daily Mail\" in a leader of July\n6th 1927 had the following passage:—\n\" The mere idea of being at the\nmercy of an American trust with regard\nto such an important thing as beef is\ndecidedly alarming\nTo very active people Beef and\nShakespeare are more or less identical.\nThe Americans who come over here are\nenchanting people.... they just love Europe\nwith an unselfish love which wants to help.\nHear them upon English beef:\n\"Oh, say, I think your meat is.the sweetest\nmeat I ever saw it's classic meat. Your\nmeat pies, say, they're bully, they are:\nI'd just love to have a finger in all your\npies\nof your best \". Now that's all real,\ngood, honest heartiness— Is it not?\nHear the same good man two days\nlater in Italy. \" Gosh, that maccaroni\nof yours is something grand. I reckon\nit's the grandest dish I know. I'd like\nto buy the whole of Tuscany and grow\nit for love of the Italian people: why, in\nthe early Italian morning when I wake\nup and hear the little birds twittering\nfirst one little bird, then another little bird\nit makes me realize what a sweet\npeople Italians are and I long to help\nthem to help them realize themselves\nI long to shout to them, Say, you\nsweet people, do you figure out what\nmiles of sweetness your little Tuscany\nholds? there's more money in a square\nyard of Tuscan sweetness than you Italians\nknow how to get out of all it's hundreds\nof square miles. And then I grow real\nsad to see what a waste is going on\nfor I see how I could make it all pay \".\nNow we have no doubt of the Ameri-\ncan kindness. As in the war, when money\nwas lavishly poured out sometimes when\na few pounds had been sufficient, we\ncould see that the notion was kindliness\n—concealed no ulterior motive: and it is\nkindliness, and pride of having a finger in\nthe pie, which now impels our good\nfriends over there to help.\nBui for all this the English are being\nfooled—fooled and don't know it.\nWho wouldn't pay a million dollars\nfor the fun of seeing rich people made ri-\ndiculous? All we object to—and object\nstrongly —is that these rich people being\nfooled are the English.\nit's not their fault; for who has ever\nshown them the worth money-worth, pa-\ntriot-worth, war-worth and peace-worth,\n—of the real Shakespeare? The Shakespeare\nof Heaven and Hell, not the milk and\nwater one.\nDuring the war he was left unemployed.\nNo word was spoken from the steps\nof the Throne, the steps of St Paul's or\nthe benches of the House of Commons\nto call the country to attend for a moment\nto the power of Shakespeare.\nIn scholarly, in literary and in jour-\nnalistic circles alone was Shakespeare re-\nmembered with a sigh.\nAnd this was all in the natural order\nof things, since for three hundreed years"}, {"page_pdf": 10, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.10", "debut_caractere": 0, "fin_caractere_exclue": 3537, "texte": "he has not been noticed, his immense Drama\nnot provided with a home.\nNo National Theatre was wanted, they\nsaid, for the greatest National Dramatist\nthat ever wrote. And that is why, when\nfire destroyed the little Stratford Theatre,\n*/ '\nEnglishmen were caught napping : none of\nthem knew who Shakespeare was.\nEven now they don't know.\nBut behind all this, tragically comic\nas it is, is something even more comic;\nand that is the ignorant if not malicious\nmisinterpretation cf the Poet and his work.\nThere is, of course, a little talk of\nthat fellow Shakespeare behind the scenes\nat Court, in Church, in State, and else-\nwhere where authority lurks.\nThe talk is that he is rather unreadable\nand it's a hit risky, they whisper, to\nacknowledge the fellow, for, after all, he\nwas not quite a gentleman. It is gentlemen\nwho do all this whispering behind the arras.\nShakespeare wrote some awful things,\nfive or six rlays—if printable, absolutely\nunactable: and that's what's behind the three\nhundred years denial of Shakespeare.\nThus the people of England have\nbeen cheated out of the plays and\nShakespeare not »here to defend them.\nThe English people do not care one\nfig about Shakespeare \" wrote* John Keats.\nHad the English people a chance of\nhearing, of seeing, of getting, Shakespeare,\nwho knows that they would not care.\nBut,as \"The Mask\" has twice pointed\nout, Shakespeare is rather dangerous and\nvery theatrical, O\nWere Americans raising a big sum\nto establish a first-class Shakespeare\nTheatre in America, that would be quite\nanother thing, and would be the very\nbest incentive to spur and force England\nto make some efforts to do the same; for\nwhen Europe heard in America was\na real Shakespeare Theatre in which,\nonce a year, a number of the great plays\nwere performed better than anywhere else,\nthe shock to us would be something really -\nworth while, and would tend to disgust\nEngland with the provincialism of the\nStratford-upon-Avon affair.\nShakespeare is too big for Stratford;\nthis is the fact, the unalterable fact.\nStratford has never been quite able to ,\nlook at ease about Shakespeare; the lines\nof Othello, Lear, Macbeth and Hamlet\ndo not sound natural in that place, for\nit's not a village and not a city, and\nShakespeare requires the space and the\nvitality of a great city, before he can\never come to life again.\nMoreover, Stratford is not by any\nmeans whole-hearted for Shakespeare; it •\ndoes not follow the Americans who reside\nthere and who have been the more active *\nin trying to awaken interest in poor\nShakespeare: it rather resents these acti-\nvities. Some fifty years ago it resented\nthe activities of Mr. Charles Edward\nFlower in its midst. It wouldn't raise a\ntheatre from its own funds yet it objected\nto Mr. Flower attempting to do the thing.\nStratford is therefore too small-minded\nand too weak in purpose for this purpose,\nand it deserves to be bought up by Americans\nif it won't and can't make an effort for itself.\nStratford of course doesn't represent\nEngland: all Stratford does is to misre- -\npresent England.\nWho doubts for a moment what Mr.\nBernard Shaw means and what we mean? *\nWe mean that all England has for\nsome reason or other avoided this matter •\nfor years and is still avoiding it, by letting\nit all rest with Stratford —poor little beast.\nThat's what is so unfortunate and that -\ncannot be gainsaid.\n(1) A Letter lately received, and printed in our\nCorrespondence columns, once more draws attention to\nthis strange, and supposedly English, distrust of the 44 Thea-\ntrical Editor.\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c011", "article_bluemountain": "bmtnaau_1928-01_01#c011", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "7", "page_fin": "10", "image_debut": 11, "image_fin": 14, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.10", "titre_corps": "MY MEMOIRS OF HENRIK IBSEN", "titre_sommaire": "MY MEMOIRS OF HENRIK IBSEN", "signature_source": "GEORG BROCHUR", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 11, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 3984, "texte": "MY MEMOIRS OF HENRIK IBSEN\nBY DR. GEORG BROCHUR.\nMY first memory of Henrik Ibsen dates\nfrom the home of my childhood. My\nfather was one of the few Danish critics\nwho after the publication of Kongsemnrne\n(The Pretenders) publicly maintained (in\nDanskhaanedsskrift) that a new, great drama-\ntist had arisen in Scandinavia. Ibsen never\nforgot that. On the occasion of the first ga-\nthering of Northern Students in Christiania\nmy father called on Ibsen in his poor home\nin one of the outskirts of the town and he\nhas told me how shocked he was at finding\nsuch a man in such straits. Later on Ibsen\noften visited my father in Copenhagen, where\nwe lived on Peterborgsvej, next door to\nIbsen's brother-in-law, M. Ludvigsen, a ma-\nnufacturing engineer, and it was here I saw\nIbsen for the first time, in the beginning of\nthe seventies.\nI was, while still a schoolboy, greatly\ninterested in Ibsen's writings. My comrade\nat the Soro public school, Herman Bang\n(who became a famous author) occupied the\nroom next to mine and recited fragments from\nFru Ingertil Ostraat so vigourously that he\ndisturbed me in my studies; he repeated\nmore especially the sentence: \" Great God,\nhow fair and proud she was!\" times innu-\nmerable with different intonations (all flat).\nEmperor and Galilean I had read seven\nconsecutive times, in the end with desperate\nsobbing because I could not understand the\nmeaning of the third Kingdom.\n. One afternoon the bell rang, I opened\nthe door, and a little man in a velvet jacket\nstood on the steps; he asked if my father\nwas at home. 1 sized him up as the\nAmericans say, and made him out to\nbe a commercial traveller of which class a\ngood many used to trouble my father. I\nanswered him consequently somewhat coldly\nthat I would go and see. \" Tell him it is\nIbsen\", the man said when I had turned\nround to go up the stairs.—\" Henrik Ibsen? \",\nand I again turned round, terrified and gazed\nat him. \"The poet\" 1 faltered. \"Well,\nyes \" he answered smilingly. And that was\nhow my idol looked! A terrible disappoint-\nment!\nBut when he sat at our table and fixed\nnis wonderful eyes on me, I fully realised my\nstupidity.\nOne day Ibsen, Bjornson and Magdalene\nThoresen (Ibsen s mother-in-iawanda charming\nWriter) sat beside each other in the sofa\nof our living room. This was a sight for a\nschoolboy with keen literary interests. Mme\nThoresen was explaining her plan of a drama\nabout Christopher in Bergen.\nYou must let me have that subject for\nmyself she said. Bjornson acquiesced on\nthe condition that she left Trygoeson\nalone; he was thinking of writing a drama\nabout this King with music by Grieg. Ibsen\nsaid nothing. \" Haven't you got anything\nyou want to reserve for yourself ?\" asked\nhis mother-in-law, and Ibsen replied: \"Yes,\nMagnus Heineson \". I had never heard that\nname before and asked who he was. Ibsen\nlooked at me and 1 noticed that his one eye\nwas larger than the other. Slowly and with\nimpressiveness he replied: \" He was a great\nscoundrel \".\nOn a subsequent occasion, many years\nafter, I reminded Ibsen of this and he said\nthat the subject had interested him conside-\nrably in his \" romantic\" period. . I have\nfrom early memories a distinct impression of\nBjornson s great admiration for Ibsen; I think\nit was De Unges Porbund (The Union of\nYouth) which put an end to this friendship.\nAfter my father's death i found several\nletters from Ibsen in his drawers; one more\nespecially struck me as interesting. It was\nwritten in Dresden during the war of 1864\nand gave expression to Ibsen's feeling of\nshame and powerlessness at being compelled\nto sit still without being able to do anything.\nMy next meeting with Ibsen was at the\nfete at the Dagmar Theatre, Copenhagen in\nhonour of his seventieth birthday. Martinius\nNielsen, actor and director, had staged The\nComedy of Love and himself played the\nprincipal part in Brand, which I had adapted\nfor the stage and staged. Both plays had\ntheir premiere in Denmark on that occasion.\n\n(I) Copyright De Feoslevske Blade."}, {"page_pdf": 12, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.12", "debut_caractere": 0, "fin_caractere_exclue": 4316, "texte": "Ibsen, of course, was invited and saw Brand\nperformed for the first time in his life. He\nwas apparently much affected and several\ntimes dried his tears during the scenes in\nthe fourth act. \" Ikketicke \" ! (Don't weep)\nhe murmured to himself. After the per-\nformance, which lasted until midnight, he\nasked to be introduced to Martinius Nielsen\nand my wife, who had taken the parts both\nof Svanhild and Agnes and 1 too was sent\nfor. We spent three unforgettable hours\nwith Ibsen, Besides Professor Riis-Knudsen\nwho was the proprietor of the Dagmor Theatre,\nMme Oda Nielsen the wife of Martinius\nNielsen and a charming actress was present\nand later in the evening Sven Scholander,\nthe famous Swedish singer, put in an ap-\npearance. Ibsen was very lively and talked\nincessantly, quite an unusual thing for him.\nHe was genuinely pleased with the perfor-\nmance and 1 know that afterwards he lauded\nit spontaneously to other people. He said\nabout Martinius Nielsen's rendering of the\npart: \" It is my Brand; this is how I have\nseen him\". He was also loud in his praises\nof Agnes and he insisted in sitting between\nmy wife and Mme Oda Nielsen the whole\nevening. When he at 3 a. m. had to drive\nto Hotel d'Angleterre (the supper was in a\nroom at the Dagmar Theatre) he demanded\nthat the two ladies should go with him in\nthe carriage, \" The two husbands can do\nwithout them so long, I suppose \" he laughed.\nI wish I could remember everything he\nsaid about his writings and his methods! It\nwas in many ways exceedingly elucidating\nand interesting. Professor VaJdemar Vedel\nhad in honour of the day published a book\nabout Ibsen's influence on Danish authors and\nhe had also asked me for a contribution,\nadding that he did not mean to publish my\nletter, but only use the main impression, the\ngist of it, so that I could write without any\nreserve, which I did, in a long letter. In\nthis I said that it was Ibsen as artist 1 ad-\nmired and not at all Ibsen as philosopher. I\nhad not had time to read Vedel's book,\nbeing so taken up with the Brand production,\nbut I know that Ibsen had read it; and I\nwas candidly a little nervous at the thought\nof what Vedel had used of my letter.\nAt the table 1 sat opposite Ibsen; a vase\nwith flowers stood between us and when\nMartinius Nielsen had made his speech to\nIbsen, the latter put the vase to one side\nand looked searchingly at me and said quite\nslowly: \"People in Denmark speak about\nmy philosophy. I have no philosophy. *\nPeople sometimes call me an apostle of truth.\nI am not aware that 1 have proclaimed a\nsingle truth. Have I? \"\nMartinius said: \"Still the Doctor has\nsaid that the man is the strongest who stands\nmost alone \"\n\" Wait a bit\", Ibsen answered, \" when\nhave I said that ? \"\n\" In 'An Enemy of the People'\n\" Is it not Stockman who says that?\"\nu V 99\ni es-s\nI am not responsible for all that rot he\ndelivers himself of.\"\nNo, but through the trend of the\ndrama\", I remarked, \" one has a distinct\nidea of where the Doctor's sympathy is \".\n\" Do you think you know that \", Ibsen\nanswered. \" Perhaps you are mistaken\".\n\" Weil \", 1 answered, \" the Doctor has\nanyhow expressed your opinion, your sym-\npathy or antipathy \".\n\" Where? \" he asked sharply.\nIn the lyric poems.— s\nIbsen was for a moment a little taken\naback and then said with an inscrutable\nsmile: \"Ah, those little devils ought never\nto have been published\".\nAfter which I ventured to raise my glass\nin honour of \" the little devils \".\n\"No, you see\", said Ibsen, \"I should\"\nbe likened to a chemical scientist who mixes\ndifferent substances and waits for the result.\nMy characters often surprise me by doing\nor saying things, I never expected from them;\nyes, at times they turn my original plan upside\ndown, the Satans. A poet must listen-in to\nhis work;'it is a complete misunderstanding\nthat he can \" command the poesie \", on the\ncontrary, it is the poesie which commands\nhim\". I\nHe spoke about • his method of working\nand said that he for choice laid his plan for 4\nthe day's work when he awoke in the morn-\ning, for then he felt his imagination was its\nfreshest; on the other hand criticism was less •\nkeen in the half-dreaming hour of dawn. It\ndid not awake entirely until he sat at his\nwriting-table, and it (the criticism) often „\nturned down everything he thought he had\ninvented whilst in bed. He mentioned the"}, {"page_pdf": 13, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 4383, "texte": "small india-rubber devils with red tongues\nwhich he always had standing on his writing\ntable. \" There must be Troll in what 1\nwrite \", he said and in a tone half in jest\nand half in earnest he then spoke of the\n\" chief devil \"He only makes his ap-\npearance towards the end, when I am most\nput to it. Then I lock my door and bring\nhim out. No human eye, except mine, has\nseen him, not even my wife has seen him \".\n\" What is he like?\" I asked\nMust you know that? \" Ibsen answered.\n\"It is a bear playing a fiddle and tramping\nthe time with his foot \".\nI thought of the bear which learnt to\ndanse \" in the cauldron below wonderful\nmusic and a substantial heat This mascot\nof Ibsen's ought to be preserved if still in\nexistence,\nIbsen had a picture of Strindberg over his\nwriting table. \"He is hanging there on the\nwatch\" Ibsen said, \" for he is my arch\nenemy \". The keenest possible critic should\nbe \"on the watch\"; every scene was held\nup before this \" enemy\" whether he had\nany fault whatever to find with it. This is\ncharacteristic of the intense earnestness with\nwhich Ibsen sacrificed himself to his art.\nHe said that he perhaps would write a\nbook in which he accounted for the plan of\nhis plays. \" They are often so confoundedly\nmisunderstood \", he said.\nWe had all, a day or two before been\nat the notorious banquet at Hotel d'Angle-\nterre, in Ibsen's honour; Ibsen referred to it\nwith discretion and a wonderful irony. The\nmaladroit arrangements reached perhaps their\nclimax when Sven Scholander got up and\nsang Gubben er zammel (literally ' the old\nman ' is getting old), one of Bellman's\nfamous songs. He probably meant no harm,\nbut everything seemed to go wrong that\nevening. Scholander, who had joined the\nIbsen party at Hotel Dagmar received several\ndigs in the course of the evening. Ibsen\nalso spoke of the performance at the Royal\nState Theatre of The Wild Duck., of which\nhe, strange to say, did not approve. All\nwe others were unanimous in lauding Bloch's\nmasterly staging, Mme Hennings's exquisite\nHedvig, Emil Poulsen's Hjalmar, Olaf\nPoulsen's Old Ekdal and Mile Anthousen's\nsplendid Gins. But Ibsen declared there\nwas too much farce about the performance.\nIt shall be tragic comedy \", he said,\notherwise Hedvig's death is incomprehen-\nsible \". Mme Hennings was the only one\nhe unconditionally praised. \" She is Hed-\nvige \", he said ; \" the others do not play the\ngame \". 1 must confess that 1 until this day\nfind his verdict most peculiar.\nIn the course of our conversation we also\nspoke about Emperor and Galilean and Ibsen\nsaid in that connection : \"If you will promise\nme to play the drama in two evenings, 1\nwill at once set to work about arranging it\nfor your theatre\". If only Riis-Knudsen\nand Martinius Nielsen had clenched the\nbargain it is not impossible that the world\nwould have been the richer by Ibse&'s own\nadaptation of his most powerful work. But,\nunfortunately, they hesitated and ere long it\nwas too late.\n\" You haven't cut out much from Brand\nfor the performance '* he said. 1 rather\nhesitated for I had been compelled to cut\nout more than one third of the play.\nMay 1 have a look at the prompter's\nbook\" he said. 1 brought him the book\nwith a trembling heart. I had run my\npencil through one page after tire other.\n\" The Devil\", Ibsen murmured as he\nturned over the leaves, \" Yes, I seem to\nhave forgotten most of that matter .\nOne scene in the staging had called me\nsome trouble—the moment Agnes was com-\npelled to give Brand the lost keepsake of\nthe child, the baptismal cap, and he goes\nout to give it to the gypsy. Agnes has no\nwords to say; all the book says is, that her\nface suddenly, showed a great and radiant\njoy, and when Brand comes back she turns\nto him, exclaiming: \"I am free! \" My wife\nquite correctly thought that this would not\ndo on the stage. If she, without any ap-\nparent reason, looked so radiant, people\nwould think that she had become mad from\ngrief. My wife asked if 1 could not make\nup a remark for her, but of course I would\nnot attempt that. During a wakeful night 1\nhappened to think of the window facing the\nchurch-yard, which Brand has ordered Agnes\nto close, because she could not bear to look\nat her child's grave. I suggested to my\nwife that she should look halt shyly towards\nthe window, then approach it hesitatingly,\nput out her hand and again withdraw it and\nfinally with determination open the shutters and"}, {"page_pdf": 14, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.14", "debut_caractere": 0, "fin_caractere_exclue": 977, "texte": "look out, and then the changed expression of\nher face could hardly be misunderstood, and\nher exclamation would have something like a\nbackground. I spoke to Ibsen about it and\nhe said \"Is it not like that in the play? \"\n\" Well, when the Author himself thinks he\nhas written it\" I answered delighted, \" then\n1 know it cannot be wrong \". It shall be\ndone in the same way in Norway\" Ibsen\nsaid with some decision. I don't know\nwhether this has been done, but it was in\nany case his wish.\nWhen at three o'clock he prepared to\nleave he said: \" I must try and get home,\nfor I must sit at my writing table tomorrow\nat seven o'clock\". \" Not this morning,\nsurely?\" 1 asked. \"Yes\", he replied,\n\" come, and you will find me there at\nseven o'clock\". \"But, Doctor, you won't\nget enough sleep \", said Martinius Nielsen—\n\" Yes, I shall \", Ibsen answered with dignified\nquiet, \"for I shall sleep with all the more\nenergy. Thanks for tonight! It has been a\ngood evening \".\nAnd so we all thought."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c013", "article_bluemountain": "bmtnaau_1928-01_01#c013", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "10", "page_fin": "10", "image_debut": 14, "image_fin": 14, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.11", "titre_corps": "PIRANESI AND A DELUSION", "titre_sommaire": "PIRANESI AND A DELUSION", "signature_source": "Allen Carric", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 14, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.14", "debut_caractere": 979, "fin_caractere_exclue": 3595, "texte": "PIRANESI AND A\nDELUSION.\nAllen Carric.\nTHE work of Piranesi is often included in\nbooks dealing with .scenography, yet, so\nfar as we know, Piranesi himself never stood\non a stage in his life.\nHow is it his things are so theatrical ?\nFor the simple reason that he saw and felt too\noften like a showman;—but this in no wise\ngives him any status in the Theatre.\nThere are calligraphers whose penmanship\nis almost like print, but none of them could\nearn £ 5 a week at a printing works, for\nthey do not know the game.\nPiranesi is supposed to have exercised a\nvast influence on the scenographers of the\n18th century, whereas it is more than likely\nthat it was he who was influenced by them,\nespecially by Ferdinando Bibiena, his inferior\nas a draughtsman and his inferior as an en-\ngraver. He was influenced by Bernini too\n—and possibly by another six or seven of\nhis age.\nIn that useful book, \" The Development\nof the Theatre \", Professor Nicoll includes\nsome designs by Piranesi; —as well might\nhe have included some photographs of an-\ncient Roma or Greece or Egypt, with their\nlofty arches and sense of space and pools of\nshadow.\nIt would be quite as correct.... and more\nsensible.... to say that these three lands, and all\ntheir architects, and nature herself, influenced\nthe scenic men of the 17th and 18th centu-\nries as to assert that Piranesi did so.\nHe saw these arches, these bridges and\nthese crumbling ruins, but so did everyone\nelse. He drew them, but so did a dozen\nothers, and before he did : he felt their po-\nwer and charm, but so did most of the Ro-\nmans of his time.\nAs do most of the Londoners in our time\nwhen they witness • the immense spectacle\nwhich our city lays before them daily. That\nfive or six well-known artists from Brangwyn\nto Bone have seen a Piranesian resemblance\nbetween today's London and ancient Roma\nis not after all very extraordinary. We need\nnot gape about it: we need not fancy we\nare wise to note it. For Velasquez saw the\nsame things in Madrid, and Guardi even\nsaw them in the very small city called by us\nVenice.\nThe Egyptians were before them all, and\nthe Chinese were not behind-hand either.\nPeople will always suppose they have\nmade a discovery of some worth when they\nstumble over or into a ditch. There were\ndykes and crevasses before their ditch.\nIn art they come across the vast or the\nminute and are impressed, believing it to be\na new thing.\nWhat miraculously fine work, they say\nof some young modern, and they add \" under\nthe strong influence of Memling \" : it's true\nhe was under his influence until he saw the\nintricate fine work of China.\nBut who remembers China."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c015", "article_bluemountain": "bmtnaau_1928-01_01#c015", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "11", "page_fin": "13", "image_debut": 15, "image_fin": 17, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.12", "titre_corps": "A TERRIBLE TRACT", "titre_sommaire": "A TERRIBLE TRACT", "signature_source": "DRURY PERVIL", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 15, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 4319, "texte": "A TERRIBLE TRACT\n\n\" Improvement mak.es strait roads; but the\ncrooked roads Without Improvement, are roads\nof Genius \". Blake.\nHOW on earth can you marry Heaven to\nHell?'yet until you do so, unrest will\ntorture the world. \" Sooner murder an infant\nin its cradle than nurse unacted desires\"\nwrites Blake: Yet the separation of Heaven\nand Hell chokes our world with a million\nunacted desires. Though the world is all right\nit appears that the world is mighty sick....\nand all because the Deep sea and the Devil\nwon't make it-up.\nCertain science will cure it, Fascism will\ncure it, Religion will cure it, and Art will heal\nit. The cures proposed are innumerable, so\npresumably there may be really something\ngroggy with this remarkably pleasant and\nbeautiful world.\nI too sometimes think something is wrong\nwith it. Perhaps you would like to know\nwhat a man perfectly enchanted with every-\nthing here below finds is wrong.\nSo far as I know 1 have only howled\nout now and again about thing: not the\nworld but the disorderly mimic world, the\nTheatre.\nBlake though takes us out of the 1 heatre,\nso for the first time let us go out and see\nthat horrific thing Real life.\nIt appears to me just the same as it ap-\npeared many years ago when 1 left it and its\nviolet rayed light to go into the stuffy Theatre\nto hold a rehearsal. 1 seem to have been\nrehearsing for years inside that darkened buil-\nding with its stage and trapdoors, goblins,\nfairies and its Dramatics Persons, its heated\natmosphere and its hot and very inadequate\nyellow light. Now I come out for a breath\nof fresh air, some delicious laburnam light, and\nlam struck by the perfection of eve rything,\nthe wealth of it all, the joy in it and the\nastounding thing that it's a gift to me.\nBut you want to know what it is I find\nwrong. Only one thing ... 1 may not have\nany of it.\nI may stay half an hour at the stage door,\nTHE MARRIAGE OF HEAVEN & HELL, by\nWilliam Blake. Dent & Sons. 211- net.\nPOETRY & PROSE OF WILLIAM BLAKE.\nEdited by Geoffrey Keynes. Nonesuch Press. 12j6.\nsmoke a pipe or a cigarette or two, or breathe\nin the fresh air, and notice the movement of\nlife of the street, but in half an hour's time I\nhave to go back to work in the dark, the\nexcessive heat, and under the quite ridiculous\nconditions imposed on me by that guy called\nNecessity. I have to do this to make a\nliving ; that's a pretty word, a living: it means\ngetting £2.15.0. a week so as to be utterly\nunable to live; I get £2.15.0. just forgoing\ninto the dark and preparing theatricals on a\nfar too expensive scale.\nThat's all I find wrong with this world\nand our existence. It's not much. You will\nsay it's nothing to speak of; still after all it\nis something to think that I am to lose the\nwhole of life, just because Heaven and Hell\nwon't make it up again.\nAnd Blake terrifies me : does he terrify\nyou? You have an income of some £150,000\na year, I have no income at a!!; you, accor-\nding to Blake, are a villain, a sneaking ser-\npent robed in mild humility —how does that\nstrike you ? I on the other hand am a just\nman driven forth into barren climes and\nraging. Naturally (if just), such a man would\nrage and has a distinct right to roar.\nHow do you like these two pictures,\nyourself and me,.... \" Robes of Thespis \" ! !\nI don't like acting and I don't like actors,\nI get my £2.15.0 a week out of lime light;\nI don't like it. I shall not break down ....\nmind you, I shall not make a scene, I have\nfar too much respect for the reserve force of\nmodern acting for that; what 1 don't like is\nthe serfdom of it all, and for such a poor\nthing as make believe.\n1 know it's poor for, don't forget, 1 do get\na half hour daily at about 12-30 when I may\nstand at the stage door, and then I see the\nlovely world and know how rich it is.\nThat world is the thing which Shake-\nspeare, Blake, Shelley and Byron all write\nabout; more than that, it is the thing my\nsenses, my hellish senses, and my soul, my\nheavenly soul, respond to with such ardour\nas I stand at 12.30 right there on the brink\nof life. But, as I say, I never really live; I\nhave to work. Why? were I paid £BO a\nweek or a £IBO, it would be different, for\nI who, ever since I was thirty and possibly\nmuch earlier, wished so well of and for all\nthings that 1 soon caught the notion what life\nis for. I pronounced it was for living: I"}, {"page_pdf": 16, "page_imprimee": "12", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.16", "debut_caractere": 0, "fin_caractere_exclue": 4349, "texte": "added, a while later, and a place for letting\nlive and for generally marrying Heaven to\nHell, and to Hell with the Pope. Not that\nI feel any disrespect towards his Holiness ; I\nonly added that in desperation, and it popped\nout here and now solely because I have a\nparrot who always cries out 4' to Hell with\nthe Pope \", and there we have it. We are\nall a lot of Parrots, some catching up Bad\nwords, others echoing Good words, and all\nchained to a perch.\nThere is Mr. Baldwin for example,\nchained up to a perch, echoing the very best\nwords he is able to remember, and doing\ngood deeds and working on and on and on\nall for nothing.\nSir Austin Chamberlain, too, a nicer\nlooking bird, I do not know, but shackled,\nchained, up, rendered useless in spite of a\nstunning plumage. There is his grace the\nArchbishop of Canterbury, what sailors call,\n44 a knowing old bird\"—He and I, Chamber-\nlain, and Baldwin, all of us shrieking out or\nmuttering in dignified guttrals \"To Hell\nwith the Pope \"or \" Polly put the kettle\non \" or some other bit of blasphemy or bril-\nliance, and there we end. Even the Raven,\nwere he with us still, could only add \" no-\nthing more \".\nBut to return to Blake's notion that\nHeaven and Hell are to be re-married and\nto ask yen what you, you, wealthy \" Serpent\",\nthink of it.\nYou and 1 are good friends. I would not\ncall you a \" Serpent \": Blake does: Yes, I\nthink he means you when he talks of \"the\nsneaking serpent who walks in mild humility \".\nYes, he certainly means you and the \" suc-\ncessful \" others. Now, why he should have\nraged and roared at you is not clear ; it is\nnot quite clear to me, for you and I really\nare good friends, and it is not at all clear to\nyou. But I see one of his points.\nHe is rather hungry, and no man so op-\npressed (I hate the word for it's fudge as a\nrule) so oppressed as he, is able to feel at all\naffectionate, tolerant even, towards such as\nyou. He began as a Poet so deliciously:\nyou remember how his first songs were one\ntrill after another, and then, it was just as he\nwas trilling, that one of your friends threw a\nbrick at him. Your friend was nicely dressed\nand carried a clouded cane, and had been\nplaying \" faro \" at White's near Piccadilly,\nwas working out a problem, how he could\npossibly manage to pay Dandy Bluff the 5000\npounds he had the evening before won of him,\nand how he could, at the same time, meet the\nlittle extra expense of the new horses which\nwere coming over the water to him from\nFrance; and besides all this there was a debt\nand an upkeep, Mr. Chateriss, and the pretty\nRuby from the opera !... all this was quietly\nrumbling in his mind when trill-trill-trill,\nwent William Blake 44 Piping down the\nvalley wild \". \" Oh damn that noise \" cries\nyour friend and hurls the brick and Blake\nturns from the major to the minor. A hundred\nyears later the whole London and American\nPress comes out with posters headed\nMassacres in Moscow,\nUpheaval of Southern China,\nChildren burnt alive in Soudan\nChaos spreading thru Europe....\nTHE cry of the newspaper boy dies away\ndown the Strand, for the point has been\nmade.\n1 shall never trill to you, dear friend ; you\nhave, as I say, a comfortable stream of gold\npouring in through your estate: you don't\nknow what to do with it, and poets and other\ncattle of the kind are dying by the score\naround and about.\nBut I shall never annoy you for I am\nnot fully persuaded that I am so very just,\nI could not bring myself to pose as \" that\njust man driven into barren climes \" of whom\nBlake was thinking, and so I cannot look\nupon you and those like you as 44 serpents\nrobed in mild humility Besides, 1 am\nconvinced, you would never waste a brick\non me. I'm not worth it. But you and I,\nas two old chums, shall we say, chums by\nforce of circumstances, two chums like parrots\nchained close together, 1 a rare species, for\none reason, (my beak has six notches in it),\nyou a rare species for another reason, (your\ninscrutability is clothed in the orange and\nblue), let us talk it over.\nDo you notice, old friend, that the snow-\ndrops are coming up ? have you observed the\nthrust of yonder crocus ? all nature's roots look\nappetising today. Have you sensed this,\ncomrade? How wonderful it is to sit perched\nup here, you and I, and to know that nothing\ncan prevent the crocus and the snow-drops\nfrom coming up in due time over and over again."}, {"page_pdf": 17, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 4279, "texte": "Whether we can get at it to eat it or merely\nlook at it from afar all's one : up they'll come.\nI am a reviewer of books and a worker\nin theatres; you are a banker; my perch\ndown here, yours up there in the Strand :\nchained and happy we can freely observe na-\nture at her work.\nBut I would nudge you to look in the\ndirection where those seeds which Blake\nplanted are also coming up. Vainly would I\nattempt to draw the attention of my own coun-\ntrymen to the fact, it would be quite useless:\ntheir attention is never to be drawn to look\nat anything. But you are such a human \" ser-\npent \" that, when 1 hiss \" Bolchevism\" at\nyou, you will know at once what I mean.\nWho would have thought that the man\nwho sang \" When the voices of children\nare heard on the green \" was, all because of\na brick, going to sow the most terrible seed\nin the fair fields of England that has ever\nyet been sown.\nFor he has practically sown Bolchevism\nin there, and all because he was allowed to\nstarve, somewhat physically, entirely mentally.\nToday everyone in England calls this\nbook of his, his masterpiece. Messrs Dent &\nSons, the mildest and most respectable of good\nmen, have brought it out in colour: there\nis a run on it. It certainly is a masterpiece.\nWe all thank Messrs Dent & Sons over and\nover again, but do they know what they are\ndoing? Does the British Museum, which\nharbours this terrible tract, know what it is\nharbouring? is anyone in England aware of\nthis ultimatum, this \" Marry Hell and Heaven\nor Bust\" ?\nIf we dread Bolchevism we .... what\ndo we do ? I should hate to say. Hundreds\nof books advocating the destruction of an\nEngland, which to-day parodies the real old\nEngland, have been rejected in a proper na-\ntional spirit, by Messrs. Dent and Sons and\nall sound publishers. One and all have scorned\nsuch revolutionary rubbish. When I think of\nthis, and then turn to this book by Blake\nand see and read this, THE most revolutio-\nnary volume ever given to the world, I am\noff again, and three times I cry aloud to you\nup in the north.\nPolly put the kettle on \"\n\" Polly put the kettle on \"\n\" Polly put the kettle on\nFor in this book Blake states once more\nhis old belief that in England the Devil is\nseated on the throne of God; that rogues are\ndisguised as good men; that in our churches\nthose who are the priests are really Satan's\nemissaries, that in our banks are Satan's\ncoiners; in the Halls of Justice- rascals laying\ndown the law and robbing good men of\ntheir riches and their lives ; and in all the\nwalks of our social life rogues and vagabonds\nare shown the utmost difference and given\nplaces of high distinction.\nBut he says a great deal more than this:\nhe calls the English unnatural monsters and\nblithering idiots into the bargain; he says\nthat the eternal female groans, and that her\ngroan is heard all over the earth. And I\nam positive that there are many who will\ncall that an exaggeration.\nFancy hearing a groan all over the earth,\nwhereas the fall of a sovereign can be\nheard any distance by those who love 20/-\nin the £.\nThus bad begins but worse remains\nbehind: for the Marriage of Heaven and\nHell is but one of Blake's works ; all of them\nyou can get for 12/6 in the most perfect\nvolume I know issued by the Nonesuch Press.\nBy the way the Nonesuch Press is also\none result of the seed dropped by Blake; it\ngives as well as takes.\nThere is not a cheap touch in the whole\nvolume: distinction and commonsense have\nproduced what I think is the best ordinary\nfair and square book 1 know of. There\ncannot be a ha'porth of profit in it.\nBlake is of course a likeable creature\nspite of his occasional roarings and his rages.\nIndeed the dear fellow had something to\nrage about.\nNow in 1928 1 suppose we only grieve\ntoo sincerely for the way we treated him when\nliving, and 1 suppose we really are trying\nhard to find some way to make sure that\n\" it shall not occur again \".\nBut only if we are taking steps to do\nthat can we prevent what is the poison of\nhis despair from becoming far more attractive\nto us all than those divine young trills which\nwe silenced.\nIt is not generally known that Mr. Pervils connection\nwith the British Stage dates back to the days of Mrs Anne\nOldfield, his ancestor of that day, 1730, being property\nman of Drury Lane Theatre.\n\nDRURY PERVIL."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c016", "article_bluemountain": "bmtnaau_1928-01_01#c016", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "14", "page_fin": "14", "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=bmtnaau192801-01.2.13", "titre_corps": "THE SEARCH FOR LOVE", "titre_sommaire": "THE SEARCH FOR LOVE", "signature_source": "Q. E. D", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 18, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.18", "debut_caractere": 0, "fin_caractere_exclue": 3227, "texte": "THE SEARCH\nFOR LOVE\nQ. E. D.\no GEORGE SAND o\nTHE SEARCH FOR LOVE\no BY MARIE JENNEY HOWE. o\nA biography of the extraordinary woman\nwho thought in terms and lived by\n\" standards a century ahead of her time.\nrhe story of her struggles as a pioneer of\n\" feminist freedom, her literary triumphs, her\nrole in the lives of many famous men, is\n\" told with sympathy and insight\".\nSome of which may be true but most of\nwhich is false.\nWhat is true is that George Sand was\nan extraordinary woman—a fact no one ever\ndoubted. And true it is and pity 'tis 'tis\ntrue she struggled but not as a pioneer of\nfeminist freedom. That old tarradiddle is so\nancient now one would think it could be\nallowed to rest with the first unknown woman\nwho sprang the joke on her sex.\nWhat is untrue, and cheaply so, is that\nsub-title. \" The search for love It suggests\nthat this extraordinary woman was prone to\nstupidity, packed some big trunks and scoured\nEurope and Africa in search of the obvious,\nand all the time giving dusty and drab\nreasons to any old confidante who came along\nas to why the obvious had never occurred\nto her.\nFor this piquant sub-title \" The Search\nfor Love \" does suggest that love is a thing\nto be found in some hidden corner.\nIt recalls that old joke of the man hunting\nfor his spectacles which are all the time on\nhis forehead.\nThe title of the book strikes one as\nworthy of a cheaper age than ours. When\nI am told that thousands of young men and\nwomen today bounce up and down enjoying\njazz tunes and the Charlestown I am not\ntaken in. .For I am assured by a few young\nmen and women that they are going to kill\nthe jazz and the Charlestown and the Black\nBottom because they don't think these good\nenough for them.\nThey blaze at me they look like I\nknow not what. \"That tenth-rate stuff\"\ntuey say you think we will be put off\nwith that? \"\nI witnessed this spectacle of youth in\nrevolt only last month.\nI was never so surprised or delighted in\nmy life. I was beginning to suppose all the\nyoung men and all their sweethearts were\nguys and muffs and could really be diddled\nout of all the worth-while things including\nthe best music, songs, dances, books and\ntheatres.\nAnd now I'm wiser; I understand that\nthey are going to stop the damned thing and\ndemand the best.\nAll of them? well, all the best, and\n1 can see the others simply don't count.\n» The others will continue to \" search for\nLove , will search for happiness, will search\nfor art, will search for success and for every\"\nthing else. And they will miss it all for\ncertain just because they search.\nThey will pop from one notion to another;\nthey will pop hopefully if idiotically; for they\nsuppose that great hope, with wide open eyes\nlooking like daisies, is a prime virtue when\nhunting and they hunt to find love, happi-\nness, success and all as though it were a\npin, something easily found by really careful\nsearch, it being something which is lying\naround and to be spotted, pounced on,\nsecured.\nIf only this were so, it wouldn't be at\nall easy to secure it: everyone would grab at\nit* tbere would be one long unending;\nscrimmage.\nAs it is, the best things can always be\nfound at once and without any noise or\ntrouble to others, being in us - and not at all\noutside us."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c018", "article_bluemountain": "bmtnaau_1928-01_01#c018", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "15", "page_fin": "20", "image_debut": 19, "image_fin": 32, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.14", "titre_corps": "THEATRE AND MUSIC : BADEN-BADEN 1858 – 1859", "titre_sommaire": "THEATRE AND MUSIC : BADEN-BADEN 1858 – 1859", "signature_source": "PAUL MCPHARLIN", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 19, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 3996, "texte": "THEATRE AND MUSIC\nBADEN-BADEN 1858 - 1859\nBY PAUL MCPHARLIN\n\nAbookdealer had the kindness to send\nme a parcel with an inner wrapping of\nmany pages of an old periodical. It was\nI'lllustration de Bade. I reassembled the\ncrumpled pages and patched together the\ntorn—it took me some time—and found that\nI had the first two volumes, nothing at all\nmissing, although I feared, like the trembling\ncollator of incunabula, that every moment\nwould bring me to a fatal hiatus. For I had\nnot failed to notice that there were theatrical\nparagraphs and a few portraits of musicians\nand actresses.\nThere could not have been a great many\nof these weeklies published. The Badcblatt,\nwhich they pretended to supplement, was\nsufficient for the permanent residents. Of the\nfifty thousand yearly visitors that went to\nBaden-Baden for the wators and pleasanter\nattractions at that time, 18,000 were German,\n14,000 French, 5,000 English, 4,000 Russian\nand American, half-in-half, and the rest other\nnationalities. Did many of these preserve\nthe little illustrated paper they purchased of\nD. R. Marx, proprietor of the circulating\nlibrary and vendor of all the waltzes, galops\nand polkas played on the promenade? If\nthey did, I'm afraid they went for starting\nfires and not so bad a fate wrapping\nbooks. Have 1, then, perhaps the only file\noutside of that in the local archives of Ba-\nden-Baden?\nThe director of this publication was\nCharles Lallemand. The editor at Baden\nwas M. J. Hohmann. The printer, G. Sil-\nberman at Strasbourg. Twenty numbers ap-\npeared during the season, from May to\nOctober. They treat the fashionable diver-\nsions of the place, music, dancing, operettas\nand comedies, sight-seeing (there were a few\nantiquities, the ruined Old Castle and a\nfifteenth century parish church, as well as\nthe landscape of the surrounding Black Forest\nand the costumes of its peasants) and in the\nautumn, racing and shooting. There is pas-\nsing mention of the gaming; it was extensive,\nbut required little comment. And there is a\ndutiful analysis of the salubrious water.\nThe musicians of Austria and the Ger-\nman duchies, the actors and singers of Paris,\ngladly came to perform their pretty pieces\nbefore the appreciative fashionable audiences.\nAnd many of the operettas that were tried\nout in the Salon Louis XIV of the Conver-\nsationshaus later found their way on to the\nStages of the capitals.\nA map of the town presented to subscri-\nbers to I'lllustration shows the open square,\nplanted with alleys of trees, on the opposite\nside of the river Oos from the main cluster\nof buildings (many of them hotels) on the\nhill. To the west of this square is the\nTrinkhalle, to the south the Conversationshaus\nand promenade, and to the east, on Beutig-\nstrasse, a building with an apse marked\nTheatre. This must be the hall known as\nthe Salon Louis XIV where all the large\ngatherings took place. The rhapsodic critics\nof our paper never tire of praising its Vene-\ntian glass lustres, its caryatids and its gilt\nchairs. The stage held a setting, if the report\nbe correct, forty meters square. Yet since\nBouiller the scenographer was complimented\nfor being able to fit the plaza of the Barber\nof Seville into so small a space, it may\nhave been smaller. And, not to be forgotten,\nsouth-east of the theatre, is the Villa Benazet\nin the orangerie of which private performances\nwere given by amateurs.\n18 5 8.\nBEFORE the season had really opened in\nfull splendor, on the 23-25 May a choral\nfestival took place. All the singing societies\nof the duchy, comprising about 2,000 members,\nmet at Baden. Welcomed to town by the\nfiremen's band, the military bands of Carlsruhe\nand Rastadt, and the municipal band, the\nguests were given button-hole insignia at the\nrailroad station, and marched by societies to\nthe Conversationhaus, where a song was sung\nand they disbanded to their lodgings. At 3\nin the afternoon the singers rehearsed in the\ntemporary concert hall built behind the Stepha-\nnie baths, between the Oos and the Lichtenthal"}, {"page_pdf": 20, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.20", "debut_caractere": 0, "fin_caractere_exclue": 4458, "texte": "road. On the 24 they rehearsed again at 8\nin the morning; at 11 all the societies as-\nsembled with insignia and banners and mar-\nched through town; at I a concert was given.\nJoseph M. Strauss (1827-1870), son of\nJohann, and leader at the grand ducal chapel,\nconducted. The next day the prizes were\ndistributed. The first, a banner offered by\nthe ladies of Baden, went to the Mannheim\nLiedertafel; the second, a silver cup offered\nby the Baden Eintracht, went to the Carlsruhe\nLiederhalle; and the third, also a silver cup,\noffered by the festival committee, to the\nHeidelberg Liederkranz. After banquets,\nexcursions and a ball the tired singers left\nfor home.\nAnd now the increasing stream of visitors\npoured in. Ladies in crinolines, gentlemen\nin whiskers and tall beavers, promenaded in\nthe Trinkhalle where, from a red marble\ncolumn, jetted the thermal waters. Or they\nrested on divans amid flowers under glass\nand a permanent picture exhibition. From a\ngallery the mountains might be viewed. When\nthe weather permitted they strolled before the\nConversationshaus, listening to the band under\nthe direction of Eychler. Its musicians were\nalmost all from the Strasbourg theatre:\nRucquoy the flutist, Wuille the virtuoso on\nthe clarinette, who also performed on the\nsaxophone (he was the first to do so in\nGermany, says our paper), Arban the popular\ncornetist, Grodvoile the violinist, Oudshoorn\nthe 'cellist, and Stennebruggen and Guzman,\nhorn players.\nOn Saturday 23 June was given the first\nsubscription ball. These occurred thenceforth\nalmost every Monday, Wednesday and Friday\nin the Salon des Fleurs. Thursday 1 July\nthere was a musical evening in the Nouveaux\nSalons, of which one was the Salon Louis XIV.\nPerhaps there were communicating rooms that\nmight be used singly or in suite, one for\ndressing quarters, one for a stage, and one\nfor an auditorium. The programme was given\nby Wieniawski who made his violin laugh\nlike Venetian maskers at carnival, by Coss-\nniann the 'cellist, De Bulow the pianist,\nMile. A. Litschner the singer, and Grim-\nminger a tenor from Carlsruhe. A week\nlater the same artists again were to perform,\nbut at the desire of the princess of Prussia\nthe event was advanced to Tuesday 6 July.\nAt the end of June the Wollschlaeger\ncircus came from Carlsruhe and took up\nquarters in the temporary concert hall. In\nthe ring girls on horseback played a Tournoi\nde la Rose, charging and intermingling to\ncapture a rose that one carried on her\nshoulder. The clowns, one reads, made\narms and legs ache, just to see.\nM. Amable Mutee, the manager of pro-\nductions, on Thursday 15 July revealed in the\nSalon Louis XIV, a new two-act operetta le\nMoulin du Roi, laid at Newcastle in 1660\nand founded upon an incident in the life of\nCharles 11. The piece was by De Leuven\nand Adrien Boieldieu; the decor by Bouiller\nof Paris, who had the season before contrived\nthe mechanical wonders of les Amours du\nDiable, the only outstanding success at the\nStrasbourg theatre. Mme. Miolan-Carvalho\n(wife of the director of the Theatre Lyrique)\nplayed Sarah, a milleress, who turned out to\nbe the Duchess of Norfolk in disguise; Mme.\nMeillet played Toby, a young schoolmaster;\nMile. Faivre, Helene, daughter of Jacobson;\nM. Montjauze, Richard a brewer, who turned\nout to be the masquerading king; and M.\nMeillet, Jacobson, a miller and sheriff. The\nplot of disguises, treasure hidden in a castle,\npatriotism, and true love thwarted almost\nuntil the final curtain, made agreeable summer\nentertainment.\nOn Thursday 22 July a new comedy in\ntwo acts by Amedee Achard, les Campagnes\ndu marquis d'O, was presented with Bressant\nand Delphine Fix of the Theatre Frangais\nplaying the marquis d'O, a colonel, and\nGenevieve, a draper, with Mme. Bellecour-\nLagrange of the Vaudeville as the marquise\nd'O, and Lagrange of the Gymnase as the\nvicomte de Morsan. The play was set at\nParis in the time of Louis XV.\nOn Thursday 29 le Moulin du Roi was\nrepeated. The next day a grand ball took\nplace in the Nouveaux Salons. On Saturday\na matinee recital on the Tyrolean citharn\nwas given by Mile. Melanie Etterlin in the\nSalon des Fleurs.\nThursday 5 August was to see les Cam-\npagnes du marquis d'O and le Moulin du Roi\nbothgrepeated on one programme; but the\nchanges of scenery proving too much for the\nbackstage space, only the latter was played.\nSaint-Germain of the Theatre Frangais\nhad been engaged to play Figaro in le Bar-\nbier de Seville (the Beaumarchais comedy,"}, {"page_pdf": 29, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 4476, "texte": "not the opera) but at the last minute Empis,\nthe director of his theatre, would not permit\nhim to leave Paris. Mile. Fix and Bressant\nadded their signatures to that of Benazet,\nentreating his release. But Empis remained\nfirm. So Mutee had to go to Paris, where\nhe finally secured Thiron of the Odeon for\nthe part. On Saturday 7 August le Barbier\nwas given with Bressant as the comte Alma-\nviva, Saint-Leon as the doctor Bartholo,\nBrasseur as Don Bazile and Delphine Fix\nas Rosine. On Thursday 12 it was repeated.\nOn Saturday 14 P. T. Barnum came to\nBaden with General Tom Thumb, heralded\nby an article with three portraits of the\nmidget in our paper, and an eleven-line\nadvertisement (the headline in shaded type).\nIn the morning the General appeared on the\npromenade in his carriage drawn by ponies.\nIn the afternoon at 3 he might have been seen in\nthe Nouveaux Salons, best seats two florins,\nothers one, and children half-price, where he\ndoubtless gave his impersonations of Napo-\nleon, Uncle Sam, Samson and a gladiator,\ndanced a reel in his highlander costume, and\nbowed in the court costume in which he\nhad been presented to the British and French\nroyal families, bantering the while with anyone\nwho addressed him in English. The next day,\nSunday, he gave seances at 3 and 8. Barnum\nwas as strict a Sabbath-keeper as the others\nat Baden, who never resorted to amusements\non that day. Tom Thumb was not an amuse-\nment, but rather a curious little person\nwhom it was delightful to meet.\nAt 8 Saturday evening there had been\na grand concert with a Bach prelude arranged\nby Gounod. MM. Billet, Ketterer and Si-\nvori played and Mmes. Meillet and Miolan-\nCarvalho sang.\nOn Tuesday 17 a Bearnaise double quar-\ntette sang in the Salon des Fleurs. The next\nevening a grand ball took place and then\nthere was a lull.\nThe long-awaited grand festival concert,\ndirected by Hector Berlioz, for the benefit\nof the Baden hospitals, came on Friday 27\nAugust. Reserved seats were 20 francs,\nadmission was 10. The orchestra and cho-\nruses were recruited from Baden, Carlsruhe\nand Strasbourg, and the music was a little\n-more pretentious than that generally heard at\na watering place. For the first time Berlioz\nperformed his symphony with choruses (the\nwords by Emile Des champs), Romeo et Ju-\nliette, the introduction, andante-allegro, adagio\nand scherzo, and his ballad for three cho-\nruses, Sara la Baigrteuse. Litolff (born in\nLondon 1820, his father French) the virtuoso\non the piano, played the first three movements\nof his fourth concerto. Vivier executed a\nhorn solo of his own composition. Airs\nfrom Rossini, Weber and Mozart were sung\nby M. Roger and Mme. Charton-Demeure.\nBeethoven's Lenore and Weber's Euryanthe\novertures closed the programme and opened it,\nThe village of Waldorf had burned and\nthere were many sufferers. For their benefit\na performance was organized on Tuesday 31\nAugust in the Salon Louis XIV. Mme.\nKalergis, enthusiastic amateur, played a duet\nfor two pianos with Wieniawski. Mme.\nRumbold sang, accompanied by Ketterer.\nThen was given a comedy by Mery, la Co-\nquette, written in 48 hours, in which he\nhimself acted, assisted by Mme. de Valmont\nand MM. Ernest and Edmond Duclos. The\nhall was filled—we learn it held just 300\nand 6,000 francs were realized. Mery also\ncontributed a long rhymed prologue.\nThursday 9 September the birthday of\nthe grand duke Frederick of Baden was ce-\nlebrated by bells and ordnance, decorations\nand illuminations. At 8 in the evening\nfireworks were shot off from the Conversa-\ntionshaus lawn by M. Lips of Strasbourg.\nAgainst the sombre forest background the\neffect was reported to be marvelous. After-\nwards there was a ball. The receipts from\nit and the sale of reserved seats for the fire-\nworks were given the Baden hospitals.\nAt the concert of Saturday 11 Arban\nplayed the Miserere from il Trovatore on his\ncornet, and Edmond Weber executed a fan-\ntasy for clarinet. Postponed from Thursday,\non Monday 13 Professor Grisier, assisted by\nhis nephew, gave a fencing match at the\nrequest of his numerous pupils assembled at\nBaden. It may have taken place in the Salon\nLouis XIII, a small room seldom mentioned.\nOn Thursday 16 September a new ope-\nretta in one act by Eugene Cormon and\nAdolphe Vogel, le Nid de Cicogne, was\nseen in the Salon Louis XIV. It was laid\nat the border of Holland, toward 1760.\nConrad (barytone) and Fritz (tenor) were\nplayed by MM. Crosti and Ponchard of the\nOpera Comique. Rosa (soprano) was played"}, {"page_pdf": 30, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.30", "debut_caractere": 0, "fin_caractere_exclue": 4316, "texte": "by Mile. Marie Saint-Urbaine of the Theatre\nItalien, and Charlotte (Dugazon) by Mile.\nMarie Mira. The piece was produced in\ntranslation next season at the Theatre Royal,\nStuttgart.\nThe next evening, Friday, a private\nconcert was held in the orangerie of the\nVilla Benazet. Sivori, Ketterer and Mme.\nCambardi entertained.\nThursday 23 /e Nid de Cicogne was\nrepeated. Friday there was a concert with\nErnesta Grisi, Mile. Saint-Urbain, Hermann\nand Ketterer. Saturday there was another,\nat which was performed the overture of the\nopera la Nuit torn les Chats sont Gris, by\nFrangois Schwab, music critic of our paper.\nThe artists included Mile. Caussemille, Mme.\nCambardi, Dreyfus, Sivori, Seligmann and\nKetterer.\nWednesday 6 October a one act ope-\nretta by Salvator, VEsprit dxi Foyer, with a\nprologue by Mery, was performed, the composer\nconducting from the piano. There were only\ntwo roles: Mme. Caveaux-Sabatier played\nMathilde, and Jules Lefort, Henry. A con-\ncert of chamber music preceded the operetta,\nJael piano, Rene Douay and Franco-Mendez,\n'cello. Philip de Cuvillon, violin, Desargus, a\nStrasbourg professor, harp, and Mile. Jose-\nphine Martin, voice.\nv The season was long since over. The\nraces had been run 5, 8 and 12 September.\nOnly shooting remained as a Baden attraction.\nBut Tuesday 12 October the final play of\nthe year was given in the orangerie at Villa\nBenazet. It was the three-act farce, la Joie\nde la Maison, with a prologue by Leon Ber-\ntrand, played by amateurs.\n18 5 9.\nTHE Strasbourg theatre had always been\nconnected with the entertainments at\nBaden,\" sending its musicians and singers\nthere when it closed for the summer. Since\nHalanzier had been director in 1852, with\nthe exception of Chabrillat, all those who\nsucceeded him, Jourdain, Doligny, and Dai-\nglement, mismanaged and, as a result, Stras-\nbourg was often confronted by a closed\ntheatre. The municipality decided to put\nan end to this irregularity, and in May 1859\nappointed M. Amable Mutee, who had been\na successful director there in 1844-5, to the\npost for a term of three years. He was\nempowered to give three year contracts, and\nso was enabled to start building a permanent\ncompany. His attention required at Stras-\nbourg, he was not able to resume his mana-\ngerial duties in Baden until that autumn, if\nindeed he did so then. Immediately after\nhis appointment he brushed a few plays into\nshape for the agricultural fair at Strasbourg,\nobtaining Lessuer of the Gymnase for comedy,\nand Brasseur (who had played Don Basile\nat Baden the year before) of the Palais\nRoyal for low comedy. Mile. Scrivaneck\nof the Varietes was also engaged.\nAt Baden, starting Wednesday 7 June,\nthe regular daily band concerts began, on\nfair days under an awning on the promenade,\nuntil the new band stand could be completed.\nEychler was replaced as conductor by Mi-\nloslav Koennemann, who in 1858 had some-\ntimes alternated with him and who, it was\nfelt, played dance music with more fire, for\nhe was Hungarian. To the musicians of the\nyear before were added Mayerhoffer, violin,\nFritschi, oboe, Haupt, cornet, Sauret and\nBref, trombones, and Hanemann, percussion.\nOn Monday 5 July the new fyosque de mu'\nsique was ready, and three contrebasses were\nadded, too few, however, to carry well in\nthe open. The bandstand was on a stone ,\nfoundation with iron pillars and a wooden\ncanopy skirted by treillage, all painted green\nand gold, and shipped in pieces from Paris,\nready to be assembled. The engraving of\nit given by our paper shows that it contrived\nin every way to interfere with acoustics.\nOn Monday 27 June, in the Salon des\nFleurs, took place the first subsciption ball,\nto be followed through the season by others\non Wednesdays and Fridays as well.\nThe first musical evening was Thursday\n30 June; each Thursday for two months\nthereafter was given over to similar enter-\ntainment. Marie Marimon and Marie Battu,\neach 19 according to their biographies printed\nin the paper, sang on this occasion. Mile.\nBattu was sister to Leon Battu, who had\ndied shortly after his operetta written in col-\nlaboration with Halevy and Victor Masse,\nle Cousin Marioaux, was with success first\nproduced at Baden in 1857. Mile. Marimon\nwas from the Theatre Lyrique. Henri-\nVieuxtemps, violin, Ernest Nathan, 'cello,\nand Alfred Jael, piano, relieved by Ketterer,"}, {"page_pdf": 31, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 4354, "texte": "played pieces not too heavy, such as Gode-\nfroid's Danse des Sylphes and popular arias\nfrom Lucia, The Salon Louis XIV was the\n\" - concert hall.\nOn 7 July the same group performed.\nOn 14 Piatti substituted for Nathan. On\nr2l Hermann and Seeling, pianists, and Mme.\nde la Morliere, singer, joined the ensemble,\nremaining for 28 July. On 4 August Roger\nof the Opera, who had sung in the Berlioz\nfestival concert the year before, was to appear.\nBut shortly before this date, in a hunting\naccident his arm was so severely injured that\nit had to be amputated; his career was at\nan end. However, Batta the 'cellist appeared,\nwith Mme. Dreyfus the organist, Mme. Cam-\nbar di, Bussini and Balanque. The two latter\nwere to have appeared with Mme. Barbot\nin costumed scenes that Roger had prepared\nbefore his accident. Sivori, who was also\nbooked, was indisposed and Hermann took\nhis place, along with Ketterer, at the piano.\nOn 11 August Mile. Rosa Kastner,\npianist, and Accursi, violinist, were new\nperformers. They attempted a Beethoven\n*> trio with one of the others as a first piece,\nu and the critic of the paper thought they\nwould have done better not to mutilate it.\nOn 18 August they repeated it, however.\nCossman, Mme. Accursi, Balanque, Bussino\nand Mme. Nissen-Soloman were companion\nartists.\nA cyclone had struck the little village of\nOffenbourg on 30 July. A benefit concert\nwas organized for the sufferers on 20 August,\nwhen Vieuxtemps and Servais played and\nBalanque and Caroline Barbot sang. Men-\ndelssohn's Hebredes overture was one of the\nnumbers. There were realized 2,500 francs.\nAnd now for a week rehearsals had been\ngoing on both at Carlsruhe and Baden for\nanother grand festival concert for the benefit\nof the hospitals, to be conducted by Berlioz.\n< On Monday 29 August the Salon Louis XIV\nwas filled to its capacity of 6.000 francs.\nBerlioz again played parts of his Romeo et\nJuliette, as well as a scene from Act I of\nhis new opera les Troyens, to which he had\nwritten words and music. This was for the\n\"first time. Mme. P. Viardot and J. Lefort\nsang a recitative and duo of Cassandre and\nChorebe. Engel, professor at the Conserva-\ntory of London, played the organ in a\nMeyerbeer overture, and solo in an unnamed\nnumber. Ritter played his own music to.\nParadis Perdu. And Francois Schwab, our\nmusic critic, had his Fantasie brilliante pour\nla clarinette executed by M. Vuille.\nOn Thursday 18 and Monday 22 August\nMme. de Marenholz had lectured, developing\nFroebel's theory of regeneration for society by\neducation, starting with the kindergarten.\nOn Thursday 1 September occurred the\nfirst play of the season. It was le Favori de\nla Favorite, a two act comedy by Villemot\nand Sirandin, set at the court of Louis XV\nin 1769. Bressant, \" prince of roues\",\nplayed the Chevalier de Lansac, Regnier,\n\" most amusing of untitled vicomtes\", the\nVicomte de Chanteloup, Ricquier the Baron\nd'Antignac, and Mile. Fix, \" goddess of\nprose\", Sabine, his niece. The piece was\nrepeated Saturday 3.\nAfter the Friday ball that week Ketterer,\nGrodvolle and Vivier had obliged by playing\nimpromptu.\nOn Friday 9 September the grand duke's\nbirthday was again celebrated by fireworks,\nafter which-was presented the one act ope-\nretta, le Manage de Leandre, by Clement\nCaraguel and Ernest Boulanger. The Pa-\nrisian actors were supplemented by some\nfrom Strasbourg. MM. Sainte-Foy and Berry\nplayed Leandre and Antoine, the gardener,\nMile. Poussez the young widow, and Mme.\nAmable-Mutee, whose name would recom-\nmend her to those to whom her talents were\nunknown, the old Isabelle.\nOn Saturday 10 Regnier played the phi-\nlosopher in scenes from Moliere's Manage\nForce; and in Marivaux's Jeu de I'Amour et\ndu Hasard, an old favourite, Bressant played\nDorante; Sainte Foy, Pasquin; Mile.- Fix,\nSylvia; and Mile. Duvard from the Stras-\nbourg theatre, Lisette.\nFor the benefit of the Offenbourg storm\nvictims on Monday 12 Mery got up a little\ncomedy of his, Apres deux Ans, laid at\nAvray in 1858. Mme. Kahn played the\nDuchesse de Valbreuse, Mme. de Kalergis\n(at whose house Mery improvised the prologue\nshortly before the performance) played Anna,\nand M. Makeiwitz, the Compte de Moranges.\nThe play was preceded by a concert in\nwhich the coroptesse de Kalergis, MM. Cos-\nmann, Grodvolle and Jules Lefort, and Mile.\nBido performed.\nThursday 15 le Mariage de Ldandre was"}, {"page_pdf": 32, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.32", "debut_caractere": 0, "fin_caractere_exclue": 1512, "texte": "played again, and Saturday 17,\nl' Amour et du Hasard. Thursday 22 the\nformer was given for the third time, and also,\nits premier, Qui Femme Guerre by\nMile. Augustine Brohan of the Comedie\nThis little piece, repeated Saturday\n24, was played that winter at Mile. Brohan's\ntheatre. Here it was followed by a concert\nwith Sighicelli and Sainte Foy. Tuesday 27\nanother concert was given with them and\njacquard, Goria and Mme. Cambardi. On\nI October the concert lacked only Sainte\nFoy of these.\nOn 29 September the winter season of\nthe Strasbourg theatre had opened, let us\nhope to prosper, and the professional company\nhad gone there or back to Paris. But the\nVilla Benazet on 5 October still bustled\nwith amateurs' play producing. After an\noverture from the Dame Blanche led by\nKoennemann, la Caprice by De Musset was\nput on in the orangerie; then came a musical\npot-pourri, and finally la Veuve aux Corne-\nlias, probably some outrageous and side-\nsplitting parody that the public columns of\nour paper see not fit to comment upon.\nAnd what of Vlllustration de Bade, the\nforty numhers of which have now been\ncombed of their news of theatre and music?\nThe publish ers had high hopes for it. They\nwished to make it an all-year periodical,\nconfined not just to Baden-Baden, but to the\nwhole valley of the Rhine and the Black\nForest, from Basel to Mayence! Did their\nplans materialize, did the paper become\nsome fat and colourless gazette? Or did it,\nlike the frog that wished to puff itself up as\nbig as the ox, explode?"}]}, {"article_id": "bm-bmtnaau-1928-01-01-c019", "article_bluemountain": "bmtnaau_1928-01_01#c019", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 21, "image_fin": 21, "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=bmtnaau192801-01.2.14.1", "titre_corps": "CONVERSATIONSHAUS, BADEN", "titre_sommaire": "CONVERSATIONSHAUS, BADEN", "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": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 25, "texte": "CONVERSATIONSHAUS, BADEN."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c020", "article_bluemountain": "bmtnaau_1928-01_01#c020", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 21, "image_fin": 21, "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=bmtnaau192801-01.2.14.2", "titre_corps": "TEMPORARY CONCERT HALL, BADEN", "titre_sommaire": "TEMPORARY CONCERT HALL, BADEN", "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": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.21", "debut_caractere": 27, "fin_caractere_exclue": 66, "texte": "TEMPORARY CONCERT HALL, BADEN.\nPlate 2."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c021", "article_bluemountain": "bmtnaau_1928-01_01#c021", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau192801-01.2.14.3", "titre_corps": "MLLE. DELPHINE FIX", "titre_sommaire": "MLLE. DELPHINE FIX", "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": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 76, "texte": "MLLE. DELPHINE FIX\nas Rosine in Beaumarchais' \"Barbier de Seville\".\nPlate 3."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c026", "article_bluemountain": "bmtnaau_1928-01_01#c026", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 27, "image_fin": 27, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.20", "titre_corps": "THEATRE DU LUXEMBOURG. PARIS", "titre_sommaire": "THEATRE DU LUXEMBOURG. PARIS", "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=bmtnaau192801-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 1241, "texte": "THEATRE DU LUXEMBOURG. PARIS.\n\nSITUATED at the angle of Rue de Fleurus and Rue de Ma-\ndame. arrondissement. Quartier Luxembourg.\nActually No. 39 Rue Madame, this theatre was opened\nin 1816. Frequently called Bobino after its founder, it\nwas demolished about 1880. (Lecomte).\nThis was the students* Theatre for many a year. Who,\nindeed, was there, among those at that time studying in\nParis as unknown students who came in later years to\ncount as a personality, who was not in this playhouse as a\nyoung man ?\nBobino was the stage name of M. Saix, and he began\nhis direction of this Theatre with parades, pantomimes and\ndances sur le corde.\nLater it came under the direction of the vaudevillist M.\nClairville, actor and author.\nIf you look at La Tour's \"Plan de Paris\" 1786 you\nwill find that this theatre of 1816 came to be built on\nthe same spot where stood the Nouvelle Foire St. Ger-\nmain thirty years earlier.\nThe older Foire St. Germain as shown in the 44 Plan\nde Paris\" known as 44 Plan de Turgot \" (See 44 The\nMask\" Vol. XI No. 3. for reproduction of the entire\nplan in forty full page plates) is in a position somewhat\nnearer to the Seine between Rue du Petit Bourbon and\nthe Rue du Four.\nThe same Foire was in the same place in 1808."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c027", "article_bluemountain": "bmtnaau_1928-01_01#c027", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 27, "image_fin": 27, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.20.1", "titre_corps": "[Illustration sans titre]", "titre_sommaire": "[Illustration sans titre]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 27, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.27", "debut_caractere": 1264, "fin_caractere_exclue": 1272, "texte": "Plate 5."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c028", "article_bluemountain": "bmtnaau_1928-01_01#c028", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "20", "page_fin": "20", "image_debut": 32, "image_fin": 32, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.21", "titre_corps": "BIOGRAPHICAL NOTES", "titre_sommaire": "BIOGRAPHICAL NOTES", "signature_source": "PAUL McPHARLIN", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 32, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.32", "debut_caractere": 1514, "fin_caractere_exclue": 2700, "texte": "BIOGRAPHICAL NOTES\nBY PAUL McPHARLIN.\n\nETIENNE CAR J AT, CARICATURIST.\nGAIETY and wit achieved a high water mark in\nFrance, they say, during the second empire. Carjat\nwas one of many portrait-caricaturists who then flourished.\nHis thrusts at his sitters were mostly gentle, and sometimes\neven complimentary; one feels that the literary and artistic\npeople he drew were in his circle of friends. Some of his\nsketches were lithographed for le Boulevard. He knew\nLemercier de Neuville the puppeteer, and for his shows\npainted an articulated figure-portrait of him on thin wooden\nboard, as Gustave Dor£ painted one of Dimmer. Both figures\nare shown in Ernest Maindron's Marionnettes et Gulgnols,\nParis [l9oo].\n\nJOSEPH P. A. MERY (1798-1866).\nSATIRIST, romantic novelist (sketches of his called les\nNuits de Bade appeared in Y Illustration de Bade)\nand playwright, as well as improviser. With Gerard de\nNerval he made adaptations from Shakespeare and wrote\nother plays. He assembled groups of terminal rhymes\nthat Dumas the elder invited all the poets of France to\nfit verses to. Three hundred and fifty responded, and\ntheir solutions to the bouts rimes were published as a vo-\nlume in 1865."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c029", "article_bluemountain": "bmtnaau_1928-01_01#c029", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "20", "page_fin": "20", "image_debut": 32, "image_fin": 32, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.21.1", "titre_corps": "ETIENNE CARJAT, CARICATURIST", "titre_sommaire": "ETIENNE CARJAT, CARICATURIST", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 32, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.32", "debut_caractere": 1553, "fin_caractere_exclue": 2219, "texte": "ETIENNE CAR J AT, CARICATURIST.\nGAIETY and wit achieved a high water mark in\nFrance, they say, during the second empire. Carjat\nwas one of many portrait-caricaturists who then flourished.\nHis thrusts at his sitters were mostly gentle, and sometimes\neven complimentary; one feels that the literary and artistic\npeople he drew were in his circle of friends. Some of his\nsketches were lithographed for le Boulevard. He knew\nLemercier de Neuville the puppeteer, and for his shows\npainted an articulated figure-portrait of him on thin wooden\nboard, as Gustave Dor£ painted one of Dimmer. Both figures\nare shown in Ernest Maindron's Marionnettes et Gulgnols,\nParis [l9oo]."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c030", "article_bluemountain": "bmtnaau_1928-01_01#c030", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "20", "page_fin": "20", "image_debut": 32, "image_fin": 32, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.21.2", "titre_corps": "JOSEPH P. A. MERY (1798-1866)", "titre_sommaire": "JOSEPH P. A. MERY (1798-1866)", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 32, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.32", "debut_caractere": 2221, "fin_caractere_exclue": 2700, "texte": "JOSEPH P. A. MERY (1798-1866).\nSATIRIST, romantic novelist (sketches of his called les\nNuits de Bade appeared in Y Illustration de Bade)\nand playwright, as well as improviser. With Gerard de\nNerval he made adaptations from Shakespeare and wrote\nother plays. He assembled groups of terminal rhymes\nthat Dumas the elder invited all the poets of France to\nfit verses to. Three hundred and fifty responded, and\ntheir solutions to the bouts rimes were published as a vo-\nlume in 1865."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c031", "article_bluemountain": "bmtnaau_1928-01_01#c031", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "20", "page_fin": "20", "image_debut": 32, "image_fin": 32, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.22", "titre_corps": "A BIOGRAPHICAL SKETCH OF DELPHINE (ÉLÉONORE) FIX, 1832-1864", "titre_sommaire": "A BIOGRAPHICAL SKETCH OF DELPHINE (ÉLÉONORE) FIX, 1832-1864", "signature_source": "DELPHINE (ÉLÉONORE) FIX ; DELPHINE FIX", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 32, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.32", "debut_caractere": 2702, "fin_caractere_exclue": 4545, "texte": "A BIOGRAPHICAL SKETCH OF\nDELPHINE (ÉLÉONORE) FIX, 1832-1864.\nBY HERSELF.\nDELPHINE FIX.\nTHE Editor of Illustration de Bade.\nMonsieur,\nYou ask me for details to be able to make a biography.\nThe details are not very interesting. I was born in a\nvillage of Lorraine, called Tellancourt. I won't tell you\nthe date, altho 1 am still of the age when it can be con-\nfessed. Your paper is one of those that is saved, and\nI'm taking precautions for the future. I arrived in Paris\nat the age of 7, and 1 entered a boarding-school ; 1 never\nknew actors and no one is an actor in my family. It's\ntherefore a quite natural vocation. I recited poerns and\nI recited them passably, according to my taste. My father\nhas always been opposed to my taking up the theatre, but\nas I was not rich and as I wished to be independent, I\nentered the Conservatory; I was received immediately.\nSix months after I was a pensionraire and at my first\ncompetitive examination I obtained honorable mention (0\nin tragedy, alas! and a second prize in comedy; the\nyear after, a first prize in comedy and a second in\ntragedy. I made my debut at the Theatre Fransais with\na little success, and 1 was engaged. My roles of debut\nwere: Abigail in le Vcrre d'eau; Henriette, in les Fem-\nmes SaVantes ; Isabelle, in VEcole des Maris.\nThe principal roles I have created: Bataille de Dames;\nle Bonhomme jadis; la Joie fait Peur; la Czarine ; Feu\nLionel; le Fruit defendu ; Peril en la Demeure, etc.\nI have taken all the line of business of Anais, and I\nplay all the young leads and girls in love of the old re-\npertory; I am a soci&aire and the small future that i\nhave has been predicted for me by Balzac, who came to\nsee me play in the banlieues where I tried out.\nThat's all, and it's little as you see.\nAu revoir, Monsieur, and a thousand regards.\n(i) That is, next best to first prize."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c033", "article_bluemountain": "bmtnaau_1928-01_01#c033", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "21", "page_fin": "22", "image_debut": 33, "image_fin": 34, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.23", "titre_corps": "SCENOGRAPHIC WILL-Ò-THE WISPS", "titre_sommaire": "SCENOGRAPHIC WILL-Ò-THE WISPS", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 33, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 4219, "texte": "SCENOGRAPHIC\nWILL-Ò-THE WISPS.\n\nIT seems rather hard upon the public that\nthe designs for mise-en-scene by Mr. de\nCourville, Mr. Morris Gest, Professor Rein-\nhardt and Mr. Cochran have never yet been\nexhibited. And it seems so unnecessary to\nhide them since we are told that they exist.\n\" I have seen scenes by Mr. de Cour-\nville and Mr. Cochran where a vast black\nor grey curtain played an important part \"\nwrote Mr. Hubert Griffith in the \" Evening\nStandard \" on April Bth 1927.\nWell, if he has seen the scenes we want\nto see the designs. For scenes cannot exist\nwithout some sort of design : and, if the de-\nsigns are by Mr. de Courville or Mr. C. B.\nCochran, these artists should assuredly get\nfair praise or full blame for the work: but,\nif the designs are by someone else employed\nby Mr. de Courville or Mr. Cochran, Mr.\nGriffith should not have been so careless in\nhis use of words, and he should have refer-\nred to \" the scenes by C. & C. \".\nIn a list of Dramatic Revivals for 1901 -\n1926 of English pieces, compiled by one of\nour foremost English dramatic critics, we read\nabout Reinhardt's designs : the entry runs :\n\" Hamlet: Martin with new set-\ntingfrom designs by Max , King's\nTheatre, Glasgow, April 5,1913 \", which is\nexplicit enough, yet we have never seen one\ndesign by Professor Reinhardt nor have we\nseen one reproduced in any book about him.\nThis latter fact is strange, to say the least\nof it, in view of the above statement. And\nit is also strange that, although we wrote to\nthe aforesaid critic, asking him kindly to en-\nlighten us respecting these designs for \" Ham-\nlet \", he has, though promising to secure and\nsend us data as soon as possible, never, in\nthe many intervening months, supplied the\ninformation sought.\nMr. Morris Gest is entered in \" Who's\nWho in the Theatre \" as a \" Manager \".\nYet in the same entry we find the following\nstatement: \" Produced 'Adam and Eva \",\n\" Chu-Chin-Chow \", \" Aphrodite \" etc. etc.\nand \" The Miracle \".\nThis is puzzling, for we always had sup-\nposed that our own Mr. Oscar Asche, as-\nsisted by his producers, was the \" producer \"\nof \" Chu-Chin-Chow \", and, we understand,\nthe author too; and that Reinhardt, assisted\nby his producers, was the producer of \" The\nMiracle\nGest should perhaps be recorded as ha-\nving \"presented \" things. It is still much to\nhave done. Mr. Charles Frohman was far\nmore particular, and prouder: he never claim-\ned more than that he \" presented \" what\nother men produced.\nThe entry in \" Who's Who in the Thea-\ntre \" proceeds: \" Mr. Gest's firm introduced\nthe Russian Ballet etc That's better : but\nif he only introduced the Ballet, then surely\nhe only introduced \" The Miracle\nMr. Diajaliev is another of the Impresa-\nrios whose work we should like to see—if\nfor no other reason than this —we have never\nseen it.\nWe have seen the excellent work of the\nassistants of some of these men, but when\nare we to see more positive proof of their\nown work ?\nI daresay it does not form such a volu-\nminous collection that a fair-sized hall could\nnot contain it: the Albert Hall would seem\nto be an ideal place for such an exhibition.\nThe admirers of the theatrical agent,\nMorris Gest, were asking only recently why\nno examples of his wonderful work were to\nbe seen in the immense collection which was\nbrought together last year in Magdeburg.\nDo not tell me that these great \" produ-\ncers \", these great \" artists \", are nothing else\nbut theatrical agents ; for remember, Mr. Hu-\nbert Griffith has \" seen scenes by \" two of\nthem, and no less an authority than Chris-\ntopher St. John has dubbed Diajaliev \" artist\nThey must be keeping some of their\nlight hidden under their bushels ; and that in\nitself—how artistic it is : so unusual, too, in\nthese past masters of the art of reclame.\nWe call, and shall continue to clamour,\nfor a sight of these works of art or works of\nskill or works of patience and labour: but\nfor a sight—one glimpse, of them.\nProfessor Reinhardt, Mr. Cochran, Mr. de\nCourville, Mr. Morris Gest and Comrade\nDiajaliev, you are surely not going to play\nthe bashful ? If you have the goods you will\nproduce them surely:—if you haven't, as\nyou would disdain getting someone to fake\na few sketches for you and palm them off"}, {"page_pdf": 34, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.34", "debut_caractere": 0, "fin_caractere_exclue": 2170, "texte": "as yours, though it might be quite legitimate\nin a showman, you will tell us, in statements\nas far-reaching as your admirable reclame,\nthat those who credit you with such designs\nare really talking through their hats.\nBut, joking apart, there is an opportunity\nopen to all five of these gentlemen to show\ntheir designs, sketches and the rest at the\nInternational Bi-ennial Art Exhibition in Ve-\nnezia this year, as a theatrical section is for\nthe first time to be introduced. We look\nforward to seeing them there, if Venezia sees fit.\nWe have, indeed, alreadv heard that the\nT 7 *\nReinhardt 1 heatre and the Diajaliev Ballet\nare to be represented at the Exhibition : but\nwhat we are really looking out for is a dis-\nplay of designs, nay, even but one design,\nboldly autographed by Professor Reinhardt, or\nwithth e authentic legend ego Dicjaliev feci.\nAnd there is one more serious aspect to\nthis matter.\nThis loose way of announcing and report-\ning might lead in a very short time to er-\nrors of considerable magnitude.\nFor instance, how about this : \"St Joan\nby Mr. Cochran will be given at the Albert\nHall next Saturday. His acting, music and\nscenes are surprisingly beautiful \".— Where\ndoes Mr. Shaw come in ?\nOr this :—\" Mr. Gest's ' Merchant of\nVenice ' produced last night with his usual\ndelicacy and attention to detail was a triumph\nfor this great artist \". Where does William\nShakespeare coire in ?\nIhe notion in some of these showmen's\nheads is that, since they help so materially to\npopularize a play or an opera, they are ac-\ntually the makers of the thing. \" Why, my\nboy, I made it—it was a rank failure and 1\nmade it a success And of course this is a\nvery clever thing for the showman to have\ndone ; but it no more makes him the parent\nof it than a like cleverness in the sale of a\nRaphael makes Sir Joseph Duveen or Mr.\nWalter Dowdeswell the parent of Raphael's\npaintings.\nAs neither Mr. Dowdeswell nor Sir Jo-\nseph Duveen ever dreamed of such presump-\ntion, the least the theatrical impresarios can\ndo is to follow the excellent example set by\nthe first class picture-dealers.\nBut if this is the least thing they can do\nit is undoubtedly the best.\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c034", "article_bluemountain": "bmtnaau_1928-01_01#c034", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "22", "page_fin": "23", "image_debut": 34, "image_fin": 35, "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=bmtnaau192801-01.2.24", "titre_corps": "ARTISTS, IDEALISTS, AND STEELE MACKAYE", "titre_sommaire": "ARTISTS, IDEALISTS, AND STEELE MACKAYE", "signature_source": "c. g. s", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 34, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.34", "debut_caractere": 2172, "fin_caractere_exclue": 4308, "texte": "ARTISTS, IDEALISTS, AND\nSTEELE MACKAYE.\n\n(')\nHpHE American Theatre should experiment\n1 for admittedly it is the special privilege\nof any youngish man or land to experiment;\nto fail or, after blundering, to succeed.\nBut if to experiment independently is ac-\nting boldly, to pose as experimenting while\ndepending on an elder hand is of course\nreally not experimenting at all.\nSteele MacKaye steered a middle course\nbetween these two extremes. He assu-\nredly possessed the spirit of experiment: he\nwas not content to roll along with imitators\nof the great Barnum, but was a sincere dis-\nciple of the great Edwin Booth, an actor of\ngenius. Booth is the representative of Ame-\nrican acting, and that acting will presumably\nsome day develope such strongly marked fea-\ntures of its own that we shall find it as strange\nand new as today we find the acting of China\nthe most ancient acting and a far off place.\nAt present we do not find it has yet\nreached that point of development, it is\nfar too like European acting. The Ameri-\ncan performer, be he actor, singer, dancer,\ndoes the European thing and sometimes we\ncan say that he really does it better than the\nEnglishman, Frenchman, Italian or Russian :\nbut always is it a European trick, done ac-\ncording to one of our recipes.\nTo cockatoo it, is not of much account,\nbut to respect one of the European recipes\nand to add an original pinch or two to bet-\nter it, that is a good deal to do ; and I will\nnot claim for Steele MacKaye more than that,\nlest the Fates cry \" Elold bard there \" and\nplay his memory one of their tricks.\nThis 1 think is the best spirit in the Ame-\nrican Theatre today—tomorrow something may\ncome of it.\nMacKaye wanted the moon. That is\nalways the right spirit in which to start an\nadventure : he wanted it not all for himself\nbut because he knew that if he got the\nmoon. .. the rest would follow: he would\nthen have enough to share it around.\nSo far as I know that has always been\nheld to be a very proper desire—man for\nmoon, moth for star: it is for example a dis-\n\n(i) EPOCH ; Ike Life of Steele Aiackaye by Petcy Aiackaye\n2 volumes. Puh New York, Price 10 dollars."}, {"page_pdf": 35, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.35", "debut_caractere": 0, "fin_caractere_exclue": 4410, "texte": "tinct cut above the desire of the bear for the\nbun or the longing in jimmy to borrow.\nPoets who are without any desire for the moon\nhave more money, but we have no love for\nthem: who ever loved a man who could\nmake you pay him—you don't even consider\nsuch a man—you merely dislike him.\nAnd may-be MacKaye wanted to be\npaid hke everyone else and that of course\nwould tell against him. It is not sufficient\nmerely to be paid like everyone else: you\nmust have a distinct veneration, a certain awe\nof cash, and this possibly is what MacKaye\nlacked, A failing of his and we must chalk\nit up to his credit.\nThose who stand in awe of money, or\nperhaps more truly in awe of being without\nit, carry weight with them. Oppressed by\nit, they look it. It is one of the steadying\nballasts the artist, or let us say the idealist,\n• should ship into his composite nature as soon\nas he feels like soaring. He should do this\nas much in complement to the earth as any-\nthing else, for he is to show off there and\nnot in the air.\nAnd if the idealist be a theatrical being,\nhow doubly important not to forget this when\nbooking his passage.\n1 had almost slipped a moment ago, and\nwritten artist when 1 meant idzalist. i\nweighed anchor in time. An artist is an\nartist and, alas, absolutely nothing more.\nSuch a gentleman such an angel—such\nan organizer—such a brute—such an idiot—\nsuch a muddler. I have even in my short\ncareer of eight years as a book reviewer\nheard the artist spoken of in these terms.\nFor my part, and I mean not to offend him,\nhe is nothing at all but an artist. A man\nwho is practical to the core on Wednesday\nand a muddler on Thursday can be only\none thing—neither muddier nor practical man\nbut, unfortunately, an artist.\nYou cannot possibly put it to the artist\nto stand in awe of money for he does. You\ncannot tell the artist that he should really become\nreligious before it is too late, for he always\nhas been religious. To wish him to be\npunctual is useless; he was born with the\nsense fully developed: to say he should be\nmore sober is futile, so terribly sober he can he.\nThe quaint thing about this race of people,\n- the artists, is that they all of them are every-\nthing and more than anyone else.\nAs a rule they do not develope more\nthan one stratum of their natures —and it is\nthat stratum which they unfortunately believe\nwill give the other fellows the most pleasure.\nSometimes like Orlando di Lasso or like\nBlake or Gainsborough, they will develope\ntwo of their gifts. And we can pause an\ninstant to note that all of these have been\ndubbed idealists and yet were really no such thing.\nSometimes an artist will had that his\nsecond siring is not so easily mastered as he\nsupposed: Gainsborourgh as musician is not a\nhappy spectacle: but on the other hand Blake\nthe poet, drawing at his desk, assuredly is :\nail goes very easily there : as for Orlando,\nsuch a dazzling actor was he that even today\nMiss Winifred Smith in her admirable \" The\nCommedia dell'Arte \" refers to him as \" ano-\nther professional musician \" thereby quite\nforgetting for the moment that he was the\ngreatest master or music of his age.\nNo. The artist and the idealist are two\nsuch separate things, and I think we are\nbound to admit that if Mackaye was not\nquite artist he was most assuredly an idealist.\nIn him we recognize the real soirit of\nendeavour, carrying on the heavy load of\nideals—almost too many ideals. Yet can an\nidealist have too many? is it not just what he\nsuppose himself born to carry—and doesn't\nhe carry, them well?\nIf towards the Moon, then to the moon:\nif towards the Bank .... but there's no landing\nstage there for the genuine idealist. I am\nnot an idealist myself. lam a friend of\nbankers: I have reviewed in my time two\nbooks on the higher finance. I know of these\nthings. 1 know that MacKaye was dreaming\nanother dream, and not quite so vast a dream as the\ntrue banker indulges in to our material benefit.\nIf in finance there were no artists —no men\nin Banks fired by precise vision, we should\nall of us starve. This has never yet been\nproperly explained to those of us who earn\nour £3to £8 a week—and earn it pretty\npainfully; and so we nurse a certain grudge\nagainst the rich banker.\nWell, there are some ....and some others\ntoo. But the great banker is a man of as\npowerful a vision as a Shakespeare.\nMacKaye had no such powerful vision.\nHe had a vague vision—he was idealist, not\nartist.\n\nc. g. s."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c035", "article_bluemountain": "bmtnaau_1928-01_01#c035", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "24", "page_fin": "27", "image_debut": 36, "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=bmtnaau192801-01.2.25", "titre_corps": "MONSIEUR BOMBET AND EDWARD LEAR", "titre_sommaire": "MONSIEUR BOMBET AND EDWARD LEAR", "signature_source": "GORDON CRAIG", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 36, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.36", "debut_caractere": 0, "fin_caractere_exclue": 3844, "texte": "MONSIEUR BOMBET AND EDWARD LEAR.\nBY GORDON CRAIG.\nWilliam the Conqueror.... Ten sixty-six.\nWilliam Rufus....Ten eighty-seven,\nand so forth.\nI.\n#|T 1833-1848 is a between time, if only for ;\nthe fact that no one was attending to what\nwas going on. \"What were revolutions after '\nThe Revolution, what could \"be Kings and Em-\nperors after the Emperor, what poets after\nthe poet, and what was anything after eve-\nrything ? everything was gone— what was left\nover ?\n\" There was a young person of Smyrna...\nYes, she was indeed about the only\nthing that was left over,\nThe elect of France and England was\nlicking its chops'; these ferrous cliques of the\ntwo nations had just distinguished themselves\nby each betraying one man apiece, Napoleon\nand Byron, or perhaps one should say with\nStendhal, one monster apiece.\nThis between time, this intermediate pause\nwhich separates Byron from our poet of today,\nand Napoleon from Mussolini, this silent\nhour when the cliques were sleeping off the\neffects of their sheep-like rage about nothing,\nfound one or two men awake.\nTwo of these men were M. Bombet and\nMr. Edward Lear.\nIn the year 1826, M. Bombet was forty-\nthree years old, and Mr. Lear was but\nfourteen. 1 he good Bombet was already\nwalking tip-toe and peering around; M. Bom-\nbet was doing then what Edward Lear did\na while later, he was looking at places.\nFor why should he look at people.... any\nmore people.\nM. Bombet had known the Emperor:\nmore than this, he had known Lord Byron.\nHe had listened to \" le celebre Monti \"\nreciting nearly the whole of the first canto of\nhis Mascheroniana at the table of the char-\nming Marquis de Breme in Milano, and he\nhad talked with Haydn in his little room in\nthe house near the Barrier Maria Hielf, on\none edge of Vienna. He had attended\nperformances of the \" Matrimonio Segreto \"\nin Naples —he had indeed attended, and\nhe noted down at the time that \" music was\na monarchy' the air reigned supreme ; the\naccompaniments were only subjects\nWho then was this M. Bombet who\nseems to have known everyone worth knowing\nas the centuries were turning over a new\nleaf that the world might enjoy the peace and\nquiet of a blank page ? are you,\nM. Bombet? time is passing, we have\nreached 1830, and yet you let no one know\nwho you are; you are forty-seven years\nof age and yet you have done nothing but\nlook around cities, and frequent the opeia\nand the ballet. If you did not strike me at\nonce as rubicond and entirely easy I should\nsuspect- you of being an invalid : 1 should\ntell myself and my more innocent readers\nwho are so curious to know who you are,\nthat you are slowly recovering from the rea-\nlization that the world has gone out. It is\nsix years since your Lord Byron has died\nand because he wrote to you that you were\n\" one of thore for whose good opinion he Was\n\"really ambitious\", is that so entirely to\novercome you that you cannot do something\nto show us what he meant, to testify with\nthe others that this immense Englishman was\none of the few men of discernment of the\nage. It is even longer since your Emperor\npassed away, not merely to Saint Helena, but\nto rest—it is nine whole years. All this\nhas left you desolate, you are not yourself,\npoor M. Bombet. In fact you are dying,\nyou die this very year, Sir, you destroy\nyourself; you pottered around until you pot-\ntered to death ; never has there been a\nbetter potterer, because, with the poet and\nthe Emperor as it were in the limelight and\nalso in the pocket where you carried your\nsnuff-box, you felt that the only thing a man\nof merit could do as these two strode along\nwas to potter after.\nYou went incessantly to the theatres,\n: pretending that theatres were the whole\ni world; you listened to music as though it\ni alone was the law: you peeped into cities\nand recorded your visits and your pleasant\ndays because you were glad, so immensely"}, {"page_pdf": 37, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.37", "debut_caractere": 0, "fin_caractere_exclue": 4308, "texte": "happy, in those days to be one of a crowd,\na nobody: and, my dear old Bombet, that's\nexactly what you were, a perfect nobody.\nBut when long after these two great men\nhad died, time had unrolled before your eyes a\ntedious parade of very little men to see, then\nyour love for those two friends moved in you,\nand inspired you, and you wrote your great\nworks.\nHow is it, M. Bombet, that you yourself\nare practically forgotten; I regret you so\nmuch, although I admire your metamorphosis\nin 1831 still more.\nlam sorry to lose you! No longer is it\nyou, my old friend Bombet, with smiling\nalert little face planted in a big neck-tie, who\nnow comes forward dressed as yourself; you\ndropped him, your old chum Bombet and\nyou have emerged all Stendhal, sworn\nupholder of the spirit of man that had seemed\nto pass away but which you had called back\nfrom the grave or found wandering somewhere\ntwixt St. Cloud and Missolonghi.\nWith your two books Chartreuse and Rouge\net Noir, you pin a decoration on the breasts\nof each of your two friends; immortal as they\nmade themselves, you add the only touch they\nlacked, lacking any other friend splendid\nenough to conceive it.\nYou died after that, fully believing that\nin about sixty years time you would be read,\nbut not before then you thought. You would\nnot write for the living, for they were but\nlittle fleshly ghosts. You were very much\nalone in the world, you man of the world.\nII.\nWHO else was breathing and walking in\nthose days ? Flaubert, Dickens, Heine,\nWagner, Disraeli, but all very young ; all to\nbecome very fine and admirable artists, active\ncreatures, but few of them exactly men of the\nworld.\n\" Ce fut pendant l'automne de 1816, que\nje le rencontrai au theatre de la Scala, a\nMilan, dans la loge de M. Louis de Breme.\nJe fus frappe des yeux de Lord Byron au\nmoment oil il ecoutait un sestetto d'un opera\nde Mayr intitule Elena. Je n'ai vu de ma\nvie, rien de plus beau ni de plus expressif.\nEncore aujourd'hui, si je viens a penser a\nl'expression qu'un grand peintre devrait donner\nau genie, cette tete sublime reparait tout-a-\ncoup devant moi. J'eus un instant d'enthou-\nsiasme, et oubliant la juste repugnance que\ntout homme un peu fier doit avoir a se faire\npresenter a un pair d'Angleterre, je priai\nM. de Breme de m' introduire a Lord Byron,\nje me trouvai le lendemain a diner chez M.\nde Breme, avec lui, et le celebre Monti,\nl'immortel auteur de la Basvigliana. On\nparla poesie, on en vint a demander quels\netaient les douze plus beaux vers faits depuis\nun siecle, en en Italien, en Anglais.\nLes Italiens presens s'accorderent a designer\nles douze premiers vers de la Mascheroniana\nde Monti, comme ce que I'on avait fait de\nplus beau dans leur langue, depuis cent ans.\nMonti voulut bien nous les reciter. Je regardai\nLord Byron, il fut ravi. La nuance de hau-\nteur, ou plutot I'air d'un homme qui se trouve\na repousser une importuniie, qui deparait un\npeu sa belle figure, disparut tout-a-coup pour\nfaire a l'expression du bonheur. Le premier\nchant de la Mascheroniana, qui Monti recita\npresque en entier, vaincu par les acclamations\ndes auditeurs, causa la plus vive sensation a\nl'auieur de Childe Harold. Je n'oublierai\njamais l'expression divine de ses traits; c'etait\nI'air serein de la puissance et du genie, et\nsuivant moi, Lord Byron n'avait, en ce mo-\nment, aucune affectation a se procher.\nWell then.\nBut that was long ago —in 1816.\nNow it is 1831, which rolls over into\n'32, which rolls on and over into '33, and\nit was in these years that certain old persons,\nold men, old women and young ladies, no-\nbodies in fact, began to arise by the hundred\ninto an insignificant prominence.\nThat Old Man of Dundee, for example,\nthe Young Lady of Hull, The Old Person\nof Dutton, those Old Men of Melrose, of\nthe Wrekin, of Mold, and those of Leeds,\nof Hurst, of Ryde and of Tring, and that\nincipient old man in the casement.\nWhat was so remarkable about these\npeople was their fearlessness, their grief,\ntheir rapidity of motion, their amazement,\ntheir love of trees as a home, their excen-\ntricity, and their unabashed stupidity.\nThey were always doing something exag-\ngerated and it was nothing; they were always\nsaying something far-fetched, and it was all\nnonsense.\nBut they had one splendid trait; most of\nthem walked on the tip of their toes, danced"}, {"page_pdf": 38, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.38", "debut_caractere": 0, "fin_caractere_exclue": 4248, "texte": "into and about Dutton, hopped with amaze-\nment and grieved too, as Taglioni must have\norieved, like true dancers.\nOver these the Old Widow ot 'Windsor\nwas fated to rule, and Edward Lear was.\nto chronicle this small beer.\nHe began to do this in 1832, the year\nthat Walter Scott and Goethe died and\nBombet vanished, and he kept at it until 1836;\nit was a gloomy duty he performed at home till,\nhaving got to the end of this nonsensical chroni-\ncle of English cities, he turned to foreign ones.\nThen he perceived that in the other\nislands, in Corfu, in Rhodes, in Jamaica, in\nMajorca, the people there were old persons,\nold men, young persons, and all as silly as\nin England; even in peninsulas he found\nthem ; perceived that in Apulia, in Spain, in\nMoldavia he found this held good, and so he\nventured to enquire into the still further and\nmuch larger places, and found that in Russia,\nKamslcatka, Calcutta, Peru, civilization had\nreached the same point of excellent excentricity\nwhich was then so highly valued in Europe.\nEveryone was heard saying \" Yes, there's\nno nonsense about him\" no matter who\nit was. And Edward too—they were bring-\ning him up.\nYoung Mr. Lear was put immediately on\nthe right path ; he was given ample opportu-\nnity to display his talent,— a talent not parti-\ncularly obvious —and he was set the task of\ndrawing the Family of the Psittacidae in the\nZoological Gardens.\nThe Earl of Derby then employed him,\nhe was persuaded to depict all the animals in\nthe Knowsley Menagerie.\nAnd, as he drew these day by day, he\nwould sing to himself of far off lands. For\nsome reason unknown to the quite placid he\nwanted to get away; 1834, 1835, 1836 and\n1837 dragged on; Edward still sits before\nthe stable door at Knowsley and with a fine\ncamel hair brush touches in the fetlocks of\nDerby's charger. 1838, 1839,... 1840.... and\nthank God that's over ....1847.\nIII.\n18 4 7\nWHERE wanders Edward Lear, so lonely\nand so funny?\nEdward Lear in his spectacles, in this\nyear 1847, has stolen away like Bombet on\nthe tip of his toes, from that dear damned\nold Knowsley to look at the scenery. Do\nnot suspect me of stagey matters, 1 mean\nbetter than that. Lear felt it as did M.\nBombet, that there had been a scene, a \" full\nset \" as it's called, behind the great men\nwhile they strode their hour upon their stage,\nand it is to get a glimpse of that that Edward\nLear goes south.\n\" Let me search \" he seems to say, \" for no\nmore persons since none remain—places now.\nHe may have hated the Emperor, may\nhave said so in a letter; I know he didn t,\nand Byron was ever in his heart. He was\ntoo young even to have seen or known them,\nbut he could actually have met that nonen-\ntity Bombet, for Lear was born in. 18 i 2, and\nwhen in 183! M. Bombet turned from a\nFrench chrysalis into a glorious Butterfly of\nwhich only one example was ever known,\nEdward Lear would have been in his nine-\nteenth year. Bombet dying in 1842, Lear\nhad ten whole years in which, by chance,\nto come across him in some cafe or a theatre\nand exchange a little greeting. But, 1842\nhaving sounded from all the bells, in all the\nsteeples, Bombet too went to rest and Lear\nsoon after began laughing to himself, singing\n•\" There was an Old Man who Said Hush.... \"\nkeeping it up and keeping it going, until\nafter giving some few drawing lessons to\nthe young Queen Victoria, off he ran to\nhvicl\nOn July 25th in 1847, Edward Lear\nstood on the coast of Messina and, looking\nacross the straits to the opposite shore, heard,\nor liked to think he heard, the large dogs\nbarking in Reggio Calabria, for so the guide\nbooks told him, \" you shall hear the great\ndogs barking across the straits, and see the\nlofty cloud-topped A.spromonte and the pearl-\npale cliffs of Bagnara\nOn June Ist 1927, I was fortunate enough\nto hold the first of Lear's \" Journals \" in\nmy hands and to be reading of this Landscape\npainter's travels on foot through Southern Ca-\nlabria, and a few days later I took up the second\n\" Journal \" of this same Landscape painter,\nmade while he travelled in Albania, and in\nthis second book it was I came once more\n\n(I) Journals of a Landscape Painter in Southern Cala-\nbria etc., by Edward Lear. Richard Bently, New Burlington\nStreet, Publisher in Ordinary to Her Majesty. 1852."}, {"page_pdf": 39, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.39", "debut_caractere": 0, "fin_caractere_exclue": 3167, "texte": "across my Lord Byron, and the bell ringing\nbrought me a volume of Byron's \" Letters \"\nand there I came across M. Bombet mas-\nquerading for some unknown reason under the\nguise of a certain M. Henri Beyle-\nIf they had been all strangers to one\nanother and to me, what would it have mat-\ntered? but to meet them via Calabra and\nAlbania up at Genova (whence the poet\nwrote to Beyle) and to follow on into Vienna\n(for I followed Beyle at Byron's directions)\nuntil I came across Beyle Bombet again, ...to\nhave it all go thus was something that does\nnot always happen. So here they had all\ncome together, and here and now this word\nwhile still they are together, and indeed the\nmore they are together the happier I'll be.\nIV.\nThere was a young girl of Majorca\nWhose aunt was a very fast walker\nAND Lear was assuredly no mean pedestrian:\nHe must have walked considerably more\nthan seventy miles and leaped at least fifteen\nstiles, but for all that he returned in the\nevening to Anerly, which is, they say, a\nstone's throw from Adevoyle.\nWhen we travel with Lear, if the bells\nof his mule jingle to the slightly monotonous\ntune of \" the old man of Thermopylae \" it will\nnot matter, for it is all of a piece with some\nof the nonsense we shall get in the day's\nmarch: while around and afar off, are heights\nand gulfs, immense and peopled with a race\nof giants.\nThis spectacled Quixote in quest of\nlandscapes went for some purpose other than\nsketching peaks and dotting down horizons.\nAt least many of the giants amongst whom\nhe went thought so. To tell them \" I\nhave come to find the scenes in which my\ngreat friends once played their parts, to re-\ncapture a last glimpse of those settings to\nthe great opera now played no more \" would\nnot have astonished them more than what he\ndid say, which was that he left Reggio to\nsee Gioiosa and Bagnara. \" But are you\nmad?\" they asked him, \" you leave the glo-\nrious and civilized city of Reggio which we\nall are longing some day to see again, to come\nto these hideous forlorn places, Perche? \"\n1 have talked enough, and would like you\nto read some of Edward Lear's descriptions,\nespecially one of the gentleman of Calabria,\nwho, no matter what he did or said asked\nhim \"why?\".\nV.\nLEAR had with him his friend P.; also a\ngreat Calabrian fellow, a guide and\nservant found in Reggio whom he calls\n\" Dighi-Doghi-Da, but by name Ciccio.\nThis Ciccio would end most of his conver-\nsations with the refrain \" Di'ghi doghi da or\ndfghi doghi si, sometimes reducing it to two or\nthree syllables—to ddghi da or even to the\ndecisive da.\nThe three of them walked the whole way,\nstopping when possible either at a bit of an\ninn or at some castle or palace to the owner\nof which they had introductions from the\nConsigliere da Nava, a man of influence in\nReggio and known to all the Calabresi; fifteen\nsuch introductions he gave thern, and on\nthese they could nearly always count to\nprocure a good (or bad) bed and a famous\nor infamous meal.\nAll that and the wonderful walk itself\nyou must go and find in the Lear volumes; all\n1 can put before you are some scraps—some\nthing perhaps better than nothing.\n\n(i) First although it was the second to appear."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c036", "article_bluemountain": "bmtnaau_1928-01_01#c036", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "27", "page_fin": "33", "image_debut": 39, "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=bmtnaau192801-01.2.26", "titre_corps": "AT THE CASA SCAGLIONE", "titre_sommaire": "AT THE CASA SCAGLIONE", "signature_source": "EDWARD LEAR", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 39, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.39", "debut_caractere": 3169, "fin_caractere_exclue": 3958, "texte": "AT THE CASA SCAGLIONE\nBY EDWARD LEAR\n||]f A gust 11 1847. At twelve we dined at\nJi the Casa Scaglione. This is a very well-\nbred and agreeable family in essentials,\nalthough there are certain Calabrian modes\nand usages less refined than those of the\nnorthern provinces among families of a similar\nclass.\nDonna Peppina Scaglione, the eldest bro-\nther's wife, is very pretty and lady-like in\nappearance, and with, agreeable manners.\nThen there are the brothers, Don Nicola\nand Don Gaetano, the Canonico, and Don\nAbennate, a priest of Stilo, staying in the\nhouse as a guest, and little Don Cicile, the\nheir, of five or six years old, a quaint little\nCalabrian, full of joy and fun. f heir family\ndinner consisted of soup, iisii, boiled and\nfried meat, and potatoes, all plain and ex-\ncellent."}, {"page_pdf": 40, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.40", "debut_caractere": 0, "fin_caractere_exclue": 4250, "texte": "After dinner, the last act of which was\nto imbibe sundry glasses of an old wine,\nmuch esteemed by the Calabresi, and called\nGreco, we adjourned to the great show-room,\nor salone, of the Palazzo, the view from\nwhich eastward is most splendid. Here Don\nPasquale showed us a large collection of\nLocrian, Syracusan, Roman and other coins\nfound in the neighbourhood, after which our\ngood host victimised us fearfully by reading\naloud chapter after chapter of a work which he\nis writing on Locris—an \" opus magnum ,\nv/hich, however learned, was vastly dull. All\nhints about repose were vain; so when P\nfell fast asleep, and I was nearly following\nhis example, I was about to beg we might\nretire, when the author himself yawned, and\npaused, and fell into the arms of the drowsy\ngod, whereupon the committee of literature\nwas broken up nem. con.\"\nVI.\nA DINNER AT STIGNANO.\nAugust 15th .... But it must be\nconfessed that life at Stignano is opressive.\nThe famiglia Caristo would never leave us\nalone; when they do not catechise, they\nstand in a row and stare at us with all their\nmight; and the grand paternal Caristo is a\nthoroughly scrutinising and insatiable bore.\nAt dinner, also, there was a most confused\nassemblage of large dogs under the table\nwho fought for casual crumbs and bones, and\nwhen they did not accidentally bite one's ex-\ntremities, rushed, wildly barking, all about\nthe little room.\nBut the most remarkable accident during\nour stay was caused by a small juvenile\nCaristo who, during the midday meal, clim-\nbed abruptly on to the table, and before\nhe could be rescued, performed a series\nof struggles among the dishes, which ended\nby the little pickle's losing his balance\nand colapsing suddenly in a sitting posture\ninto the very middle of the maccaroni dish,\nfrom which P . . and I rejoiced to think we\nhad been previously helped. One sees in\nValentines Cupids on beds of roses, or on\nbird's nests; but a slightly-clothed Calabrese\ninfant sitting in the midst of a hot dish of\nmaccaroni appears to me a perfectly novel\nidea.\nAT S T I L O .\n4JT August 16th 1847. There is, however,\nbut little to note in the house or house\nhold of Don Ettore Marzano, except that\nall was perfectly orderly and agreeable.\nThe only trait which was so uncommon as\nto be at all worth recording, was that a\ndomestic stood at meal-time close to the\ntable and in order to dissipate the flys, which\nat this season are a legion, flapped a long\nflapper of feathers, Laputa-wise, close to our\nfaces. No sooner did we begin to speak\nthan whizz-flick down came the flapper, so\nas to render conversation a rather difficult\neffort.\nVII.\nCASTEL VETORE\nill August 18.- 1847. Long before sunrise.\nOnce more upon the road.- .... All na-\nture was deep grey and brown - no rock lit up\nby the yet hidden sun—as we descended the\nvalley of the Stillaro, and retraced our steps\nas far as Stignano, the home of the queru-\nlous Caristo family, and the scene of the\nmaccaronithroned infant. Leaving the town\non our left, we plunged into a deep vale between\nolive-clothed slopes, and, climbing up the\nopposite side, were soon in Motta Placanica,\none of the mo3t truly characteristic of Cala-\nbrian towns\n.... Motta Placanica seems constructed\nto be a wonder to passers-by. Long we\nlingered to draw this most singular place;\nand, leaving it by a steep descent, we came\nto the valley of the Paganiti, crossing it and\nwinding up the height on its farther side,\nwhence the rock of Motta Placanica appeared\nlike a giant king of nine-pins, as seen edge-\nways against the sky—no one of its buildings\nbut the crowning castle being visible. Hence\nalso, the eye ranged beyond the river Alaro,\nwhich we Had crossed on our way to Rocella,\nthe high hill and walls of Castel Vetere\n(representative of the ancient Caulon (I)), a\ntown built on one of those isolated hills which,\n\n(i) Caulon. antiquaries agree in placing at or near Castel\nVetere. Pacichelli speaks of its splendid and regular fortress,\nand its palace belonging to the Caralfa Family. The Asciutti\nare named by him as an old family. The modern town\nstands between the rivers Alaro and Musa, but from earth-\nquakes or other causes, is now in a very ruinous condition\nexcepting a new quarter of the town which is in process of\nbuilding."}, {"page_pdf": 41, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.41", "debut_caractere": 0, "fin_caractere_exclue": 4507, "texte": "to antiquarians, at once proclaim an ancient\nsite. By the aid of the placid Ciccio and\nhis horse, we crossed the swollen river, and,\nascending wearily to the town, found it, though\nmean in appearance from below, full of\nhouses of a large size and indicating wealth\nand prosperity.\nTo that of Don llario Asciutti we went,\nnarrowly escaping the mid-day autumn thun-\nder-storm, and found a large mansion; with a\nhall and staircase, ante-room, and drawing-\nroom very surprising as to dimensions and\nfurniture; the walls were papered, and hung\nwith mirrors, prints, etc., cheffoniers, tables,\nand a book-case adorned the sides of the\nrooms, and there were footstools with other\nunwonted objects of trans-Calabrian luxury.\nThe famiglia Asciutti were polite and most\nfriendly; there were two smart sons, just come\nfrom college at Naples; a serene and silent\nfather; and last, not least, an energetic and\nastute grandsire, before whose presence all\nthe rest were as nothing. The Nonno (l)\nAsciutti was as voluble as Conte Garrolo;\nbut with more connected ideas and sentences,\nand with an overpowering voice; an expres-\nsion of \" L'etat c'est moi \" in all he said\nand did. The old gentleman surprised us\nnot a little by his information on the subjects\non which (apropos de bottes) he held forth—\nthe game laws of England, and Magna Charta,\nthe Reformation, the Revolution of 1688,\nIreland, and the Reform Bill. He was beco-\nming diffuse on European politics, having\nalready discussed America and the Canadas,\nand glanced slightly at slavery, the East and\nthe West Indies and the sugar trade, when\nto our great satisfaction, all this learning, so\nwonderful in the heart of Magna-Grecia was\nput a stop to by the announcement of dinner.\nThe silent son, and the two gay grandsons,\nlisten to their elder relative's discourse, but\ntook no part therein; and we, however su-\nperior the matter of the oration might be,\ngreatly longed to exchange the orator for\ndear, little fussy Conte Garrolo.\nIn the large dining-room were assembled\nmany female and juvenile Asciutti, all very\nugly; hitherto we are not struck by Calabria\nfemale beauty in the higher orders, though\nmany of the peasant girls are pretty. The\nladies spoke nothing during dinner, and the\nwhole weight of the oral entertainment fell\non the erudite grandfather, who harangued\nloftily from his place at the end of the table.\nIt was Wednesday, and there was no meat,\nas is usual on that day in South Italian fa-\nmilies. \"It would be better,\" said the au-\nthoritive elder, \"If there were no such a\nthing as meat—nobody ought to eat any meat.\nThe Creator never intended meat, that is the\nflesh of quadrupeds, to be eaten. No good\nChristian ought to eat flesh—and why? The\nquadruped works for man while alive, and it\nis a shame to devour him when dead. The\nsheep gives wool, the ox ploughs, the cow\ngives milk, the goat cheese,\".—\" Cosa fanno\nper noi i jepri? \" (I)—whispered one of the\ngrandsons- \" Statevi zitt'!\" (2) shouted the\norator. \" But fish,\" continued he—\" what do\nthey do for us? Does a mullet plough? Can\na prawn give milk? Has a tunny any wool?\nNo. Fish and birds also were therefore created\nto be eaten.\" A wearisome old man was\nthe Asciutti Nonno! but the alarming point\nof his character was yet to be made known\nto us. No sooner, dinner being over, did\nwe make known our intention of proceeding\nto sleep at Gioiosa on account of our limited\ntime, then we repented having visited Castel\nVetere at all. \"O cielo! o rabbia! o che\nmai sento? o chi sono? o chi siete? \" (3)\nscreamed the Nonno, in a paroxysm of rage.\n\" What have I done that you will not stay?\nHow can I bear such an insult! Since Ca-\nlabria was Calabria, no such affront has ever\nbeen offered to a Calabrian! Go why\nshould you go?\" In vain we tried to as-\nsuage the grand-sire's fury. We had stayed\nthree days in Gerace, three in Reggio, two\nin Bova and in Stilo, and not one in Castel\nVetere! The silent father looked mournful,\nthe grandsons implored; but the wrathful old\ngentleman, having considerably endangered\nthe furniture by kicks and thumps, finally\nrushed down stairs in a frenzy, greatly to our\ndiscomfiture.\nThe rest of the family were distressed\nseriously at this incident, and on my sending\na message to beg that he would show us a\nnew palazzo he was constructing (himself the\narchitect), for the increased accomodation of\n\n(i) Grandfather.\n(1) What do the hares do for us?\n(2) Hold your tongue !\n(3) Oh heavens ! Oh rage ! Oh what do I hear ! Oh\nwho am I ? Oh who are you ?"}, {"page_pdf": 42, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.42", "debut_caractere": 0, "fin_caractere_exclue": 4289, "texte": "the family Asciutti, he relented so far as to\nreturn, and after listening favourably to our\nencomiastic remarks, bade us a final farewell\nwith a less perturbed countenance and\nspirit\nPERCHE.\n€J . . . . By taking a route parallel to the\ncoast, as far as the Fiume Romano, which\nwe ascended for an hour, till we arrived\nat Gioiosa apparently a large and well-built\ntown, on the banks of a narrow part of the\nstream. The house of the Baron Rivettini,\nto whom we had letters, was large and impo-\nsing, but the Baron was not within, and the\nservants, with none of that stranger-helping\nalacrity of hospitality, so remarkable in more\nnorthern provinces of the Regno di Napoli,\nappeared too much amazed at the sudden\narrival of \" due forestieri,\" (I) to do anything\nbut contemplate us; and, to speak truth,\nneither our appearence, considering we had\ntoiled through some rain and much dirt all\nthe afternoon, nor our suite, consisting of a\nman and a horse, were very indicative of\nbeing \" comme il faut.\" With difficulty we\nobtained leave to rest in a sort of ante-office,\nhalf stable, half kitchen, while a messenger\ncarried our letter of introduction to the Baron\nRivettini. When he returned, quoth he, \"The\nBaron is playing at cards, and cannot be in-\nterrupted; but, as there is no locanda in the\ntown, you may sleep where you are.\" Un-\nwashed, hungry, and tired as we were, as\nseeing that there was nothing but an old rug\nbyway of furniture in this part of the Baron's\npremises, we did not feel particularly gratified\nby this permission, the more that P. was\nrather unwell, and I feared he might have\nan attack of fever; neither did the dome-\nstics offer us caffe, or any other mitigation of\nour wayfaring condition.\n\"Is there no Caffe? \" \" Non c' e \" (2)\n\"No wine? \" \" Non ch \" \"No light ? \"\n\" Non c' e \" It was all \" Non c' e\". So\nsaid I, \" Show me the way to the house\nwhere the Baron is playing at cards.\" But\nthe proposal was met with a blank silence,\nwholly unpropitious to our hopes of a night's\nlodging; and it was not until after I had\nrepeated my request several times, that a man\ncould be persuaded to accompany me to a\nlarge Palazzo at no great distance, the well\nlighted lower story of which exhibited offices,\nbarrels, sacks, mules, etc., all indicative of\nthe thriving merchant. In a spacious salone\non the first floor sate a party playing at cards,\nand one of them a minute gentleman, with a\nform more resembling that of a sphere than\nany person I ever remember to have seen,\nwas pointed out to me as the Baron by the\nshrinking domestic who had thus tar piloted\nme. But excepting by a single glance at me,\nthe assembled company did not appear aware\nof my entrance, nor, when I addressed the\nBaron by his name, did he break off the\nthread of his employment, otherwise than by\nsaying, \" Uno, due, tre,—signore, si—quattro,\ncinque,—servo suo, fanno quindici.\" (1)\n\" Has your Excellency received an intro-\nductionary letter from the Cavalier de Nava? \"\nsaid I.\n\" Cinque, sei,—si, signore, fanno un-\ndid, \" (2) said the Baron, timidly. This\nthought I, is highly mysterious.\n\" Can I and my travelling companion\nlodge in your house, Signor Baron, until to-\nmorrow ?\"\n\"Tree sei fanno nove, \" (3) pursued the\nBaron, with renewed attention to the game.\n\" Ma perche, (4) signore?\"\n\" Perche, {5) there is no inn in this town;\nand, perche, I have brought you a letter of\nintroduction,\" rejoined I.\n\" Ah, si si si, signore, pray favour me\nby remaining at my house.—Two and seven\nare nine—eight and eleven are nineteen.\"\nAnd again the party went on with the\nGiuoco.\nThere was an expression of doubt and\nmystery on the faces of all the party, which,\nhowever, did not escape my observation,\nand I felt sure, as I left the room, that\nsomething was wrong; though like King\nCoal's prophet of traditional celebrity, \" I\nknew not what that something could be.\"\nWhen I returned to the Palazzo Rivettini,\nall the scene was changed. Coffee was brought\nto us, and a large room was assigned for our\nuse. While all the natural impulse of Cala-\n\n(1) Two strangers.\n(2) There is none.\n(1) One, two, three, —yes, sir,—four, five,—your servant\nsir,—make fifteen.\n(2) Five. Six,-yes, sir,—make eleven.\n(3) Three and six are nine.\n(4) But why, Sir f\n(5) Here pcvchb is also used in the second sense \" be-\ncause"}, {"page_pdf": 43, "page_imprimee": "31", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.43", "debut_caractere": 0, "fin_caractere_exclue": 4245, "texte": "brese hospitality seemed, for a time at least,\nto have overpowered the mysterious spell which,\nfrom some unknown cause, appeared to oppress\nthose inhabitants of Gioiosa with whom we\nwere brought in contact. But the magic\natmosphere of doubt and astonishment returned\nin full force as other persons of the town came\ninto the evening conversation. Few words\nwerfe said but those of half-suppressed curio-\nsity as to where we came from; and the\nglobose little Baron himself gradually confined\nhis observations to the single interrogative,\n\"Perche?\" which he used in a breathless\nmanner, on the slightest possible provocation.\nSupper followed, every part of the entertain-\nment arrayed with the greatest attention to\nplenty and comfort; but the whole circle\nseemed ill at ease, and regarded our looks\nand movements with unabated watchfulness,\nas if we might explode, or e:cape through\nthe ceiling at any unexpected moment; so\nthat both hosts and guests seemed but too\nwell pleased when we returned to our room\nand the incessant \" Perche? perche? perche?\"\nwas for this evening, at least, silenced.\nBy all this mystery—so very unusual to\nthe straightforward and cordial manners of\nthese mountaineers there was left on my\nmind a distinct impression of some supposed\nor anticipated evil. \" Coming events cast\ntheir shadows before.\"\nAugust 19. As usual, we rose before\nsunrise. \"O Dio! perche?\" said the dimi-\nnutive Baron Rivettini, who was waiting\noutside the door lest perhaps we might have\nattempted to pass through the keyhole. A\nsuite of large drawingrooms was thrown open,\nand thither caffe was brought with the most\npunctilious ceremony. My suspicions of last\nnight were confirmed by the great precision\nwith which our passports were examined, and\nby the minute manner in which every parti-\ncular relating to our eyes, noses, and chins,\nwas written down; nor was it until after\nendless interrogatories and more \" perches \"\nthan are imaginable, that we were released.\nBut our usual practice of taking a small piece\nof bread with our coffee renewed the universal\nsurprise and distrust of our hosts.\n\" Pane! \" said the Baron, \" perche pane?\nO cielo! \"\n\" I never take sugar,\" said P..., as some\nwas offered to him.\n\" Sant* Antonio, non prendete zucchero ?\nPerche? O Dio! perche mai non prendete\nzucchero? \" (l)\nWe want to make a drawing of your\npretty little town,\" said I; and, in spite of a\nperfect hurricane of \" pe out we rushed,\nfollowed by the globular Baron, in the most\nlively state of alarm, down the streets, across\nthe river on stepping-stones, and up the op-\nposite bank, from the steep cliffs of which,\nover hung with oak foliage, there is a beau-\ntiful view of Gioiosa on its rock.\n\" O per carita! o cielo! o san Pietro!\ncosa mai volete fare?\" said the Baron, as I\nprepared to sit down.\n\" I am going to draw for half-an-hour,\"\nsaid 1.\n\" Ma—-perche? \"\n\" And now I sat working hard for nearly\nan hour, during all which time the perplexed\nBaron walked round and round me, occasionally\nuttering a melancholy.—\n\" O signore, ma perche ? \"\n\" Signore Barone,\" said I, when I had\ndone my sketch, \" We have no towns in our\ncountry so beautifully situated as Gioiosa! \"\n\" Ma perche? \" quoth he.\nI walked a little way and paused to ob-\nserve the bee-eaters (2) which were flittering\nthrough the air above me, and under the\nspreading oak branches.\n\"Per l'amor del cielo, cosa guardate ?\ncosa mai osservate?\" <3) said the Baron.\n\" I am looking at those beautiful blue\nbirds.\"\n\" Perche?perche? perche?\"\n\" Because they are so very pretty, and\nbecause we have none like them in England.\"\n\" Ma perche? perche? \"\nIt was evident that do or say what I\nwould, some mystery was connected with\neach action and word so that, in spite of the\nwhimsical absurdity of these eternal what\nfors and whys, it was painful to see that,\nalthough our good little host strove to give\nscope to his hospitable nature, our stay caused\nmore anxiety than pleasure. Besides, his\nwhole demeanour so strongly reminded one\nof Croaker—\" do you forsee anything, child?\nyou look as if you did. I think if anything\nwas to be forseen, I have as sharp a look out\n\n(1) Do you not take sugar? etc,\n(2) Merops Apiaster.\n(3) For the love of heaven, what are you looking at?\nwhat have you seen."}, {"page_pdf": 44, "page_imprimee": "32", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.44", "debut_caractere": 0, "fin_caractere_exclue": 4120, "texte": "as another,\"—that it was no easy task to pre-\nserve a proper degree of gravity.\nHis curiosity, however, was to be tried\nstill further; for, having heard that Gioiosa\nwas famous for the manifacture of sugarplums\nor confetti, we had resolved to take some\nhence to Gerace, to give little Cicillo and\nMaria Scaglione; but when we asked where\nconfetti could be purchased, the poor Baron\nbecame half breathless with astonishment and\nsuspense, and could only utter, from time to\ntime, \" Non e possibile! Non e possibile!\nO gran cielo! Confetti? confetti? Perche\nconfetti? Non e possibile,\" (l) We proved,\nhowever that sugarplums we were determined\nto have, and forthwith got the direction to a\nconfectioner's, whither we went and bought\nan immense quantity, the mystified Baron,\nfollowing us to the shop, saying continually\n\" Perche, perche Confetti? O Cielo! perche? \"\nWe then made all ready to start with the\nfaithful Ciccio, and, not unwillingly, took\nleave of the Palazzo Rivettini, the anxious\nBaron thrusting his head from a window, and\ncalling out, \" Ma fermatevi, perche? Perche\nandatevi? statevi a pranzo, perche no? Per-\nche uceili? Perche disegni? Perche confetti?\nPerche perche? perche? till the\nlast \" perche\" was lost in the distance as\nwe passed once more round the rock, and\ncrossed the river Romano.\nLear and the guide tramped on for another\nfourteen doys covering mile upon mile until\nthe date September 2nd.\nIP7 September 2 ... . At the hour of one\nin the night we reached Reggio, and\nhere the secret divulged itself at once.\nHow strange was that scene! All the\nquiet town was brilliantly lighted up; and\nevery house illuminated; no women or chil-\ndren were visible, but troops of men, by\ntwentys and thirtys, all armed, and preceded\nby bands of music and banners inscribed,\n\" Viva Pio IX; \" or \" Viva la costituzione,\"\nwere parading the high street from end\nto end.\nCo x'e stata, (3- Ciccio ? \" said I.\nO non vedete,\" said the unhappy mu-\nleteer with a suppressed groan. \" O non\nvedete? e uno rivoluzione! Dighi, doghi, da!\"\nNo one took the least notice of us as we\npassed along, and we soon arrived at Gior-\ndano's Hotel. The doors were barred, nor\ncould I readily gain admittance; at length the\nwaiter appeared, but he was uproariously\ndrunk.\n\"Is signor P.... arrived by the boat\nfrom Messina? \" said I.\n\" O che barca! O che Messina! O che\nbella rivoluzione! Ai! ao! Orra birra burra-\nba! \" was the reply.\n\" Fetch me the keys of my room,\" said\nI; \"I want to get at my roba\n\" O che chiavi! O che camera! O che\nroba! ai, ai,! \"\n\" But where are the keys?\" I repeated.\n\"Non ci sono piu chiavi, \" screamed\nthe excited cameriere; \" non ci sono piu\npassaporti; non ci sono piu Re, piu legge—\npiu giudici—piu niente—non x'e altro che\nI'amore la liberta—l'amicizia, e' la costitu-\nzione—eccovi la chiave—ai! o-o-o-o-orra\nbirra ba!! \" (l)\nAND these are one or two of the pages\nfrom the Journals of the lonely Lear—\nwho wrote the ballad which begins:\nThe Owl and the pussy Cat went to sea\nIn a beautiful pea-green boat.\nHe wrote it for Janet daughter of Mr. and\nMrs. J. A. S.\nI do not know a more lonely man than\nLear as he set forth on his last sketching\ntour into Corsica: that was in 1868. You\nwill read that book of his last.\ndon't forget that I brought it to\nyour notice.\nThese astonishingly good volumes were\nnever brought to my notice by anyone / know.\nThe first 1 heard of them was when looking\ninto an Italian guide to Calabria 1 found\nLear quoted therein by the Italian author.\nIn no work by an English author have I come\nacross one reference to Lear's three books,\nthough probably some have referred to him.\nshouldn t look for word about him in\nEnglish guides, but I think I ought long ago\nto have come across this book in \"The\n\n(i) It is not possible! It is not possible! Oh great\nHeavens! sugarplums sugarplums etc.\ndo you go? stay to dinner; why not?\nwhy birds ? why drawings ? why sugarplums, etc.\n(3) What has happened ?\n(i) lheie ate no more keys there are no more pass-\nports- no more Kings, no more laws, no more nothings!\nNothing but love and liber(y, friendship and constitution!\nhere s the key!"}, {"page_pdf": 45, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 685, "texte": "Everyman Series\" or in some Routledge\nreprint; but no one except John Ruskin\nseems to have pointed out to us this specta-\ncled writer as a writer of exceptional books\nworthy to be read and re-read, since to read\nonce is perforce to read over and over again.\nAs for his drawings, they show us the\nplaces he stopped in for six or eight hours;\nto me they will be ever delightful, but possibly\nyou will have to pass the middle of life to\nfind them enchanting.\nI had much more to say; —if I have not\nwritten it, it was because I felt that in Lear\nand in Bombet there talks a whole life, and,\nwhen you read Bombet and Lear, you will\nunderstand and may be almost as inarticulate\nas I am here."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c038", "article_bluemountain": "bmtnaau_1928-01_01#c038", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "33", "page_fin": "33", "image_debut": 45, "image_fin": 45, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.27", "titre_corps": "A LETTER FROM DENMARK ON THE THEATRE", "titre_sommaire": "A LETTER FROM DENMARK ON THE THEATRE", "signature_source": "Ebbe de Neergaard", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.45", "debut_caractere": 687, "fin_caractere_exclue": 6280, "texte": "A LETTER FROM DENMARK\nON THE THEATRE.\nEbbe de Neergaard.\nDENMARK is not very different from the rest of\nEurope, and* neither is Denmark's theatre. Some\npeople say that our land is a little sleepy but other\npeople tell us that is only gentleness. And some people\nsay, we are a little off the beaten high-way of the great\nworld. Still I don't think we are really very much dif-\nferent from the rest of the world, and if somebody says\nM there is something rotten in the State of Denmark *\\\nmaybe he is right, too; we may take Denmark as a type.\nWe have got a society here, called Skiteespillerforbundet\n(The Actors Union). About May Ist it held a meeting to\ndiscuss \" The Modern Theatre\", and a middle-aged and\nfresh-minded actor and manager, Axel Garde, gave a brief\nsketch of how he wanted to start and run a popular theatre\nfor modern art.\nThe people present, actors (the very leading ones were\nmissing) and critics (some of them) and some authors, said\nsome pleasant things, but rather sceptical in tone. Only\none old poet, a writer of children's poems, said that he\nthought it would be easy to get together some twenty\nyoung and younger actors, willing to sacrifice their time\nand strength in an experimental theatre, and on sharing\nterms. Then up started the chairman and said, that both\nin this union (which is really nothing but a regular trade\nunion, concerned with little but economical questions) and\nin the dramatists* union too, he was sure they would see\nto it that the utmost care should be taken to guarantee that\nall actors and authors should have their fixed and regular\npay, and he thought that it would be an extremely dif-\nficult task to find any actors willing to take any economical\nrisk whatever. The economical side of the question must be\nmade secure before a new theatre could be started : though\nof course the Art is the most important, he wound up,\nand a large majority cheered and clapped their hands fran-\ntically. Meanwhile the spirit of idealistic sacrifice groan-\ned and shivered outside in the dark wet streets.\nAnother example. A young actor, Borge MuncKPe-\ntersen, recently wanted to start an experimental stage. His\nnotion was to perform the Cochu Magnifique on one eve-\nning, to be followed on the next evening by three small\nplays, Synge's 44 Riders to the Sea \", Stravinsky's 44 Story\nof a Soldierand a wild farce by a very clever young\nDane, Sven Clausen. He also planned to present small\nplays, of the length of a cinema-performance, inside an\nenclosure of planks, between two huge naked gables at the\nend of a cul-de-sac in the middle of the city of Co-\npenhagen. Again, with the aid of an architect, he would\nconstruct a car in which to travel about the country and\nin five minutes adapt it into a little stage on which he\nproposed to give small performances, etc.\nHe got together some money, somehow ; he got hold\nof a celler and a modern P. H. lamp and began rehear-\nsals with a small groups of young actors, who seemed to\nbe quite enthusiastic. But before long they began to miss\nrehearsals ; one young actress simply must go to that dinner-\nparty, another young actor had to appear at a certain\ndance. Then there was a bourgeois charity-performance\nat a fine hotel and a number of actors and actresses must\npositively attend because all society would be there: a\nwhile later there were some Greek Recitals, too, which they\nabsolutely could not miss.\nSome clever people had been at the rehearsals of these\nyoung people, and they thought it all very fresh and promi-\nsing. But Mitnch-Petersen had to give it a/1 up, because\nhis young people were not serious enough about it. Oh,\nthere were so many other things to attend to, you see.\nAdded to this they got no immediate pay: besides, you\nnever knew, perhaps the bougeois-public would not like\nthe plays or give them their applause, immediately, and\nthese young actors could not possibly wait and hope and\nwork on and see it through... it is all given up now.\nMaybe that white-haired optimistic children's poet who\nspoke at the meeting of the Actor's Union was quite\nwrong: for they would not come, that dozen or so of young\nactors and actresses. And so the slow tram of Thalia\nrolls on, along the old beaten track.\nThe event of the Copenhagen season is the return of\nAnna Pavlova after nineteen years. And of course that was\nsplendid and all that, but is that the new movement ? Hardly.\nBut maybe it is only in the State of Denmark?s Thea-\ntre, that there is something rotten. Or is it so abroad,\ntoo ? Tell me, please !\nOr is it really the Theatre, which is rotten ? The Thea-\ntre itself. I mean, haven't we got a mass of fine things\nto act and haven't the actors got an excellent tecnique.\nWell then ?\nNo: there is something in the actor's mind which is\nrotten, a tiny spot timid and philistine, afraid of risking a\nsafe income in order to risk a little, or a lot, for the\nchance of great and fresh new Art of our Time.\nThe duty of actors is to express their time through an\nold medium (Shakespeare, for instance) or a modern one.\nBut 1 am afraid they have realized the truth, that it is more\nsafe (economically, not artistically) to express the time of,\nsay, Ibsen, that time of old dead naturalism.\nShould the actors of our time jeopardize their present\nsafe trade-union wages, (which after long struggling they\nhave secured at last and to which they have a good right,\nof course) ? should they hug their economical standard 0R..?\nWell, 44 To be or not to be, that is the question\".\nShould the actor 44 be \", or should the art be ? 1 just put\nthe question. I cannot find it in my mind to answer."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c039", "article_bluemountain": "bmtnaau_1928-01_01#c039", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "34", "page_fin": "35", "image_debut": 46, "image_fin": 47, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.28", "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": 46, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.46", "debut_caractere": 0, "fin_caractere_exclue": 4876, "texte": "CORRESPONDENCE.\n\nTHEATRICAL\nFanny Hepworth.\nSIR: —\nIt seems to me that until the Theatre has become un-\ntheatrical it will not be acceptable in England.\nThe English are kind people: there is very little they\nharden their hearts against; but one thing they will not\nand can not permit, and that is the Theatrical.\n1 remember during the war the headline of a leading\narticle in a famous daily :\n\" THE THEATRICAL KAISER \"\nThis was the knock-out blow. After having said that,\nthe wrath of the people of England reached a fury it ne-\nver would have attained to by merely calling him a murde-\nrer, an assassin or a Hell-hound.\nThe same journal favours Mussolini, so it says nothing\nabout his theatricality, but other organs of public opinion,\nseeking to belittle this great personality, refer to him as\n\" theatrical\nAs writers in your magazine have often pointed\nout, the unforgiveable thing about Shakespeare is that he\nis far too often theatrical ; that all his work was made for\na theatre is of no account; it may have been so, say the\nEnglish, but none the less it is highly reprehensible that it\nshould be so theatrical.\nIt is net Napoleon's politics, nor his wars, nor his\nmurders, which offend the English : it is his theatricality.\nThe success of any English playhouse is assured once\nwill ridicule the theatrical: this fact has contributed not\na iitle to the success of Mr. Nigil Playfair.\nLet but the Theatre deride its own essence, there is\nmoney in it.\nWhen a friendly critic discovers that a performance is\n\" artistic\" he does so very often so as to save the show\nfrom being damned as \"showy\". Critics are far kinder\nthan is supposed. A critic will uphold an actor for twenty-\nfive years by using the adjective \" gentlemanly \" in place\nof \" stagey \". \" He was very gentlemanly ...this decides\nthirty thousand people to see the performance who the\nday before, hearing that the actor was rather given to\nacting, had instantly purposed not, on any account, to men-\ntion his name, let alone go and see him.\nSo long as an actress is charming, intellectual, touching,\nher success is assured ; but dare once to say she acted as\nthough the devil were in her, and all is up in a\nmoment.\nThus we have travelled far from the days when Voltaire\ndemanded first of all of a young actress that she should\ndevelope •• le diable au corps\".\nAn instance occurs to me of something theatrical\nwhich affected a very large body of people.\nI was once at Eastbourne when the whole esplanade,\nstretching for over two miles, was densely packed with vi-\nsitors enjoying the mild weather. It was, I remember,\nsomething after eight o'clock.\nThe sea was calm, the band playing, there was not a\ncloud in the sky. Fisherfolk were hauling in their nets,\nchildren were being allowed to stay up half an hour lon-\nger because it was such a mild and lovely evening.\nBut suddenly, as though a panic had seized the throng,\neveryone was wrapping up; hats were banged on heads,\nparasols caught up, nurses called to take in the children\nimmediately; and in less than three minutes the esplanade\nwas deserted, and the blinds of all the hotels along the\nfront were down.\nI remained alone wondering what could have been the\ncause for this sudden rout, when, turning to look out to\nsea, the whole matter was explained in one instant.\nThe moon was rising.\n\nTHE SHAKESPEARE MEMORIAL FUND.\nA Journalist.\nStR,\nIn this matter of the Americans and the Shakespeare\nMemorial yours is the correct spirit and 44 The Mask\"\ndoes its duty to England by standing to the flag as it\ndoes.\nIt was of course not an officially authorized expedition\nwhich was sent to America to collect funds. His\nMajesty the King is the Patron of the Shakespeare Me-\nmorial Theatre (Incorporated by Royal Charter) and if\nMr. A. D. Flower of Stratford-upon-Avon and others went\nto America to gather funds for this theatre they went as\nindividuals and on their own responsability.\nIt is said that the American Committee of the Fund\ninvited him to go, and doubtless the Governors of the\nTheatre murmured 44 Not a bad idea....go, Flower, go, my\ndear chap It's a stunt, not an idea, and quite the\nslackest recorded in History.\nYet look at the other side of the case for a moment.\nThe sum of £ 250,000 was wanted for four\nobjects:\n1. To build a new Theatre.\n2. 1 o provide sceneries and costumes for a complete\ncycle of Shakespeare plays.\n3. To organize Companies of Players to do several\ntasks.\n4. To found a School of Dramatic Art.\nEngland in two years raised £ 50,000, iet one\nfifth of the sum needed. What was Mr. Flower to do,\nwhat could the Governors say but 44 Go, Flower, go, my\ndear boy, go to America by all means\nNow why was only £ 50,000 subscribed by Eng-\nland?\nSimply because the whole scheme was mismanaged.\nHad the Daily Mail taken it in hand, I, for one,\ndo not doubt but that half a million would have been\nraised within a year.\nFaithfully"}, {"page_pdf": 47, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 2512, "texte": "AMERICAN HELP:—WHYNOT?\nI. Moser Lewis.\nSIR,\nI read in an American paper that\nPEOPLE OF MANY LANDS WILL HELP\nTO REBUILD THE BURNED\nTHEATRE THAT STOOD BESIDE\nTHE AVON AT STRATFORD.\nThe notion that we in England cannot rebuild our\nDramatist his Theatre without the dollars from America\nseems to be gaining ground.\nWhy shouldn't America \" show its gratitude\", why\nshould not others '• help'' and \" sit at the feet of so\ngreat a man\"? as they say: These and other like ques-\ntions are flung at those of us who once thought that we\ncould manage this and like little affairs by ourselves.\nYet I too have come to ask myself why should not\nAmericans help and show their gratitude if they wish to\nhelp and show gratitude.\nThe principal argument against it is that recently we\nhave been given a clear proof from America that in any\nsuch matter the Americans are out to get far more than\nthey give. It may not be in any way a gift of gratitude,\nbut a bargain.\nDoubtless in America there can be found many a man\nand woman to give solely to help and without dreaming\nof any return.\nBut, as the American Lawyer, Mr. Peabody, recently\npointed out in a letter to Congress, \" while the advances\nmade to Great Britain during the War were made to\nprovide for their own security and defence and were gifts\nnot loans to be repaid when the time had gone by, these\ngifts, this help, was made out to be a strictly business\naffair \".\nWe had to pay. We paid.\nIn ten or twenty years from now we and our sons may\nfind ourselves told to repay this gift from America, to\nrepay it one way or another.\nWe may have to hand over to America the entire\nacting, publishing and film rights of \" The Merchant of\nVenice\" because of a clause in the bond. It is quite\npossible, fantastic as it may sound.\nSincerely,\n\nGIVING THE WRONG IMPRESSION.\nEnglishman.\nCiR,\nlt seems to me extraordinary that by asking for money\nfrom foreign peoples we should advertise far and wide to\nevery one in the world that we are too poor to support,\nhouse and adequately produce the works of our National\nDramatist.\nWithout wishing to add to the labours of Mr.\nBaldwin, is it too late, I wonder, for our government to\nmove in this matter of the Shakespeare Memorial Theatre,\nbecause the spectacle of unauthorized little bodies of\npeople in Europe, Asia, America and Africa going\nround with the hat on Shakespeare's and England's behalf\nsomehow does not strike one as a spectacle warranted to\nencourage a right understanding of Great Britain's power,\nor resources.\nFaithfully,"}]}, {"article_id": "bm-bmtnaau-1928-01-01-c041", "article_bluemountain": "bmtnaau_1928-01_01#c041", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "34", "page_fin": "34", "image_debut": 46, "image_fin": 46, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.28.2", "titre_corps": "THEATRICAL", "titre_sommaire": "THEATRICAL", "signature_source": "Fanny Hepworth", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 46, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.46", "debut_caractere": 17, "fin_caractere_exclue": 3314, "texte": "THEATRICAL\nFanny Hepworth.\nSIR: —\nIt seems to me that until the Theatre has become un-\ntheatrical it will not be acceptable in England.\nThe English are kind people: there is very little they\nharden their hearts against; but one thing they will not\nand can not permit, and that is the Theatrical.\n1 remember during the war the headline of a leading\narticle in a famous daily :\n\" THE THEATRICAL KAISER \"\nThis was the knock-out blow. After having said that,\nthe wrath of the people of England reached a fury it ne-\nver would have attained to by merely calling him a murde-\nrer, an assassin or a Hell-hound.\nThe same journal favours Mussolini, so it says nothing\nabout his theatricality, but other organs of public opinion,\nseeking to belittle this great personality, refer to him as\n\" theatrical\nAs writers in your magazine have often pointed\nout, the unforgiveable thing about Shakespeare is that he\nis far too often theatrical ; that all his work was made for\na theatre is of no account; it may have been so, say the\nEnglish, but none the less it is highly reprehensible that it\nshould be so theatrical.\nIt is net Napoleon's politics, nor his wars, nor his\nmurders, which offend the English : it is his theatricality.\nThe success of any English playhouse is assured once\nwill ridicule the theatrical: this fact has contributed not\na iitle to the success of Mr. Nigil Playfair.\nLet but the Theatre deride its own essence, there is\nmoney in it.\nWhen a friendly critic discovers that a performance is\n\" artistic\" he does so very often so as to save the show\nfrom being damned as \"showy\". Critics are far kinder\nthan is supposed. A critic will uphold an actor for twenty-\nfive years by using the adjective \" gentlemanly \" in place\nof \" stagey \". \" He was very gentlemanly ...this decides\nthirty thousand people to see the performance who the\nday before, hearing that the actor was rather given to\nacting, had instantly purposed not, on any account, to men-\ntion his name, let alone go and see him.\nSo long as an actress is charming, intellectual, touching,\nher success is assured ; but dare once to say she acted as\nthough the devil were in her, and all is up in a\nmoment.\nThus we have travelled far from the days when Voltaire\ndemanded first of all of a young actress that she should\ndevelope •• le diable au corps\".\nAn instance occurs to me of something theatrical\nwhich affected a very large body of people.\nI was once at Eastbourne when the whole esplanade,\nstretching for over two miles, was densely packed with vi-\nsitors enjoying the mild weather. It was, I remember,\nsomething after eight o'clock.\nThe sea was calm, the band playing, there was not a\ncloud in the sky. Fisherfolk were hauling in their nets,\nchildren were being allowed to stay up half an hour lon-\nger because it was such a mild and lovely evening.\nBut suddenly, as though a panic had seized the throng,\neveryone was wrapping up; hats were banged on heads,\nparasols caught up, nurses called to take in the children\nimmediately; and in less than three minutes the esplanade\nwas deserted, and the blinds of all the hotels along the\nfront were down.\nI remained alone wondering what could have been the\ncause for this sudden rout, when, turning to look out to\nsea, the whole matter was explained in one instant.\nThe moon was rising."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c042", "article_bluemountain": "bmtnaau_1928-01_01#c042", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "34", "page_fin": "34", "image_debut": 46, "image_fin": 46, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.28.3", "titre_corps": "THE SHAKESPEARE MEMORIAL FUND : A Journalist", "titre_sommaire": "THE SHAKESPEARE MEMORIAL FUND : A Journalist", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 46, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.46", "debut_caractere": 3316, "fin_caractere_exclue": 4876, "texte": "THE SHAKESPEARE MEMORIAL FUND.\nA Journalist.\nStR,\nIn this matter of the Americans and the Shakespeare\nMemorial yours is the correct spirit and 44 The Mask\"\ndoes its duty to England by standing to the flag as it\ndoes.\nIt was of course not an officially authorized expedition\nwhich was sent to America to collect funds. His\nMajesty the King is the Patron of the Shakespeare Me-\nmorial Theatre (Incorporated by Royal Charter) and if\nMr. A. D. Flower of Stratford-upon-Avon and others went\nto America to gather funds for this theatre they went as\nindividuals and on their own responsability.\nIt is said that the American Committee of the Fund\ninvited him to go, and doubtless the Governors of the\nTheatre murmured 44 Not a bad idea....go, Flower, go, my\ndear chap It's a stunt, not an idea, and quite the\nslackest recorded in History.\nYet look at the other side of the case for a moment.\nThe sum of £ 250,000 was wanted for four\nobjects:\n1. To build a new Theatre.\n2. 1 o provide sceneries and costumes for a complete\ncycle of Shakespeare plays.\n3. To organize Companies of Players to do several\ntasks.\n4. To found a School of Dramatic Art.\nEngland in two years raised £ 50,000, iet one\nfifth of the sum needed. What was Mr. Flower to do,\nwhat could the Governors say but 44 Go, Flower, go, my\ndear boy, go to America by all means\nNow why was only £ 50,000 subscribed by Eng-\nland?\nSimply because the whole scheme was mismanaged.\nHad the Daily Mail taken it in hand, I, for one,\ndo not doubt but that half a million would have been\nraised within a year.\nFaithfully"}]}, {"article_id": "bm-bmtnaau-1928-01-01-c043", "article_bluemountain": "bmtnaau_1928-01_01#c043", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "35", "page_fin": "35", "image_debut": 47, "image_fin": 47, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.28.4", "titre_corps": "AMERICAN HELP:—WHY NOT?", "titre_sommaire": "AMERICAN HELP:—WHY NOT?", "signature_source": "I. Moser Lewis", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 1772, "texte": "AMERICAN HELP:—WHYNOT?\nI. Moser Lewis.\nSIR,\nI read in an American paper that\nPEOPLE OF MANY LANDS WILL HELP\nTO REBUILD THE BURNED\nTHEATRE THAT STOOD BESIDE\nTHE AVON AT STRATFORD.\nThe notion that we in England cannot rebuild our\nDramatist his Theatre without the dollars from America\nseems to be gaining ground.\nWhy shouldn't America \" show its gratitude\", why\nshould not others '• help'' and \" sit at the feet of so\ngreat a man\"? as they say: These and other like ques-\ntions are flung at those of us who once thought that we\ncould manage this and like little affairs by ourselves.\nYet I too have come to ask myself why should not\nAmericans help and show their gratitude if they wish to\nhelp and show gratitude.\nThe principal argument against it is that recently we\nhave been given a clear proof from America that in any\nsuch matter the Americans are out to get far more than\nthey give. It may not be in any way a gift of gratitude,\nbut a bargain.\nDoubtless in America there can be found many a man\nand woman to give solely to help and without dreaming\nof any return.\nBut, as the American Lawyer, Mr. Peabody, recently\npointed out in a letter to Congress, \" while the advances\nmade to Great Britain during the War were made to\nprovide for their own security and defence and were gifts\nnot loans to be repaid when the time had gone by, these\ngifts, this help, was made out to be a strictly business\naffair \".\nWe had to pay. We paid.\nIn ten or twenty years from now we and our sons may\nfind ourselves told to repay this gift from America, to\nrepay it one way or another.\nWe may have to hand over to America the entire\nacting, publishing and film rights of \" The Merchant of\nVenice\" because of a clause in the bond. It is quite\npossible, fantastic as it may sound.\nSincerely,"}]}, {"article_id": "bm-bmtnaau-1928-01-01-c044", "article_bluemountain": "bmtnaau_1928-01_01#c044", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "35", "page_fin": "35", "image_debut": 47, "image_fin": 47, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.28.5", "titre_corps": "GIVING THE WRONG IMPRESSION", "titre_sommaire": "GIVING THE WRONG IMPRESSION", "signature_source": "Englishman", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.47", "debut_caractere": 1774, "fin_caractere_exclue": 2512, "texte": "GIVING THE WRONG IMPRESSION.\nEnglishman.\nCiR,\nlt seems to me extraordinary that by asking for money\nfrom foreign peoples we should advertise far and wide to\nevery one in the world that we are too poor to support,\nhouse and adequately produce the works of our National\nDramatist.\nWithout wishing to add to the labours of Mr.\nBaldwin, is it too late, I wonder, for our government to\nmove in this matter of the Shakespeare Memorial Theatre,\nbecause the spectacle of unauthorized little bodies of\npeople in Europe, Asia, America and Africa going\nround with the hat on Shakespeare's and England's behalf\nsomehow does not strike one as a spectacle warranted to\nencourage a right understanding of Great Britain's power,\nor resources.\nFaithfully,"}]}, {"article_id": "bm-bmtnaau-1928-01-01-c045", "article_bluemountain": "bmtnaau_1928-01_01#c045", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "35", "page_fin": "35", "image_debut": 47, "image_fin": 47, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.29", "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": 47, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.47", "debut_caractere": 2514, "fin_caractere_exclue": 3941, "texte": "FOREIGN NOTES.\n\nNEWYORK.\nK.\nReinhardt* s Production of \" A Midsummer Night's\nDream \" at the Century Theatre.\nIT was quite a clever notion of Professor Reinhardt's to\nput this proposition to Professor Strnad his designer,\n•• Give me thirty different possibilities of entrance from air\nand earth in your scene and that's all I want \".\nIt's a typical Reinhardt order.\nWhat also is just as typical is his plunging the wood-\nland scenes in darkness.\nThe Midsummer Night's Dream must have no darkness\nin it.\nIf a producer plays with this easy notion of darkness\nin his early experiments he does no harm, but to abide\nby it past middle age is for the eventide to fall very fast\nindeed.\nReinhardt is well supported here. Not only by his\nspecial Public but by many of the critics. He is as\nusual exceptionally well supported by his assistants Strnad\nand a group of first class by Moissi, Solveg\nand the Thimig family and by Ernest de Weerth his\ncostumier in chief.\nMeantime this method of producing Shakespeare is\nnow twenty years old or even older: the method used of\nTairoff and Meyerhold in Russia was born old .... and I\nawait something new. That is to say, I await the ge-\nnuine way of doing this difficult task.\nThat it is difficult grows more obvious every time one\nsees the pains taken to avoid the genuine solution of the\nproblem.\nWere I ever prophetic I should be inclined to predict\nthat this solution must come from England."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c047", "article_bluemountain": "bmtnaau_1928-01_01#c047", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "35", "page_fin": "35", "image_debut": 47, "image_fin": 47, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.29.2", "titre_corps": "NEW YORK", "titre_sommaire": "NEW YORK", "signature_source": "K", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.47", "debut_caractere": 2530, "fin_caractere_exclue": 3941, "texte": "NEWYORK.\nK.\nReinhardt* s Production of \" A Midsummer Night's\nDream \" at the Century Theatre.\nIT was quite a clever notion of Professor Reinhardt's to\nput this proposition to Professor Strnad his designer,\n•• Give me thirty different possibilities of entrance from air\nand earth in your scene and that's all I want \".\nIt's a typical Reinhardt order.\nWhat also is just as typical is his plunging the wood-\nland scenes in darkness.\nThe Midsummer Night's Dream must have no darkness\nin it.\nIf a producer plays with this easy notion of darkness\nin his early experiments he does no harm, but to abide\nby it past middle age is for the eventide to fall very fast\nindeed.\nReinhardt is well supported here. Not only by his\nspecial Public but by many of the critics. He is as\nusual exceptionally well supported by his assistants Strnad\nand a group of first class by Moissi, Solveg\nand the Thimig family and by Ernest de Weerth his\ncostumier in chief.\nMeantime this method of producing Shakespeare is\nnow twenty years old or even older: the method used of\nTairoff and Meyerhold in Russia was born old .... and I\nawait something new. That is to say, I await the ge-\nnuine way of doing this difficult task.\nThat it is difficult grows more obvious every time one\nsees the pains taken to avoid the genuine solution of the\nproblem.\nWere I ever prophetic I should be inclined to predict\nthat this solution must come from England."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c049", "article_bluemountain": "bmtnaau_1928-01_01#c049", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "36", "page_fin": "46", "image_debut": 48, "image_fin": 62, "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=bmtnaau192801-01.2.30", "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": 48, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 6411, "texte": "BOOK REVIEWS.\n\nTHE LETTERS OF RICHARD\nWAGNER. Selected and Edited by\nProf. Wilhelm Altmann. Translated\nby A/. M. Bozman. With illustra-\ntions and two facsimile letters. 2 Vo-\nlumes. J. M. Dent & Sons. Price\nJO/6 net each volume.\nTHE Fashion Richard Wagner lasted\nlong. He was not the Fashion\nduring his life, then he died and became\nthe craze.\nIt is of no importance at all whe-\nther a great artist becomes the Fashion\nor not, and Richard Wagner was in-\ndubitably a great artist..\nYou may be tired even of hearing his\nname today, but then Cimarosa s name\nbored you once. Monteverde's you\nmistake for Giuseppe Verdi s and In-\ngenieri has a name you can t pronounce\nif by chance you should have to be\nbored by any such attempt. You are\nbored because you are a bore; it\nis no reader of \"The Mask I am\naddressing as * you *; it s that unfor-\ntunate curse, the up-to-date person who\nbelieves that he decides the fate of all\nthe arts, and that he settles all questions\nof religion, and, indeed, of all life. He\nwas, he is and she will be, but for all\nthis I would beseech our readers to do\nsomething to rid us all of him and her.\nAnd so, as he took up Wagner, so\nhe or his like have put down Wag-\nner. He is taking up someone else\ntoday and his like will put him down.\nBut that you, Gentle Reader, should\never be influenced by his decisicns, his\ntakings up and his puttings down, grieves\nme. Still, you should be grateful to\nhim for having put Wagner down be-\ncause that makes possible now for you\nto come near Wagner.\nIt is to be understood of course that\nin this selection of Letters you do not\ncome very near him, ...only in his music\nare you with a great composer.\nBut you come a little nearer the man\nin his correspondence, and 'there you\ndiscover what I said above; that du-\nring his life he never became the fashion.\nTo the end it was a fight to establish\nhis work as he felt he wanted it estab-\nlished. People were always saying\nthat 44 he was not to be helped he\nmentions the fact and writes of \" the\nstatement of so many of my friends\nthat 4 I was not to be helped * ' and\nit is interesting to note how untrue that\nstatement was. He refers to the heads\nof the theatre who are so antipathetic\nto him that they even treat the artists\nhe recommends so badly, they cannot\nstay in the theatre. They hate no-\nthing so much as a \"Wagnerian : \" keep\ncut the Wagnerian conductors : Lord\npreserve us they say, \"We should\nget a man who wants endless rehear-\nsals, particularly when things are not\ngoing well ...no thank you 1 let us get\non as well as we can with servile bun-\nglers but let us get on\nThey say the same thing today of\nall artists. \" Let us get on \". They\ndon't get on today and they did not\nget on in those days: all they did\nwas to slip back and back, and then the\ncatastrophe. They can't get on even\na little without the artists: and\nwithout the great artists they are lost\nentirely.\nThe letters are not brilliant, the weigh-\nty Wagner who was such a practical\nman often stands out clearer than the\ninspired Wagner; but the books are\nvery interesting and show us the usual\ngrievous spectacle of a great artist and\nan only too serious man being dis-\ngracefully badgered for some fifty years.\nHumanity let us for the moment\ncall human cattle by that title can-\nnot therefore be felicitated by those\nof us who hold that fine art is a bles-\nsing and genius, or even a touch of it,\na thing which should never be harras-\nsed in the way it is and always has\nbeen harrassed.\nWagner ultimately won the day\nand Humanity lost it.\nBut then, thank God, that's not\nHumanity.\nPresumably Humanity is a fine thin\nstreak of something blessed which runs\nthrough everything and not through\nmany people. If it did the whole\nworld would be very happy.\n\nUN TEATRO DE ARTE EN\nESPANA Edicione de la Esfinge.\n\"Estrella Sociedad Anonima Editorial,\nMadrid. Madera 11.\n\nTWO years have gone by s:nce thss\nbook appeared, and in two years\nI do not doubt that the talented group\nwhich forms the subject of this swagger\nvolume have progressed.\nAnd yet, as you look at the photo-\ngraphs of the actors reproduced so\nbeautifully in the volume, you find\nyourself saying \" in theatre there is no\nsuch thing as progress—what was good\nremains good and will so remain\nHere are the same devices as of\nold, the same tricks of gesture, and of\nrepose; the same expressions and the\nsame groupings. And suddenly one\ncomes across something new some\nstrange touch which makes all the\ndifference, but it has nothing to do\nwith progress.\nThe strange touches I came across\nin this book were not in any sceneries\nand not in the groups, but in individuals.\nWhat this touch is which delights *\nso, we have all tried to define. And\nyet we define nothing—and I for one\nam not surprised, for there is nothing\ndefinable in it. Define a wind, raise\nup a breeze in a garden-—it is net\npossible. Recognize it —yes, that is\npossible. And I am a great admirer\nof this book, Un TcatTO dc Arte en\nEspana, for I at least have recognized\nin it the signs of art or genius or\nwhatever that thing is which is not to\nbe defined in Spain from a distance.\nThe book itself is to be explained a\nlittle. It is not a book of sceneries and\nyet there are some forty-nine sceneries\nreproduced in colour and reproduced\nwith great care, good taste, and mounted\nwith originality.\nOriginality which is not at the ser-\nvice of good taste or powerful expression\nor genius or some sort of overlord is\na worthless thing—and it is because\nwe generally mean something odd by\noriginality that we are generally pro-\nnouncing the word in a meaningless way.\nOriginality to this Spanish book pub-\nlisher is an open door .... left open.\nHe will reproduce one design in one\nway and mount it on a specially pre-\npared page of white paper with a pale\nyellow background to the picture stam-\nped on the white page. But he will\ngive us his next picture mounted on\nanother white paper on which is a\nbackground of another tone of yellow\nstamped on its white surface.\nIn short, white paper and yellow\nbackground are not two things, they\nare twenty. That's a touch of origi-\nnality. Old as the hills and yet as\nnew.\nSeveral processes are used in the\nreproductions, not one. Wonder of\nwonders, someone has been thinking.\nThat is essentially original.\nPortraits of authors and of performers\nor caricatures of them mix in with the\ndesigns for scenes, for posters or pro-\ngrammes.\nNow and again, as is becoming to"}, {"page_pdf": 49, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 6707, "texte": "certain theatrical things, the reproduction\nfavours the old nineteenth century co-\nloured chocolate box.\nOiie of an actress especially pleases\nme, so apt it is; but of the same\nactress we get five or six really good\nphotographs and five or six charming\ndrawings, the most charming of all\nbeing one by Barradas on page 63.\nIt shows us Catalina Barcena, the\nprincipal actress of the troupe whom\nall Europe has heard of—all except I.\nThis troupe has been brought toge-\nther by Signor G. Martinez-Sierra\nwho needs no introduction, but who,\nstrangely enough, is introduced in this\nbook as being \" the Spanish Lugn&-\nPoe\n1 am now quite at sea as to Sig.\nSierra if that in any way describes him.\nTo strengthen this troupe of perfor-\nmers, Sig. Sierra added the designers\nFontanals, Barradas and Burmann, all\nof them talented and in no way in-\nfluenced by Northern fads : only now\nand again does Fontanals descend to\ndrink from a fountain at whose edge some\nof the Italians, such as Brunelleschi,\nand a few Frenchmen, are to be seen.\nI don't know what is the source of\nthis fountain, although a faint reflection\nof Beardsley is discernible in its glossy\nsurface. But it is very faint.\nI cannot say that I have found\nanything by the designers which, as\nsceneries, strike me as remarkable.\nI should say that they need to go a\nlittle slower—to be a bit less cock-sure.\nI always look at a design to see what\nit is the artist has done to help the\ndramatist and especially the actor. You\nmust allow for the moment even if not\nquite correct that the actor is a man of\ncommonsense and will avail himself of a\ncleverly disposed scene. I grant that\nninety nine out of a hundred actors don't\ngive a damn for the scene-man even\nwhen he has devised a scene which\nhelps enormously to break up the dul-\nness of the hour or to unite the too easily\nscattered notions of the dramatist. But\none actor out of a hundred will un-\nderstand. And it is with an eye to\nthis actor that I look with my other\neye at the designs of these new sce-\nnographers.\nAs I went through the book, looking\nonly at the designs, it seemed to me\nthat Signor Biirmann in his design for\nE! grillo del Hogar \" had done\nextremely well—and so when I disco-\nvered that he was a disciple of Rein-\nhard t and a collaborator of Stern I\nwas quite amused. I had drawn a\nlucky number. Signor Biirmann seems\nto dispose his scene so as to help the\nactor.\nBut how good are Fontanals and\nBarradas when they like and when\ntime permits. How they attack and\nalso get out of the difficulties. They\nmust have drawn all Madrid to see\nthese spectacles.\nBut there are others who do well\ntoo ; Signori Benedito, Zamora, and\nPons, Periquet and Mignoni are full\nof talent.\nThe book represents the work of\none theatre between the years 1917\nand 1925,—nine years work, and I\nhave not seen a finer volume of the kind\nproduced by any company even after\nnineteen years work.\nIt is essential to any theatrical li-\nbrary : because, in European or Ame-\nrican books dealing with the new work\nof all the Theatres, Spain is far too\noften omitted altogether.\nI think it more than likely that\nMadrid, and even the new designers\nthemselves, have felt the inability of\ndoing better than Mauricco Vilomara\ndid in a scenic way; and that they\nalso remember Jose Planella Coromina,\nwhile others cannot forget Olegario\nJunyent.\n\" But that's all old stuff \" you say.\nDon't say so quite so loudly, lest\nthe Editor of \" The Mask \" have his\nsleeping suspicions aroused and I be\nput to the torture. But even then I\nshould, between my shrieks, grind out\nthese words: \" I swear by the younger\nmen—I swear I swear by them, but\nwe all love and loved the best of the\nolder men for they too were young\nmen and their work is still young \".\nBut I shall not suffer the rack—I\nknow that; I will but once more\nthreaten to retire: for if I were to\nleave \" The Mask \" where would\n44 The Mask \" be?... Yes, but where\nwould I be ?\nI hope this Spanish Tealro de Arte\nwill all stand firmly together and win\nthrough to even greater victories.\nAnd perhaps some day I may see their\nwork and meet some of these artists.\nThat would indeed be delightful.\n\nGordon Craig.\n\n7HE POETRY AND PROSE OF\nWILLIAM BLAKE. Edited by Geo/-\nfrey Keynes; Complete in one volume.\nThe Nonesuch Press. Price / 2/6 net.\nMR. Keynes and the Nonesuch\nPress have done a piece of per-\nfect work. To edit and print Blake in\na single volume is not easily done : the\nchief difficulty lies in avoiding all those\nthings which tend to fluster the reader.\nThis has been done, and done mag-\nnificently.\nNo more do you feel a little alarm-\ned as you open a book by Blake.\nAll sails clearly on. No notes jerk us\nup; no unnecessarily large head lines\nstartle us. The names LOS, URI-\nZEN, TIRIEL, THEL go easily here.\nEven EUROPE and JERUSALEM,\ntwo of the mildest names of the most\ncivilized places, do not howl at us or\ngibber as other publishers cause them\nto do when doing the work for Blake.\nHere Europe is the Europe and Jeru-\nsalem is\" the Jerusalem we all know so\nwell nothing more.\nI am, and you will be, charmed by\nthe work of the type-setters of this book;\nnothing more discreet has issued from\na London press for ages, ....I mean\nnothing so immensely worth while.\nIf I were, (as I hope shortly to be)\nMinister of Fine Arts, I would place\nthe Editor or Director of the None-\nsuch Press in control of all the printers\nof England. He is so sensible.\nAnd you have to be astonishingly\nsensible to rid a book of Blake's works\nof all that is startling.\nI could show you thirty or forty of\nthe points in this book which make\nhis work so sensible, but I can't write\nthem out here : one needs to see the\nbook, and then, if through sheer quiet-\nness they elude one, one must have\nthem pointed out.\nAs a matter of fact, you won't see\nthem : you'll see merely a most ordi-\nnary book, ...but exquisite: as you\ntouch it you at once become conscious\nof a sense of perfection.\nIndia paper has been used so that\nthough containing close upon 1200 pa-\nges ft is as light as a feather ; bound\nin buckram and bevel-edged boards,\nfor 12/6.\nIt is a gift to England.\nRather a dangerous one being a\nhundred years too late.\n\nPLAYS AND MASQUES AT\nCOURT DURING THE REIGNS\nOF ELIZABETH, JAMES AND\nCHARLES, by M. S. Steele Ph. D.\nHumphrey Milford. Oxford Univer-\nsity Press. Price 18/- net.\nCOLLEGE PLAYS by G. C, Moore\nSmith. Cambridge University Press.\nPrice 6/- net.\nEARLY in the Preface the author of\nthis valuable work on Plays and\nMasques makes reference to Fleay ;\nwhose work has always pleased me\nbecause it condensed rather than ela-\nborated the facts about the Elizabe-\nthan stage. Anyone may be right or\nall may be wrong, but the least that\nthe scholar owes us is to make his work"}, {"page_pdf": 50, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 6499, "texte": "as brief, as true and as entertaining as\nhe can.\nFor if not, in a hundred years time\nwe shall possess some five hundred\nmore bulky works all prattling on about\na subject which could be and should\nbe covered by ten volumes at the very\nmost if hard facts were the gold\nnuggets they were destined to contain.\nAlready we possess dozens too many\nfull of dross.\nI do not know any other chronolo-\ngical list of all the Plays and Masques\nwhich were given at the English Court\nfrom January 6th 1559 until March\n12th 1642, but, should none exist, this\none certainly supplies us with all we\nwant.\nWhat 1 would suggest is that no\nother such list of Masques at Court be\never made, but that this one be re-\nvised and revised every ten years as\nfresh discoveries are made.\nMr. G. C. Moore Smith's book on\nCambridge College Plays has the per-\nfections I so much appreciate and to\nwhich I have just referred.\nIt is brief, it is small, it is all we\nneed, and by Jove, it is unpretentious.\nThe author gives us gold and doesn't wrap\nit up in a woollen stocking of his own\nknitting.\nNothing unclear about Mr. Moore\nSmith, and everything done to make us\nrealize when he has stopped speaking\nabout the Dress of the Actors and when\nhe is beginning about the Music and\nwhen he is passing on to the Lighting.\nHis book consists of 110 pages, but\nis in fact a booklet.\nI cannot do better than copy the\nContents Page :\nCAMBRIDGE PLAYS\n(I) Outlines of the History\n(II) Manner of Production of\nCollege Plays.\nCHRONOLOGICAL TABLE OF PER-\nFORMANCES OF COLLEGE PLAYS\nAT CAMBRIDGE\nACTORS LISTS\nBIBLIOGRAPHICAL NOTES\nIt is a book you can read which\nis an important point to consider when\nwriting a book: it is one you can un-\nderstand ; and this too is helpful.\nMore of such small books, that is my\nprayer as 1 close it and place it side\nby side with the four volumes by\nSir E. K. Chambers on The Eliza-\nbethan Stage. A Marvel, a Monu-\nment, but not an example to follow.\nWhy ? and why am I so ? Why\nam I not on my knees with the others\nwho worship the monumental ? Because\nthe main thing in all historical re-\nsearch is to bring to life again. You\ncan only do that at all successfully if you\ndo little and make that little awaken our\nimaginations and revive our remembrance.\nThe long, exhaustive, marvellously\nscholarly world-shaking works simply\nwon't do.\nThey crush us while they leave us\nin a state of uncertainty all the time\nwith their hundred doubts. A histo-\nrical work should not contain the words\n4 perhaps * or * probably ', and these\nmighty monumental world-shaking works\nare riddled with holes made by these\ntwo destructive worms of words.\n\nABOUT ENGLAND by M. V.\nHughes. Dent & Sons. Price 5/ net.\nSOMETHING needs a little revision—\nsomeone a little more vision—at\nNo. 10 Bedford Street, Strand. For,\nwhile I do not like this book about\nEngland because its opinions are cheap\nand hastily tumbled out and because it\nattempts to do England in 359 brief\npages, the failure is after all not to be\nwondered at, and the attempt is any\nway made light-heartedly, which is\nsomething.\nBut I do wonder at the publishers.\nFirst I wonder, as I note what\nexcellent paper is used. But my spi-\nrits rise only to be utterly dashed again\nat almost everything else about what\nis, 1 believe, called the make-up of\nthe bock.\nTo begin with, there are many do-\nzens of large and small illustrations.\nInstead of being by one man they are\nby many men. The styles mix up and\nclash abominably. Is there no autho-\nrity in No. 10 Bedford Street that can\nprevent a blunder like that ? If ever\nHerbert Railton and Joseph Pennell\nillustrated a book together the thing\nwould have had some rhythm, some\nharmony; all would have been of a\npiece ; and of course you can set five\nor ten men to illustrate the same book\nIF you know how to order the designs\nto avoid a clash.\nBut here all through this volume 1\nsee the work of several well-known\nmen (whose names are not acknow-\nledged in the introduction or anywhere\nelse) : Brock, Herbert Cole, Gordon\nHome, .... and Railton. These are\njumbled together, chased into the pages\nlike frightened animals fleeing before a\nPampas fire; and, with these designs\nmade some twenty-five years ago, are\nmixed some imitations of the more mo-\ndern schools—ridiculous imitations; and\nthe fault does not lie with the young\nartists (who I am sure could do real\ngood stuff) but with the man who gave\nthe orders.\nImitations of John Nash are perhaps\nthe most fortunate; those of Lovat\nFraser are perhaps next best : but what\nis the matter with the publishers ?\nLook at page 29; pass on to page 33\nand then turn to 34, after which 39.\nThe design on page 39 is dated 1909\nand is a pretty thing by Mr. Cole, but\nfor all this it's close on twenty years\nlate.\nThe design on page 11 will do—as\nan attempt to imitate a modern effect—-\nbut what is any established publisher\ndoing, with laurels to lose if not to\ngain, what is he dreaming about, that\nhe doesn't know that imitation modern\nstuff won't do because really good mo-\ndern stuff is available ?\nThere are a hundred to two hundred\nexcellent young artists out of work, or\nwi h not half enough work to do, and\nwilling to work on a book like this if\npaid decently.\nBut a publisher may not want good\nmodern work\nAll right; but let him not attempt\nto palm off on the public wretched or\neven well attempted imitations of the\nmodern school. And let him never\nmix up his styles. Look at the design\non page 192 and that on page 248\nwith its attempt to be Nash-like.\nAnd, now that I have said what I\nthink of this bad direction at Dent's,\nlet me turn to a book of their's which\nis really excellent and all of a piece in\nthe way it has been produced.\n\nMODES AND MANNERS OF\nTHE NINETEENTH CENTURY,\nTranslated from the German of Dr.\nFischel and Max von Boehn;\nWith two additional chapters by Grace\n7 hompson. 4 volumes. Dent & Sons.\nPrice £2 2.0.\nHERE it doesn't matter that the il-\nlustrations are from different hands\nfor the essence of mode is in its change.\nBut even then the selection of the\ndesigns and their arrangement could\nhave easily been blundered. As it is\nthe whole thing is excellently well done.\nThe work appeared in 1909 in\nthree volumes and lacking a number\nof delicious plates. Now it is com-\nplete, and for the first time you get\nthe 19th century modes and manners\nin a practical and luxurious set of books,\nand I think that you will not get a\nmore likeable four volumes on this\nsubject for many a year.\nOnly a hundred years are covered\nin tnese four books. T his is a gua-"}, {"page_pdf": 51, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 6735, "texte": "rantee that the thing has been dealt\nwith seriously, though you need have\nno fear that an excess of gravity in the\nwriting and pictures will send you to\nsleep. Max von Boehn has written it\nwell, and Dr. Fischel has selected the\ndesigns with apparently no other mo-\ntive than to please us, for page after\npage is a fresh delight; but as a matter\nof fact you get instruction thrown in\nextra ;—if you have this book you can\nbe sure of your facts, dates and all.\nAnd it is so much to be helped to\nknow which year it was they wore the\ncape you are looking at, and in which\nland ; and to learn who made the\ndesign. Each design has these three\nindications. The text is the easiest rea-\nding possible and is a mass of precise\ninformation at the same time.\nLet me specially recommend these\nfour volumes to every Little Theatre in\nEurope (1 won't waste my time attemp-\nting to recommend them to any English\nTheatre, for it is already for twenty\nyears now that they have proved that\nwhat they prefer is to obstinately refuse\nto listen to anything they are told\nabout).\nBut by one of the quick intelligences\nin each Little Theatre in Europe the\nvalue of this work will be caught up\nat once. They will know how to\napply the knowledge to be gleaned\nfrom it, and how to avoid blundering.\nHere are photographs of Offenbach,\nhands in pockets, eyeglass in eye, whiskers\npinned on and in plus-fours; of Bis-\nmarck and Pauline Lucca in 1865;\nof Ludwig II and Kainz; of Edward\nPrince of Wales : colour plates of pain-\ntings by Viktor Paul Mohn, by Feuer-\nbach, by Von Schwind, by Zorn which\nI will wager you've never yet seen;\nother colour plates of engravings or\ndrawings by Dev£ria, Danhauser, Beau-\nmont, Bruno Paul and dozens more;\nsome hundred and forty reproductions\nin colour of fashion plates from 1800\nto 1900 (and the authors give full\nmeasure and start before 1800 and\ncarry on beyond 1900) ; these plates\nby themselves are a banquet ; and\nbesides those you have the 860 black\nand white reproductions in half tone.\nWhy do I linger on the quantity ?\nbecause it is books which are full like\nthese that we need nowadays from\npublishers. Fair and square books not\nswindles.\nWhy this delight in the work of\nVon Boehn and Fischel ? because it is\nmen who refuse to bore us that we\nneed nowadays ; and, if these two told\nus of Germany in the 19th century\nand nothing but Germany we might\nbe bored ; but they have drawn from\nEngland, Germany, France and Den-\nmark, from America, Spain and Russia\nfor their information and designs, and\nmy only regret is that they have not\navailed themselves sufficiently of the\ninteresting material which Italy from\n1800 to 1900 had to yield them.\nMilano in 1800 was a place of inte-\nrest ; Torino too ; Napoli and Roma.\nBut then the work would have run\ninto five volumes; and besides, the\nauthors do not forget Italy altogether.\n\nSHERIDAN TO ROBERTSON by\nErnest Bradlee Watson. Humphrey\nMilford. Oxford University Press.\nPrice 25/.-\nMR. Watson continues what Mr.\nAI win Thaler well began with his\n44 Shakespeare to Sheridan\" in 1922.\nIt must be admitted that Mr. Tha-\nler had a more difficult task, but one\nwith more brilliant possibilities. And\nMr. Thaler illustrated his volume bet-\nter ; it had thirty-nine of the most in-\nteresting illustrations I have come across,\nmost of them new to us, and selected\nfrom the astonishingly good collection\nin the Harvard College Library.\nBut Mr. Walson has one clinking\npicture for us.\nHe starts his book by a frontispiece\nshowing the scales, knife and bond\nused by Edmund Kean in the 44 Mer-\nchant of Venice \".\nHow did these treasures come to\nleave England ?\nPerhaps I have not searched this\nbook carefully enough, but I cannot\ndiscover in it any reference to these\nscales, knife and bond. And as they\nare featured as a frontispiece I am\neager to know.\nBut if I want to know a number of\nother facts about the London theatre\nof the nineteenth century I can get the\ninformation here, so 1 am well pleased\nwith the book.\nI regret to find no reference made\nto Dr. Stahl's 44 Das Englische Theater\nim 19 Jahrhundert\", a book publish-\ned by R. Oldenbourg in 1914 and\nworthy of considerable attention ; and\nalso to find Mr. Saxe Wyndham refer-\nred to as Saxe, H.\nAnd I cannot but again regret, that\nso many of our modern scholars and\nstudents-of the Drama and the Theatre\nwill write such long books (this\none is 445 pages) and cover such\nlong periods as this one covers.\nIt is not of sufficient use to us:\nwhat we want (I shall ever repeat it)\ni 3 a small book, on a far smaller theme\nand a theme no one else has approached.\nNo one man can write the History\nof a hundred years of the English stage.\nA small book apiece by many scho-\nlars each on one item in that hundred\nyears would, I feel, be a hundred times\nmore valuable.\nRead that small book written by\nTalma's gardener Louette on the great\nactor. Louette is the vivid historian\nfor me. Or, if you wish for another,\nthe small book by Count Algarotti\n44 Essay on the Opera\" ; or De Ruber-\ntiss 62 page \"II Teatro Nazionale \"\nreviewed in these pages *n 1926; or\nG. C. Moore Smith s \" College Plays \"\nreviewed in this number.\nI want a small book about the Thea-\ntre at Trausnitz, another on the old\nOpera House at Bayreuth ; a third on\nSancta Stella the singer, a fourth on\nVerona the Scene-painter, a fifth on\nThe Lighting in the Vicenza Theatre ;\na sixth on the Seghizzi system ; a se-\nventh on the architect Selva ; an eighth\non the theatres of architect Ferdinando\nMorozzi. I want a history of that\nBook on Theatres by Dumont and one\non the collected theatre scenes of Lancia.\nNone of these books exists, and none\nexists on five hundred of such unknown\nmatters ; whereas over and over again\nwe are made to listen to the same old sto-\nries about \" The Theatre of the 18th\ncentury \", \" The Art of the Dramatist \",\n44 The Stage from Garrick to Robson *'\nand 44 The Tragic Acting of Mrs. Sid-\ndons \" and the eternal 44 Elizabethan\nStage.\nThe Historians need to make a new\nstart I should say,\nUse the old car if you must, but\nput in a new motor and steer along a\nnew road.\nIf we don't do something like this\nin Europe.,., and I wish it could be\nEngland to do it. .. some one in China\nor in Massachusetts will.\n\nLONDON by G. H. Cunningham.\nDevt & Sons. Price 21 /-.\nSTREET by street, in alphabetical\norder, London is laid down in\nthis book.\nThere are 806 pages and 70 pa-\nges of index. There are no illustrations\nand there are no plans.\nThe notion of the author is this\nto tell us about each celebrated house\nand who made it so either by buil-\nding it or by living in it. But we\ndo not get every house and every\ncelebrity.\nWe do however get about two thirds\nof the complete list in these closely prin-\nted 606 pages; the remaining third"}, {"page_pdf": 52, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.52", "debut_caractere": 0, "fin_caractere_exclue": 6789, "texte": "you can fill in for yourself on the\nample margins.\nThe work deserved better of the publi-\nsher. It deserved a second editor who\nwould add to the list the missing third;\nit deserved to be in two volumes for\nit costs a guinea : it deserved at least\ntwo large plans of London and better\npaper and a less cheap-looking cover.\nA few theatric omissions I will men-\ntion, since the theatrical entries are\nwhat you will get the book for.\nTo begin with, Arthur Roberts lived\nnear Sir A. W. Pinero ; yet while A.\nW. P. is entered Roberts is omitted.\nGeorge Robey's house is entered: again\nI ask why not the as celebrated\nRoberts' ? I see no entry under the\nBoltons of either W. S. Gilbert or the\ntwo Irving brothers.\nCannonbury Tower, - we should\nhave learned that Weedon Grossmith\nand Tom Hesiewood once lived there.\nIn Church Row, Hampstead, H. G.\nWells is entered ; why not William\nRothenstein and George Du Maurier ?\nIf in Devonshire Street, Theobald s\nRoad the author of \" Illustrations of\nPasses of the Alps\" deserves mention\nas hanging out at No. 29, why not\nHarold Monro and his Poetry Book-\nshop ? In Gower Street is a certain\nRoyal College of Dramatic Art: it\ndoes its best, yet it is excluded.\nSir Christopher Wren lived at Hamp-\nton Court and you may not omit him\nyet mention that Michael Farady lived\nthere.\nEllen Terry lived for many years\nin the King's Road, Chelsea ; the fact\nshould have been entered; she also\nlived in Longridge Road for some years\nbut this is not to be discovered here.\nSir George and Lady Lewis dwelt\nin Portland Place was it not No. 88\nanyhow they are not in the list.\nAnd how is it there is nothing about\nLord Barrymore's remarkahle Theatre\nbuilt in Savile Row ? where do we\nfind a word about Squib's Auction\nRoom in the same street, in fact on\nthe same site ?\nSir Henry Irving lived at No. 17\nStratton Street, Piccadilly, but the fact\nis not noted here.\nTbe White House, Tite Street, Chel-\nsea is entered as having been built by\nWhistler •• the eccentric artist where-\nas it was built for him by E. W.\nGodwin: and it is some twenty-eight\nyears too late to go on calling Whis-\ntler M the eccentric artist *\\\nBut there are several hundred en-\ntries of theatrical interest, so you must\nnot suppose it fails us in that.\nThe author has given a good deal\ntoo much space to the dwellings of the\nheroes and heroines of fiction. \" Here\nBetsy Frump left by the 3.30 on Fri-\nday Jan. 14th 1809 in a Diligence to\nmeet Tom Crumpet. \" :\nWhich is all very well, but, as Gran-\nville Barker would say, I protest, oh!\nhow wrong.\n\nSAMPLERS, Selected and Described\nby Leigh Ash ton, 7he Medici So-\nciely. Price !7j6 net.\nTHIS delightful picture book will\nplease all students of design, and\nall ladies who have still retained an\nappreciation of the delicacies and intri-\ncacies of needle-craft,\n\" Samplers *\\ are rich in interest,\nboth historically and artistically, and in\nMr. Leigh Ashton's book there is re-\nproduced, in six colour plates and se-\nventy-two monochrome illustrations a\ncomplete series of English Samplers\nfrom the earliest times, with special\nreference to the older specimens. ...many\nfrom the Victoria and Albert Museum\nwith which Mr. Ashton is associated\nofficially, (in the Department of Tex-\ntiles) and also a representative collection\nof Foreign samplers, including the Ame-\nrican types.\nA study of these plates, with their\ninfinite variety of design and of stitches,\ncertainly leaves us with a respectful\nwonder at the capacities of those who\nwrought them, and so patiently stitched\nthese pious mottoes, and flowers and\nfruits and animals and birds and lords\nand . ladies, into squares of linen to\nthe glory of God and the delectation\nof their descendants for generations to\ncome.\nThe name of the seamstress is almost\nalways given, and so you too may find\na sampler worked by your great grand-\nmother here if you are curious and if\nyou get the book.\n\nTHE COURT MASQUE, A Study\nin the Relationship between Poetry\nand the Revels by Enid Welsford.\nCambridge University Price 25/-net.\nTHE author of this 407 page book\nwith an excellent 26 page index\ndisclaims the idea that it is intended\nto be \" an exhaustive treatise on the\nmasque\" and tells us that her chief\naim has been to interpret and to coor-\ndinate and that she has not tried \" to\nadd to the great wealth of detailed\ninformation and this I consider ra-\nther a pity.\nPersonally I enjoy hearing anyone\ninterpret for me a difficult subject: I\nshall always feel grateful to a lady in\nFlorence who used to lecture upon\nDante, for she gave me the only vi-\nvid notion I ever was able to get of\nthat immense artist Not reading Ita-\nlian sufficiently to enjoy the original,\nI tried to wade painfully through the\nhorrible translations—only horrible be-\ncause as no one can translate Dante\nthe effort to do so sticks in our throats\nas we read, breaks our simple sense\nof any rhythm we may have in us,\nand leaves us prostrate.\nThat is horrible.\nBut this lady made it all so clear:\nJ attended only one lecture because\nwhat I received in that brief three-\nquarters of an hour was so much 1\nfelt I could do with no more.\nEver since my thoughts, when tur-\nned towards Dante, have been sane.\nPreviously 1 heard of, and even saw,\nshelves which bent under some five\nhundred volumes all of which purpo-\nsed to coordinate and interpret this\nso-easily understood Dante ; — easily\nunderstood provided one was fairly\nmodest in one's mental appetite. To\nstuff food at the dining table is no\nstupider than to stuff at the literary table.\nI value Miss Welford's interpreta-\ntion and of course am ungrateful. I\nwanted to be informed of certain\nfacts, for which I am fast becoming a\nglutton.\nI wanted to know about Nicholas\nLani&re and I found but one entry\nwhich refers to him and there an end.\nWhat a number of excellent short\nhistorical booklets could be prepared\nby able students like Miss Welsfora ;\nand the number of these students is\non the increase, yet the booklets do\nnot appear,\nWere I an influence in Oxford or\nCambridge (this book comes from Cam-\nbridge) 1 would counsel young men\nand women always to avoid attempting\na big work on a subject covering seve-\nral nations, thousands of persons and\na couple of centuries. I would sug-\ngest that to take the life's work of a\nLani&re or a family like the Parigi or\na group like the Gelosi was quite suffi-\nciently difficult, and really valuable to their\nfellow-students and even to the wisest\nprofessors. 1 feel that students who\nhave learned so much from these big\nmen should dedicate a year or two of\ntheir time to at least one small work\non one small subjest such as I have\nindicated, as a return for all the things\nreceived from these masters.\n1 would suggest that a student\nshould attempt to do less and so per-\nhaps achieve more.\nI like so much that old and reliable"}, {"page_pdf": 57, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 6942, "texte": "style which announced some excellent\nlittle brochure as a contribution to-\nwards the study of such and such a\nsubject; and 1 rather dislike a tendency,\nwhich today increases, of coming out\nwith a book proposing to be a final\ninterpretation of a vast subject which\nno amount of talk can exactly explain.\nSome student will surely be pop-\nping up shortly with a book called\n•• The Ocean : an interpretation \".\nOne shell of the Ocean is what I\nshould suggest as sufficiently difficult\nand more fitting to a student were I\nan authority at Oxford or Cambridge.\nBut 1 am always saying this: 1\nwonder if anyone is listening.\n\nANTON TCHEKHOV by S. 5.\nIfotcliansfzy. George Routledge &\nSons. Price 12/6 net.\n0 THE GENTLE ART. o\nIN a country like ours which has no\ntime to lose if it ever intends to\nget on towards a new Theatre, (and\nby that I mean a theatre peculiar to\nitself, and that again means a rare lot\nof systematical experimenting) are we\nnot making a very big mistake to gush\nabout those two extremes, the Russian\nBallet and the Russian Tchekhov ?\n1 almost think 1 have touched on\nthis before ; but as you haven't heed-\ned, let me go on again. To be eter-\nnally showing a gushing joy over the\nproduce of another people, neither\nmore stupid than we are, nor I be-\nlieve, cleverer, will not bring us the\ngood will of our own men to whom\nwe look for Ballets and Plays and\nOperas and the rest.\nWe clear Arcos out of England;\nduring the same week we insipidly en-\ncourage the Russian Ballet to land at\nDover, and we publish more and more\nbooks on Tchekhov and by Tchekhov,\nPersonally 1 delight in the Russian\nBallet and I enjoy Tchekhov ; and\nthough I'm never quite sure which of\nthe two leaves me the more depressed,\n1 would not have missed either.\nBut though Russian artists and Rus-\nsian pei formers interest me, though I\nam always freshened when I come\nacross something different in a Thea-\ntre, be it in Berlin, Milano or Ame-\nrica, 1 have enough common-sense left\nalways to remember England, to re-\nmind myself that our business is the\ncreation or reestablishment of the En-\nglish stage. And by that I mean a stage\nfreed at last from the old purposes ; not\nto make money, not to flash into publi-\ncity, not to intrigue and generally to\nruin the profession and the art, but\nto fix new purposes; to recover its\nvigour, and then to make this particu-\nlarly barren corner of our English gar-\nden blaze again with the red, the blue\nand the white of our old English plants.\nIt is because Russian Ballets, Rus-\nsian Tchekhovs, Russian producers, set-\ntled in London and Paris, together\nwith the rest of the Russians, are dis-\ntracting the attention of a certain sec-\ntion of the English public from the\ntruth, which is that we English can do\nsomething quite as good for our own peo-\nple, that I have set my face against the\nForeigner and his pretty Foreign goods.\nI won't find fault with this book\nby M. Koteliansky because it's every\nbit as good as some of the books\nwhich are now flooding the English\nmarket on William Blake. Kotelians-\nky's book on Tchekhov is only twenty\nyears late ; the books on Blake are a\nhundred and twenty years late.\nBut I suppose that too is all right,\nsince it is considered right to starve\ndown English artists, without conside-\nration whether it is economic to do so,\nor particularly brave. Should you sup-\npose I am exaggerating, please be mo-\nderate enough to realize that it is pos-\nsible 1 understate the case.\nThis book on this Russian writer\nis one of the very best. It's section\nentitled M Theatrical \" written by Thea-\ntre people makes out Tchekhov to be\nrather unpractical. Theatre people too\noften try to convey this impression of\nothers, believing that they alone are\nreally practical,\nThe essay by Stanislawsky I dislike.\nIt is a weakness of this fine actor and\nexcellent stage manager to pretend off\nthe stage as much as did the old actors\nwhom he rather despises, His parti-\ncular role off the stage is to show\nsurprise when a man of intellect like\nTchekhov utters an illuminating com-\nment on the workings of a play,\nStanislawsky would rob the words\nand the wisdom of all their light by\nthis sudden show of dogged, open-\nminded, earnest surprise—puzzlement,\n\" 1 felt myself a little man in the\npresence of a celebrity. 1 wanted to\nbe better and wiser than I was made\nby God \" he writes, and we can add\n\" Fudge \", for he follows up the pre-\ntence by a show of surprise: he is scep-\ntical of everything this Tchekhov says.\nHere we have the ingrained insin-\ncerity of the stage asserting itself under\na mask of innocent wonder and doubt-\ning the very Gods.\nNo, no, no,— the theatre all over\nthe earth has to revise its rules, and\nthe sooner it stops pretending off the\nstage the less vain it will appear and\nthe more real it will become,\n\nnRUDY\\ An Intimate portrait of\nRUDOLPH VALENTINO. By\nNatacha Rambova (his wife). Pub-\nlished by Hutchinson & Co. Price 10 6\nNet.\nTHIS is one of the astonishing re-\ncords ; it ranks with Casanova's\nMemoirs for its astounding qualities,\nalthough in no way resembling those\nmemoirs.\nIn fact it is exactly the opposite of\nall that is Casanova.\nIt is badly written, while Casanova's\nwriting is admirable.\nIt is about an Italian of to-day, and\nis all rush: Casanova, an Italian of\nother days, was all speed.\nIt is about the after life : Casanova\nvery much about the life on earth.\nIt deals with Theosophy and Casa-\nnova's doesn't. Casanova wasn't pretty\n.... Valentino was pretty.\nBut it shocks us as Casanova did.\nIn this, this resembles that .... in this\nalone. We are shocked for we be-\nlieve the whole thing to be a tarriddle,\njust as we once believed and probably\nstill believe Casanova's prattle to be all\ninvention.\nBut why should we so believe, why\nall this scepticism? for Valentino's mes-\nsages (some 78 pages long) sent from\nthe other world may be quite real\nthings. If you don't think so, some do.\nDo I, you ask me ; I am not here\nto talk Theosophy and the after-life\nwith you—l am here to review a\nbook.\nBe fair, accept this book as all truth.\nWhy should you not—for assuredly if\nyou go for it, and laugh at it, you will\ndo wrong.\nWhy you will be wrong I cannot\nsay, but so it is.\nAre you then to believe it ? you are\nfirst to read the book, reading with the\nconviction that its true, every word,\nand then, according to your tempera-\nment, having paid your money take\nyour choice.\nIt's nothing of a story; compared with\nthe life of Chaplin for example,—his\n• Life 'to come, when that does come\nto be written, it will not show up well.\nFor presumably we shall hear all about\nChaplin's spirit; by that I mean his\nway of work, about his firm persuasions\ntoo, about himself.\nHis collars, furniture, written of;\nwhere he went and when he left, and\nif he travelled in three coupees cr in\nthe luggage van, these things dont\ninterest us; we want the spirit of the\nman. It's that, isn't it ?\nAlas, all we get of Valentinos' spirit\nis a ghost of a man. That's not for"}, {"page_pdf": 58, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 6391, "texte": "us I take it, though it will add per-\nhaps to our astonishment.\nYet, may be 1 am unfair, and what\nis more, irreverent; may be this ghost\nis a spirited thing, vivid, all that's good.\nI'd say it was with more conviction,\nwere I more convinced.\nI am not convinced by this book.\nI should call the book a libel and yet\nI didn't know poor Valentino. It's a\nwretched book as a book.\nCharles Lamb was a writer, and\nwhen he wrote of Roast Pig or Mun-\nden the actor, or such-like trifles, he\nwrote ever so well, but he was wise\nenough not to write about the after\nlife, or upon Heaven or Hell.\nThese he left to William Blake,\nwhose capacity was greater and who,\nwith these as theme, wrote them down\neven as well as Lamb wrote down pig.\nAnd Shakespeare touched upon spirits,\nwhite and grey, and armed from head\nto foot.\nHad we seen what he and Blake\ncould see, it would have much amazed\nus .... very likely .... very likely .... But\nwithout seeing we feel this—that these\nmen, these writers, were able to get it\nover, and still are able so to do. We\nthrill, by jove, how we thrill.\nWhat is art ? What on earth is\nart ? What in Heavens name is art ?\nI will explain precisely.\nIt is precisely not what this book\non poor Valentino is, not what it\nmight lead you to suppose, and will\nlead 8,000,000, people to suppose it\nto be.\nTouching these said eight million,\nthey are good people as you know :\nsee .... they pay for their art; Half a\ndoller or four lire or more, as much\nas ever they can afford they will give\nit in exchange for some art. Valen-\ntino's, Negri's, Pickford's and the ever\ndelightful Douglas Fairbanks' art.\nThey are good people these 8,000,000,\nI daresay they know more about art\nthan anyone who will read this review.\nDo remember they pay for their art:\nand they enjoy their art, they know\nwhat they like, and they more than\nlike this art, they love it; do recall how\nthey love it.\n1 have heard the Cinema spoken of\nas being still in its infancy. So what\nthey love is a sort of baby art.\nRather pretty of such a big crowd\nto be so attracted by such a little tot\nof a spirit, for it's the spirit of this art\nI lake it, which is baby still, not its\ncorpus, which admittedly is a bit too\nbig to be at all baby.\nOne can believe in baby after all\nafter a11... \" by heavens he echoes me\".\nWhen age and all has sickened us,\n(why it should do so I have not yet\ndiscovered and never expect to), when\nexperience, talk, arts, science and the\nrest of the wisdom and of the doings\nof man and woman has rendered us\nutterly sceptical, it is a big happiness\nto have a baby art of our own,. .\nall our very own which we can\nlove.\nA place we can take our dear friends\nto without fear of embittering them, a\nreally innocent place, where all those\nwho travail and are heavy laden, can\nfind rest.\nThat place is the Cinema.\nEvidently it is the Cinema. Once\nupon a time we went to a church to\nfind peace and rest and balm for hurt\nminds and then, (so I am told and its\nthe Cinema tells me so) the Church\nbecame a hard deadly parade, a lec-\nturing place, cruel to the outcast. I\nwonder if the Cinema is quite right\nthere.\nIt can't be very wrong in itself if it\nattracts and warms eight or may be eighty\nmillions of people yearly.\nThere must be something in the Ci-\nnema, \" yes—eighty millions you\nreply, and you add A vision of ci-\nvilization's end \".\nBut that will hardly wash; Civiliza-\ntion will also go on, militarization too.\nWhat may perhaps come on is life.\nThats a point anyhow, it may. *Go\non ' you say ; ! repeat * come on\nAnd through the Cinema ?\nI pause at my own question to ask\nyou what do you think ?\nRead this book on Valentino, and\nyou will probably decide one way or\nanother.\n\n7HE \" PHILOSOPHE \" IN THE\nFRENCH DRAMA OF THE 18 TH\nCENTURY\" by Ira O. Wade.\nPrinceton University Press. U, S. A.\nMr. Humphrey Milford, London\nPrice 7/-. net.\nof the Elliot Monographs, this\nbook of 143 pages in its paper\nwrapper deals with a subject not so\nvery often treated with such tho-\nroughness as that which Mr. Wade\nreveals.\nA careful bibliography completes a\nvery scholarly volume, and we actually\nbegin to have a certain interest in the\nPhilosophe as he was known to those\nwho lived with him in the 18th cen-\ntury.\nThen he fades out, and our interest,\nwith some gratitude added to it, is\ntendered instead to Mr. Wade.\n\nEUGENE O'NEILL by Barrett H.\nClark. Macßride & Co. Neu) York•\n(Price not given).\nO'NEILL is the son of James O'Neill\nthe actor-manager. James was'\nalso a maker of plays.\nEugene. has been an actor. He has\nalso been two years at sea and\nwas in business. His health broke\ndown, and, while getting better, the\nnotion of writing plays came to him.\nHe is forty years of age.\nAt the age of thirty-five he had\nfound that \" happiness is a word \",\nand believed that he perceived it\nhidden somewhere in tragedy.\nAnd so we may note that O'Neill\nhas put himself a most difficult task\nthe most difficult in this remarkably\nfalse age.\nTo smash up the world hardly seems\nto me to be as necessary as Moscow\nis reported to believe ; but to smash\nup that barred door which is guarded\nby prejudice against all arts and all\nthe artists is something that has to be\ndone to balance things a bit better.\nAnd it won't hurt anyone : it will\ndo the reverse.\nI hope O'Neill will be writing when\nthe door is down.\n\nMILANO VECCHIA by Otto Cima.\nFratelli Treves; with 50 illustrations.\nPrice 32 lire.\nMILANO VECCHIA or Old Milan\nis one of the most delightful of\ncities in Europe not so much for its\ngreat age or the doings and people of\nits earliest times, as for its life during\nthe early part of the 19th century.\nAnd I seem to find this, the Na-\npoleonic part of the old place, always\ngay and lively on revisiting it afresh.\nAt that time the Teatro della Scala\nwas but young, the building having\nbeen begun under the architect Pier-\nmarini in 1776, and inaugurated in\n1778 on August 3rd.\nIt cost 1,000,000 lire and was the\npride of the Milanese, rich and poor\nalike, who numbered at that time about *\ntwelve to thirteen thousand citizens.\nNot bad, that sum of a - million lire\nthen ; for nowadays, out of many\nmillion people, we can rarely collect\nfrom the very richest of them as much\nas that, and it takes three times as\nmuch to build a reasonable sized\nplayhouse.\nLa Scala was unreasonably big and\nbuilt to suit the tastes of the best\ntheatre-goers of the age. It was the\nlargest theatre in Italy, and that meant"}, {"page_pdf": 59, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.59", "debut_caractere": 0, "fin_caractere_exclue": 6362, "texte": "in the world. It is assuredly still one\nof the very largest and yet cost under\n£50,000 to build.\nIn Old Milano as in Old London,\nhow many good things of that kind\nwere possible that seem to be now no\nlonger possible.\nWhy do we grow less and less\nable to do even the possible ?\nIt is quite stupid and therefore quite\ncharacteristic of the human mind, that\nthe good things of any time should\never be allowed to decrease. We\nshould preserve the old while estab-\nlishing the new good things. Although\nthis is acknowledged to be the most\nsound way to proceed, it is acknow-\nledged when too late. Thus we build\na new city in the very heart of an\nold one ; a most ridiculous proceeding,\nwhen we could easily preserve the old\none intact and let it remain the heart\nof the new one.\nMilano in no way likes to be dif-\nferent from her confreres ; and if they\nmust and will be stupid well, says\nshe, I will be stupid too.\nThat, after all, is how we get the\n1800 Milano of which I am so very\nfond: but it wouldn't have done any\nharm to have kept the 1700 city as\nit was and spread a wing during 1800,\nand be spreading another wing this\ncentury.\nThis is what you will be apt to\nfeel on reading Signor Cima's excel-\nlent, well illustrated record of the city\nwhich John Evelyn called 44 a sweet\nplace \" and which Stendhal adored.\n\nSPENSER by Emile Legouis. J. M.\nDent & Sons. Price 61.\nTHIS book on our most noble drea-\nmer and poet Mr. Edmund Spen-\nser, follows close upon the heels of\nProfessor W. L. Ren wick's fine book\n44 Edmund Spenser, An Essay on Re-\nnaissance Poetry but was written\nbefore the Professor's book appeared ;\nso it follows it so far and no more.\nHow strange at any time (it some-\ntimes seems) for anyone to write a\nbook about one who wrote books and\nsang songs. For the songs of Spenser\nhave barely reached our ears. Have\nyou a Spenser in the house ?\nWhere is someone who will sing\nthese songs to us again ? for if no one\ncomes to do that, I doubt very much\nwhether the world will ever hear them.\nNo one acts Shakespeare well,\nhardly anyone; for to say that Shake-\nspeare is acted is to say that all\nEngland knows his songs, his sayings,\nand has caught his way, ...which would\nbe utterly untrue.\nAnd since no one sings Shakespeare's\nsongs no one is going to bother about\nSpenser.\nNow ...admit it ...you can't quote\nten consecutive lines Spenser ever wrote.\nSuppose we have a volume in the\nhouse ; we pick it up, we open it,\nwe read, and we see before us troops\nof lines drawn up at attention not\nvery attentive are we, for ail we hear\nis know been show misween\nseen sphere unseen heart\nappear. Not a ghost of a fault any-\nwhere ; all veiy trim and a quan-\ntity of fairies occasionally a real\nperson.\n44 Dan Chaucer, 7v ell of English undefyled\nOn Fame's eternal beadroll worthy to be\n[fyled\"\n44 Thissay M. Legouis, 44 was\nnot idle praise \" ; but he does not as-\nsure us that it was not bad poetry.\nAny of the Sitwells can beat it\nhollow, it seems to me. And Spenser\nloved Chaucer passionately and was,\nas the author and everyone else tells\nus, enamoured of old English verse.\nWell, this passion for E. W. Spen-\nser is, I'm thinking, but wishy-washy\nstuff.\nWhen in Eclogue VI,BI he apostro-\nphises his great master Chaucer, he\nsimply fails to touch us. He fails,\nI should say, to touch me. Whereas\n44 Come away come away Death \"\nfive words of Shakespeare's singing,\nand the dart is in us.\nSpenser winds up his two verses to\nChaucer\nm\n441 soon would learn these words to wail\n[my woe\nAnd teach the trees, their trickling tears\n[to shed *'\n44 Wailing woe \" and 44 trickling\ntears \" ! Why not 44 griping grief \" and\n44 doleful dumps\" at once and have\ndone with it ?\nAnd again,\n'4 Who wilt not mercie unto others show\nHow can he mercie ever hope to have \" ;\nWhy even 1, who cannot write a line\nof veise, know enough to have taken\nEdmund aside and said to him, 44 Boy\n4 hope to have ' simply will not do\nSpenser seems to have said some\nordinary polite things wi hout any feel-\ning, and in rather an ungainly fa-\nshion : and as he was so ungainly,\nthe Ervines of the day said 44 Come\nlet us praise him he's poor but\n'twill save us from being forced to\nspeak the truth which is that,\nname him not is the better poet \".\nBut I am sorry for Spenser. He\nwas a great fool and relied on Pa-\ntrons. They let him down. I hate\nto use such a phrase as let him down\nabout a so well plastered poet but it's\ngood enough for the Patrons.\nAgain, how far wiser Shakespeare.\nGoes in for some public theatricals\ngets shares or half shares cr some-\nthing in time remains independent\nof these Patrons of the Arts.\nM. Legouis tells us that Spenser in\nthe Fairy Qneen 44 merely followed in\nAriosto s footsteps\" but this is not\nquite exact; 44 he fell into one of\nAriosto s footsteps \" would have been\nmore correct.\n\nEVER YMAN LIBRAR Y (Dent) <0\nand THE WORLD'S CLASSICS\n(Oxford University Press).\nThe Life and Letters of John Keats\nby Lord Houghton. Dent. Prieet Ij-net.\nThe Brothers Karamazov by Theodor\nKikhailovitch Dent. 2\nVols. 21-net each volume.\nLesser English Comedies of the 18th\nCentury. Oxford University Press.\nPrice 2/- net.\nThe Adventures of Captain Single-\nton. Defoe. Oxford University Press\nPrice 2 - net.\nIwas sorry to hear, from an unim-\npeachable source, that this Everyman\nLibrary does not pay. The profit is\nvery small, I was told.\n1 gather too that book publishing\non the whole does not pay,\nI can sympathise with those who\nfabricate and distribute these things of\npaper, ink, etcetera, because I have\nwritten a few books (perhaps you\nknow them) and it's true they have\nnot sold at all well.\nPerhaps you know my books by\nname. 44 Sixpenny Humming Birds \"\nis perhaps my best: in that work I\nshow how any really genuine Bird with\na Hum can be limed for less than a\nshilling, 44 Pop goes the Weasle \" is\nanother, and in this, still dwelling on\nmatters of finance, I discourse on how\nthe money goes,\nBut these books have never paid\nme any profit. I gave more than a\nyear to writing each, and they have\nbrought me in £97 and £ll6 re-\nspectively. One can't call that making\nit pay and one cannot live upon £ 1 16\na year in any land of hope and g!ory.\nPerhaps there are too many books\n\n(1) twiner recently issuea volumes m\nthe Everyman series are Renan's 44 Life\nof Jesus Harrison Ainswonh's 44 Admi-\nrable Crichton \" and a funny 44 Book of\nNousense \" by several authors."}, {"page_pdf": 60, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.60", "debut_caractere": 0, "fin_caractere_exclue": 6814, "texte": "produced by the publishers nowadays.\n1 am sure that there are too many\nindifferently produced.\nThe Everyman Series is wonderful\nin several ways, but it is not up to\nthe Tauchnitz mark; yet both of these\neditions pay no authors' fees and so\neach has a fair margin to expend on\npaper, printing, binding and the like.\nThe Tauchnitz books are paper\ncovered, and, so far as 1 have\nheard, no one objects to buy them\non that score. Most book buyers\nprefer an ordinary little book with\npaper covers.\nIf Everyman ....I mean the one who\nneeded a guide ....had not been such\na guffin, he too would have had his\nLibrary bound in paper covers. He\ncould then have afforded to use a\nbetter paper for the text instead of\nthe paper which is used and which\nis disagreable. It is a paper one as-\nsociates with cheap editions of the\n44 Decamerone \" or the other forbidden\nbooks of the Victorian era, when\nnothing first-class could be afforded by\nthose publishers.\nThe binding is gay and neatly done.\nBut after being critically examined it\nmust be admitted to be one of the\nfamous the most famous perhaps\nseries of reprints. It shares the palm\nwith the World's Classics of the Oxford\nUniversity Press, which has only issued\n350 volumes whereas Everyman can\nboast over 800.\nBut the Oxford Press uses a much\nfiner paper: and yet there I am\ntoo quick. In their volume of 18th\ncentury Plays the paper is excellent,\nbut in its 44 Captain Singleton\n(Defoe) it's paper is almost as bad as\nthe Everyman paper.\nThe Everyman is evidently managed\nbetter; there is an orderliness about\nthe whole series which I admire. Bad\nor good, they are consistently so ;\nwhereas the series of the Oxford\nUniversity Press has an uncouth way of\nchanging its mind. The paper, title-\npages, cover design, publishers' mark,\nall hop about as though the publishers\nhad never quite come to a decision as\nto what qualities the volumes were to\nhave and to hold.\nOf the contents of these popular\nlibraries there can be no two opinions,\nfor each contains more or less what\nthe other contains, and both fail to\nissue some of the most enchanting\nbooks ever written.\nYet no obstacle stands in their way.\nThe copyright is lost to the authors.\n1 have three books in mind which\nwould help very considerably to in-\ncrease the profits of both series .... or\nto be more sincere, which I would\nlike to get for 2/-.\n1 suppose \" The Brothers Karama-\nzov \" by Dostoevsky (Everyman) will\nprofit Dents far more than the five\n18th century comedies will profit the\nOxford Press. And I suppose Lord\nHoughton's Life and Letters of Keats\nwill sell quite reasonably well.\nFor my own part 1 find both the\nLife and the Letters dull, and the\nwork by Dostoevsky, though not dull,\nis intolerably long: it is over 800\npages, and by Jove, how gloomy.\nThe 18th century plays are quite\nentertaining, but the book of books,\nin short a real book, is 44 Captain\nSingleton\". It is not because of\nOxford but solely because of Defoe.\nHe utterly chases Dostoevsky off the\nfield. It is a world and many lives\nwe discover through Defoe; we only\ndiscover a rather dusty corner of a\nprovince in Dostoevsky.\nThe Oxford Press might have done\nsomething more for this Englishman\nthan merely reprint his text and insert\nan awful portrait of him as frontispiece\nin brown and green ink. It is an utter\nwaste of money which could have been\nspent far better on a map showing us the\nwanderings of the Captain and William\nthe immortal William. Mr. Watts\nDunton writes a Preface in which he\nsays that Mr. Ryder Haggard's *4 King\nSolomon's Mines \" is 44 more poetically\nif not more picturesquely, told \".\nKing Solomon's Mines is all right\nbut not as we say the rain is right,\nand Defoe is as right as rain.\n\nTHE HOUSE OF SATAN by\nG. /. Nathan. Knopff.\nLONG ago should this book have\nbeen reviewed for it is two years\nsince it reached me.\nHad I a reason for delaying ? Yes\nassuredly I had a reason, and it was\nto see if it would keep. It keeps\nright enough.\nI suppose all the other bottles were\nsold long ago, but you should make\nsure before you lose a late chance or\nbefore it becomes too late. For this\nis full of good things, this bottle of\nNathan.\nNathan is one of those terrible\npeople who attack the American\nTheatre until it be attacked by the\nEnglish, when he ups with their heels\nand he smothers their squeals and the\nAmerican Theatre is made shining\nand splendid by the only stirring\nchampionship it ever gets, In short,\nNathan may attack the American\nTheatre, we may not.\nOr rather, those of us who hate\nand straightforwardly attack its imita-\ntion European Drama and methods\nare allowed to pass and go on with\nour talk ; it's those who under-handedly\npropagate the notion that all American\ndrama is vulgar without manners\nthese, and very rightly these, are the\nfellows Nathan goes for. He asserts\nthat \"the English have gone so shrewdly\n(kind word) about this underhand\nbusiness that they - have converted all\nthe American critics to their point of\n••\nview ,\nHe then shows that in the English\ndrama is just as much vulgarity, and\nthat the worst of manners are revealed\nby most of the characters.\n•• But Nathan is down on everything \"\nis what I hear said, and it's quite\nfalse. He is quite clearly for as many\nthings as he is against others.\nHe distinguishes between Stanislavsky\nand Danlshenko; while praising the\nformer he finds that \" Dantchenko is\na talented theatrical director but God\nis against him \".\nOf the theatre he writes: \"a\nTheatre must be a theatre even\nbefore its curtain goes up on drama\nDoesn't a sentence like that stamp this\ncritic as one of the very few dramatic\ncritics of sense living today in the\nworld? Can we hesitate to trust such\na man for a moment ?—7 he reply\nis \" 1 never heard of him\". So there\nwe are : shout a bit louder, Nathan.\nOne of the most admirable of Na-\nthan's essays is upon the performance\nof Hamlet in modern clothes, wherein\nhe speaks wise words of a work of\ndramatic literary art as compared with\na work of theatrical art.\nBut he speaks his wisdoms so vi-\nvidly, never letting the reader go to\nsleep; and this is such a blessing be-\ncause a whole book of wise theatre\ntalk can easily become a bore.\nBut if a whole book by Nathan is\nenjoyable, how very much more so\nmust be his regular columns which\nreach the New Yorkers regularly\nthrough the press. 4\nI am unaware if this critic writes in\nany other Journal than in the M Ame-\nrican Mercury \"t but for the sake of\nthe good health of the New Yorkers\n1 hope he does; and if any reader\nof 44 The Mask \" hasn't two or three\nof Nathan s books, the sooner he gets\nthem the better. It's quite easy now,\nfor his publisher Alfred Knopf has a\nLondon branch, (38 Bedford Place,\nLondon), and 1 advise you to make\nhaste and write for this 44 House of\nSatan \", and, unless you have it already,\nfor his 44 Land of Pilgrim's Pride \"."}, {"page_pdf": 61, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.61", "debut_caractere": 0, "fin_caractere_exclue": 6602, "texte": "Yes, on second thoughts it is im-\nportant to say this, for, while we sup-\npose you to be a purchaser of books,\nwe often discover you are not. You\ntalk of Nathan and yet have\nnever read one word of him.\nWhy not do that ?\nYes, on third thoughts it's quite\nimportant to have said this.\n\nTHE MUSICAL QUARTERLY.\nVol. XIII. No. 2. April 1927. G.\nSchirrner, New York•\nTHE STORY OF MUSIC by Paul\nBekker- Dent & Sons. Price / 0/6.\nLUDWIG BEETHOVEN'S PI A-\nNOFORTE SONATAS. W. Beh-\nrend. Dent & Sons. Price 6/-.\nIT is strange to realize that before\nthis queer century can be brought\nto admit that a great artist is a great\nartist, it has to be flattered by being\ntold that he has a number of bad\nfaults.\nWhy the critic, a man of parts as a\nrule, troubles to leave the artist's side for\na moment to go over and chat confiden-\ntially with the people who don't un-\nderstand, don't want to understand, and\nwho deserve to be left without under-\nstanding, is not clear.\nWe rather enjoy seeing when one\nof the lesser toadies is in the posture of\nlicking the boots of Mayfair or the\ntyres of an automobile; but when the\nexcellent Edward J. Dent strolls across\nand is seen chatting amiably with the\nmugs it is a little disheartening but\nis worth consideration.\nWhy does he do it ? why do\nyou do it ? why do I do it ? We\nhave all time to think over the answer.\n1 for one cannot find a reply satisfactory\nenough.\nBut the fact remains that Mr. E. J.\nDent recently addressed himself to 44 a\nyounger generation \" and said that he\nadmitted that Beethoven wasn't all\nthis and all that that the man had\nquite a lot of faults...\nI won't attack Dent : he has a rea-\nson for feeling as he does. I haven't\nfound that he very often bothers about\nthe mugs; I don't attack any younger\ngeneration, for it remains yet to be de-\ncided what is a younger generation.\nIt would seem to be 44 a whole body\nof persons born about the same time \" ;\nand I suppose that by now we are\nquite clear as to the triviality of most\n44 bodies of persons \". If a whole body\nbe persuaded (without outside persua-\nsion) of the perfections of common sense\nwell and good ; but they never are.\nOnly a firm personal persuasion can\nhelp to 41 remove mountains and\n44bodies\" are unfortunately quite without\nthis 44 firm persuasion \" of their own.\nSo that Dent's reason for conside-\nring this whole body of persons and\nsaying that he agrees that Beethoven\nisn't this and wasn't that is puzzling.\nHis article appeared in the 1927\nApril number of 44 The Musical Quar-\nterly \", a number dovoted to the life\nand the works of Beethoven and well\nworth getting.\nAnother useful but not too well ar-\nranged work is the 44 Katalogue der\nInternationalen Ausstellung Music im\nLeben der Volker, Frankfurt am Main,\nby Dr. Kathi Meyer, with its 340\npages of text and its 59 plates.\nYou can get it by writing to the\nprinters, Hauserpresse Werner U. Win-\nter, G. M. B. H. Frankfurt A. M.\nLess useful is Paul Bekker's 44 The\nStory of Music \", whereas William\nBehrend's book on Beethoven is inte-\nresting because he does not fail to tell\nus a great deal about the man; small\nfacts, not surmises, as he tells us all\nhe can about the music he was writing\nwhile these things happened.\nThe facts have some connection\nwith his work, but exactly what, no one\ncan quite say. You are an artist; you\nare writing verse; your cook brings up\nthe coals ; you are not troubled by this;\nshe frowns or she doesn't; you have\neaten a poor breakfast; the coffee was\ncold ; or you have slept badly ; or it\nis raining. What do these small facts\nmatter ? They do matter, but do they\naffect your verse ? I will leave you to\nthink it over. It will take you some\ntwenty-five years to come to any de-\ncision... and then you will decide as\nI do.\nBeethoven. Let us listen when-\never we can to what he wrote and\nthank the stars for it and say nothing ;\nand get home and again thank the\nstars ; and so go listening on when the\nsounds have died out and be as grate-\nful as we can.\nBut never talk about Beethoven ;\nnever persuade the silly world about him.\nThere is a sensible world around\nus; let us always try to remain in it\nand with it: it is densely populated.\nThe silly world is, and always has been,\na monstrous fat clique. And the new\ngeneration will (unfortunately) see to it\nthat this clique is kept ever fresh and\nclaqu£.\n\nWILD HONEY by Frederick Ni-\nven. Dodd, Mead & Co. (No price\ngiven),\n44 W/ILD Honey\" is nothing theatri-\nVV cal, but is a tale of a tramp in\nBritish Columbia by men who had to\ntramp, not dilettanti. 41 There's no\nhurry—there's lots of time \" is the\nrefrain. 41 C'& piu tempo che vita \"\nas the Italian puts it.\nFrederick Niven is one of the tram-\npers, and two queer fellows, Hank\nand Slim, are his companions. They\nride in, on and under freight-trains,\nsleep where they can, and do not fall\nout. They carry a frying-pan ; they\nmeet all sorts of people, but they\nseem to prefer to be alone. They\nwalk on without introductions. A tra-\nveller de luxe, even though he tramp\nit, has those introductions, and enters\nin his 44 journal \" after a long day's\ntramp, 44 reached Val d'Elmo mca at 10\nat night : was glad of the hospitable\nbed and the good will offered me by\nthe Baron del Monte ; after I had had\na refreshing wash I descended to the\ndiningroom where a dish of eggs with\nartichokes and a salad with some cold\nfowl soon revived me;—a bottle of\ngood Bruciatto completed the feast\nNot so with Slim, Hank and\nNiven.\nAnd it is the utter absense of all\nhospitality which renders the book so\nwell worth reading. This first of all.\nAnd then there are some 4 pomes \\\n\" Sceptre and Crown must tumble down\nAnd in the dust \"\nand when Niven starts quoting one\nof these 4 pomes ' on the huge slope\nof a mountain and Hank implores for\nsome more and gets a few lines by\nheart and goes off to say them over\nto himself—and not a soul to be met\nwith for miles and no hospitality to\nbe met with for years, we get to a\nland, a people, not easily come to, not\noften seen. And there is much that\nis amusing in the book. Yet how it\ncan emerge from so much that is de-\nsolate is something I wonder at.\nWell, it's a tale of the fryingpan,\nsure enough, and of the very edge of\nthe fire.\n\nTHE GRASSHOPPER and other\nStories by Anton Chekhov. Price\n2/6 net 0).\nTHE BETROTHED by Alessandro\nManzoni. Price 2/6 net. Both is-\nsued by Stanley Paul & Co. The\nInternational Library Series.\nTHESE Russian stories are gloomy,\ntragic but gloomy ; and they are\ncomic but wistful; pathetic but misty;\nand so often interesting when you can\ndodge the gloom; well printed, well\n\n(i) See also The Mask, pag. 40, vol.\nXIII, 2927."}, {"page_pdf": 62, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.62", "debut_caractere": 0, "fin_caractere_exclue": 1535, "texte": "bound, light to hold in format; but\ngloomy and grey is the way of telling\nthem. Not that all Russian things are\ngrey and sad,—witness Arcos and the\nother Russian Ballets.\nWe suggest to the publishers that\nthey bring out in this agreable edition a\nvolume of Pushkin's tales just to show\nus all how the Russian can write when\nhe likes, ....when he is not pining to-\nwards Revolution or spying on his\nhosts. For Pushkin is what is still called\nin English very much the gentleman.\nBut that 1 had seen 44 The Be-\ntrothed \" as a film I should have\nenjoyed it as a novel; as it is I stop-\nped after thirty pages of it. I could\nnot go on: for the Film has quite\nspoiled the book of the words for me,\nand I am not surprised that the cu-\ntest authors refuse permission to the\nCinematograph to popularize their plays,\nnovels and stories for it assuredly chea-\npens them. This 44 Betrothed \" is an\nexample of what I mean. I was\nhaunted by the film pictures and, it\nseems to me, I shall never be able to\nread any more of this masterpiece.\nAnd if witnessing a Romance like\n44 The Betrothed \" as a film can pre-\nvent others reading it as it prevented\nme, it roust prove in time very bad busi-\nness for the booksellers and authors.\nThe Film stamps its pictures into\nour brains; like jazz music it gets\nthere. And the Film picture and the\nauthor's picture are seldom the same\nthing. It is like reading our best\nbooks to the accompaniment of a\nnumber of illustrations: these illustra-\ntions, say what you will, are not liked\nby men who are good readers."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c051", "article_bluemountain": "bmtnaau_1928-01_01#c051", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "36", "page_fin": "36", "image_debut": 48, "image_fin": 48, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.30.2", "titre_corps": "THE LETTERS OF RICHARD WAGNER. Selected and Edited by Prof. Wilhelm Altmann", "titre_sommaire": "THE LETTERS OF RICHARD WAGNER. Selected and Edited by Prof. Wilhelm Altmann", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.48", "debut_caractere": 15, "fin_caractere_exclue": 3739, "texte": "THE LETTERS OF RICHARD\nWAGNER. Selected and Edited by\nProf. Wilhelm Altmann. Translated\nby A/. M. Bozman. With illustra-\ntions and two facsimile letters. 2 Vo-\nlumes. J. M. Dent & Sons. Price\nJO/6 net each volume.\nTHE Fashion Richard Wagner lasted\nlong. He was not the Fashion\nduring his life, then he died and became\nthe craze.\nIt is of no importance at all whe-\nther a great artist becomes the Fashion\nor not, and Richard Wagner was in-\ndubitably a great artist..\nYou may be tired even of hearing his\nname today, but then Cimarosa s name\nbored you once. Monteverde's you\nmistake for Giuseppe Verdi s and In-\ngenieri has a name you can t pronounce\nif by chance you should have to be\nbored by any such attempt. You are\nbored because you are a bore; it\nis no reader of \"The Mask I am\naddressing as * you *; it s that unfor-\ntunate curse, the up-to-date person who\nbelieves that he decides the fate of all\nthe arts, and that he settles all questions\nof religion, and, indeed, of all life. He\nwas, he is and she will be, but for all\nthis I would beseech our readers to do\nsomething to rid us all of him and her.\nAnd so, as he took up Wagner, so\nhe or his like have put down Wag-\nner. He is taking up someone else\ntoday and his like will put him down.\nBut that you, Gentle Reader, should\never be influenced by his decisicns, his\ntakings up and his puttings down, grieves\nme. Still, you should be grateful to\nhim for having put Wagner down be-\ncause that makes possible now for you\nto come near Wagner.\nIt is to be understood of course that\nin this selection of Letters you do not\ncome very near him, ...only in his music\nare you with a great composer.\nBut you come a little nearer the man\nin his correspondence, and 'there you\ndiscover what I said above; that du-\nring his life he never became the fashion.\nTo the end it was a fight to establish\nhis work as he felt he wanted it estab-\nlished. People were always saying\nthat 44 he was not to be helped he\nmentions the fact and writes of \" the\nstatement of so many of my friends\nthat 4 I was not to be helped * ' and\nit is interesting to note how untrue that\nstatement was. He refers to the heads\nof the theatre who are so antipathetic\nto him that they even treat the artists\nhe recommends so badly, they cannot\nstay in the theatre. They hate no-\nthing so much as a \"Wagnerian : \" keep\ncut the Wagnerian conductors : Lord\npreserve us they say, \"We should\nget a man who wants endless rehear-\nsals, particularly when things are not\ngoing well ...no thank you 1 let us get\non as well as we can with servile bun-\nglers but let us get on\nThey say the same thing today of\nall artists. \" Let us get on \". They\ndon't get on today and they did not\nget on in those days: all they did\nwas to slip back and back, and then the\ncatastrophe. They can't get on even\na little without the artists: and\nwithout the great artists they are lost\nentirely.\nThe letters are not brilliant, the weigh-\nty Wagner who was such a practical\nman often stands out clearer than the\ninspired Wagner; but the books are\nvery interesting and show us the usual\ngrievous spectacle of a great artist and\nan only too serious man being dis-\ngracefully badgered for some fifty years.\nHumanity let us for the moment\ncall human cattle by that title can-\nnot therefore be felicitated by those\nof us who hold that fine art is a bles-\nsing and genius, or even a touch of it,\na thing which should never be harras-\nsed in the way it is and always has\nbeen harrassed.\nWagner ultimately won the day\nand Humanity lost it.\nBut then, thank God, that's not\nHumanity.\nPresumably Humanity is a fine thin\nstreak of something blessed which runs\nthrough everything and not through\nmany people. If it did the whole\nworld would be very happy."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c052", "article_bluemountain": "bmtnaau_1928-01_01#c052", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "36", "page_fin": "37", "image_debut": 48, "image_fin": 49, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.30.3", "titre_corps": "UN TEATRO DE ARTE EN ESPANA", "titre_sommaire": "UN TEATRO DE ARTE EN ESPANA", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.48", "debut_caractere": 3741, "fin_caractere_exclue": 6411, "texte": "UN TEATRO DE ARTE EN\nESPANA Edicione de la Esfinge.\n\"Estrella Sociedad Anonima Editorial,\nMadrid. Madera 11.\n\nTWO years have gone by s:nce thss\nbook appeared, and in two years\nI do not doubt that the talented group\nwhich forms the subject of this swagger\nvolume have progressed.\nAnd yet, as you look at the photo-\ngraphs of the actors reproduced so\nbeautifully in the volume, you find\nyourself saying \" in theatre there is no\nsuch thing as progress—what was good\nremains good and will so remain\nHere are the same devices as of\nold, the same tricks of gesture, and of\nrepose; the same expressions and the\nsame groupings. And suddenly one\ncomes across something new some\nstrange touch which makes all the\ndifference, but it has nothing to do\nwith progress.\nThe strange touches I came across\nin this book were not in any sceneries\nand not in the groups, but in individuals.\nWhat this touch is which delights *\nso, we have all tried to define. And\nyet we define nothing—and I for one\nam not surprised, for there is nothing\ndefinable in it. Define a wind, raise\nup a breeze in a garden-—it is net\npossible. Recognize it —yes, that is\npossible. And I am a great admirer\nof this book, Un TcatTO dc Arte en\nEspana, for I at least have recognized\nin it the signs of art or genius or\nwhatever that thing is which is not to\nbe defined in Spain from a distance.\nThe book itself is to be explained a\nlittle. It is not a book of sceneries and\nyet there are some forty-nine sceneries\nreproduced in colour and reproduced\nwith great care, good taste, and mounted\nwith originality.\nOriginality which is not at the ser-\nvice of good taste or powerful expression\nor genius or some sort of overlord is\na worthless thing—and it is because\nwe generally mean something odd by\noriginality that we are generally pro-\nnouncing the word in a meaningless way.\nOriginality to this Spanish book pub-\nlisher is an open door .... left open.\nHe will reproduce one design in one\nway and mount it on a specially pre-\npared page of white paper with a pale\nyellow background to the picture stam-\nped on the white page. But he will\ngive us his next picture mounted on\nanother white paper on which is a\nbackground of another tone of yellow\nstamped on its white surface.\nIn short, white paper and yellow\nbackground are not two things, they\nare twenty. That's a touch of origi-\nnality. Old as the hills and yet as\nnew.\nSeveral processes are used in the\nreproductions, not one. Wonder of\nwonders, someone has been thinking.\nThat is essentially original.\nPortraits of authors and of performers\nor caricatures of them mix in with the\ndesigns for scenes, for posters or pro-\ngrammes.\nNow and again, as is becoming to"}, {"page_pdf": 49, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 4142, "texte": "certain theatrical things, the reproduction\nfavours the old nineteenth century co-\nloured chocolate box.\nOiie of an actress especially pleases\nme, so apt it is; but of the same\nactress we get five or six really good\nphotographs and five or six charming\ndrawings, the most charming of all\nbeing one by Barradas on page 63.\nIt shows us Catalina Barcena, the\nprincipal actress of the troupe whom\nall Europe has heard of—all except I.\nThis troupe has been brought toge-\nther by Signor G. Martinez-Sierra\nwho needs no introduction, but who,\nstrangely enough, is introduced in this\nbook as being \" the Spanish Lugn&-\nPoe\n1 am now quite at sea as to Sig.\nSierra if that in any way describes him.\nTo strengthen this troupe of perfor-\nmers, Sig. Sierra added the designers\nFontanals, Barradas and Burmann, all\nof them talented and in no way in-\nfluenced by Northern fads : only now\nand again does Fontanals descend to\ndrink from a fountain at whose edge some\nof the Italians, such as Brunelleschi,\nand a few Frenchmen, are to be seen.\nI don't know what is the source of\nthis fountain, although a faint reflection\nof Beardsley is discernible in its glossy\nsurface. But it is very faint.\nI cannot say that I have found\nanything by the designers which, as\nsceneries, strike me as remarkable.\nI should say that they need to go a\nlittle slower—to be a bit less cock-sure.\nI always look at a design to see what\nit is the artist has done to help the\ndramatist and especially the actor. You\nmust allow for the moment even if not\nquite correct that the actor is a man of\ncommonsense and will avail himself of a\ncleverly disposed scene. I grant that\nninety nine out of a hundred actors don't\ngive a damn for the scene-man even\nwhen he has devised a scene which\nhelps enormously to break up the dul-\nness of the hour or to unite the too easily\nscattered notions of the dramatist. But\none actor out of a hundred will un-\nderstand. And it is with an eye to\nthis actor that I look with my other\neye at the designs of these new sce-\nnographers.\nAs I went through the book, looking\nonly at the designs, it seemed to me\nthat Signor Biirmann in his design for\nE! grillo del Hogar \" had done\nextremely well—and so when I disco-\nvered that he was a disciple of Rein-\nhard t and a collaborator of Stern I\nwas quite amused. I had drawn a\nlucky number. Signor Biirmann seems\nto dispose his scene so as to help the\nactor.\nBut how good are Fontanals and\nBarradas when they like and when\ntime permits. How they attack and\nalso get out of the difficulties. They\nmust have drawn all Madrid to see\nthese spectacles.\nBut there are others who do well\ntoo ; Signori Benedito, Zamora, and\nPons, Periquet and Mignoni are full\nof talent.\nThe book represents the work of\none theatre between the years 1917\nand 1925,—nine years work, and I\nhave not seen a finer volume of the kind\nproduced by any company even after\nnineteen years work.\nIt is essential to any theatrical li-\nbrary : because, in European or Ame-\nrican books dealing with the new work\nof all the Theatres, Spain is far too\noften omitted altogether.\nI think it more than likely that\nMadrid, and even the new designers\nthemselves, have felt the inability of\ndoing better than Mauricco Vilomara\ndid in a scenic way; and that they\nalso remember Jose Planella Coromina,\nwhile others cannot forget Olegario\nJunyent.\n\" But that's all old stuff \" you say.\nDon't say so quite so loudly, lest\nthe Editor of \" The Mask \" have his\nsleeping suspicions aroused and I be\nput to the torture. But even then I\nshould, between my shrieks, grind out\nthese words: \" I swear by the younger\nmen—I swear I swear by them, but\nwe all love and loved the best of the\nolder men for they too were young\nmen and their work is still young \".\nBut I shall not suffer the rack—I\nknow that; I will but once more\nthreaten to retire: for if I were to\nleave \" The Mask \" where would\n44 The Mask \" be?... Yes, but where\nwould I be ?\nI hope this Spanish Tealro de Arte\nwill all stand firmly together and win\nthrough to even greater victories.\nAnd perhaps some day I may see their\nwork and meet some of these artists.\nThat would indeed be delightful.\n\nGordon Craig."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c053", "article_bluemountain": "bmtnaau_1928-01_01#c053", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "37", "page_fin": "37", "image_debut": 49, "image_fin": 49, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.30.4", "titre_corps": "THE POETRY AND PROSE OF WILLIAM BLAKE. Edited by Geoffrey Keynes", "titre_sommaire": "THE POETRY AND PROSE OF WILLIAM BLAKE. Edited by Geoffrey Keynes", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 49, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.49", "debut_caractere": 4144, "fin_caractere_exclue": 6143, "texte": "7HE POETRY AND PROSE OF\nWILLIAM BLAKE. Edited by Geo/-\nfrey Keynes; Complete in one volume.\nThe Nonesuch Press. Price / 2/6 net.\nMR. Keynes and the Nonesuch\nPress have done a piece of per-\nfect work. To edit and print Blake in\na single volume is not easily done : the\nchief difficulty lies in avoiding all those\nthings which tend to fluster the reader.\nThis has been done, and done mag-\nnificently.\nNo more do you feel a little alarm-\ned as you open a book by Blake.\nAll sails clearly on. No notes jerk us\nup; no unnecessarily large head lines\nstartle us. The names LOS, URI-\nZEN, TIRIEL, THEL go easily here.\nEven EUROPE and JERUSALEM,\ntwo of the mildest names of the most\ncivilized places, do not howl at us or\ngibber as other publishers cause them\nto do when doing the work for Blake.\nHere Europe is the Europe and Jeru-\nsalem is\" the Jerusalem we all know so\nwell nothing more.\nI am, and you will be, charmed by\nthe work of the type-setters of this book;\nnothing more discreet has issued from\na London press for ages, ....I mean\nnothing so immensely worth while.\nIf I were, (as I hope shortly to be)\nMinister of Fine Arts, I would place\nthe Editor or Director of the None-\nsuch Press in control of all the printers\nof England. He is so sensible.\nAnd you have to be astonishingly\nsensible to rid a book of Blake's works\nof all that is startling.\nI could show you thirty or forty of\nthe points in this book which make\nhis work so sensible, but I can't write\nthem out here : one needs to see the\nbook, and then, if through sheer quiet-\nness they elude one, one must have\nthem pointed out.\nAs a matter of fact, you won't see\nthem : you'll see merely a most ordi-\nnary book, ...but exquisite: as you\ntouch it you at once become conscious\nof a sense of perfection.\nIndia paper has been used so that\nthough containing close upon 1200 pa-\nges ft is as light as a feather ; bound\nin buckram and bevel-edged boards,\nfor 12/6.\nIt is a gift to England.\nRather a dangerous one being a\nhundred years too late."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c054", "article_bluemountain": "bmtnaau_1928-01_01#c054", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "37", "page_fin": "38", "image_debut": 49, "image_fin": 50, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.30.5", "titre_corps": "PLAYS AND MASQUES AT COURT DURING THE REIGNS OF ELIZABETH, JAMES, and CHARLES by M.S SteeleCOLLEGE PLAYS by G.C. Moore Smith", "titre_sommaire": "PLAYS AND MASQUES AT COURT DURING THE REIGNS OF ELIZABETH, JAMES, and CHARLES by M.S SteeleCOLLEGE PLAYS by G.C. Moore Smith", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 49, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.49", "debut_caractere": 6145, "fin_caractere_exclue": 6707, "texte": "PLAYS AND MASQUES AT\nCOURT DURING THE REIGNS\nOF ELIZABETH, JAMES AND\nCHARLES, by M. S. Steele Ph. D.\nHumphrey Milford. Oxford Univer-\nsity Press. Price 18/- net.\nCOLLEGE PLAYS by G. C, Moore\nSmith. Cambridge University Press.\nPrice 6/- net.\nEARLY in the Preface the author of\nthis valuable work on Plays and\nMasques makes reference to Fleay ;\nwhose work has always pleased me\nbecause it condensed rather than ela-\nborated the facts about the Elizabe-\nthan stage. Anyone may be right or\nall may be wrong, but the least that\nthe scholar owes us is to make his work"}, {"page_pdf": 50, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 2616, "texte": "as brief, as true and as entertaining as\nhe can.\nFor if not, in a hundred years time\nwe shall possess some five hundred\nmore bulky works all prattling on about\na subject which could be and should\nbe covered by ten volumes at the very\nmost if hard facts were the gold\nnuggets they were destined to contain.\nAlready we possess dozens too many\nfull of dross.\nI do not know any other chronolo-\ngical list of all the Plays and Masques\nwhich were given at the English Court\nfrom January 6th 1559 until March\n12th 1642, but, should none exist, this\none certainly supplies us with all we\nwant.\nWhat 1 would suggest is that no\nother such list of Masques at Court be\never made, but that this one be re-\nvised and revised every ten years as\nfresh discoveries are made.\nMr. G. C. Moore Smith's book on\nCambridge College Plays has the per-\nfections I so much appreciate and to\nwhich I have just referred.\nIt is brief, it is small, it is all we\nneed, and by Jove, it is unpretentious.\nThe author gives us gold and doesn't wrap\nit up in a woollen stocking of his own\nknitting.\nNothing unclear about Mr. Moore\nSmith, and everything done to make us\nrealize when he has stopped speaking\nabout the Dress of the Actors and when\nhe is beginning about the Music and\nwhen he is passing on to the Lighting.\nHis book consists of 110 pages, but\nis in fact a booklet.\nI cannot do better than copy the\nContents Page :\nCAMBRIDGE PLAYS\n(I) Outlines of the History\n(II) Manner of Production of\nCollege Plays.\nCHRONOLOGICAL TABLE OF PER-\nFORMANCES OF COLLEGE PLAYS\nAT CAMBRIDGE\nACTORS LISTS\nBIBLIOGRAPHICAL NOTES\nIt is a book you can read which\nis an important point to consider when\nwriting a book: it is one you can un-\nderstand ; and this too is helpful.\nMore of such small books, that is my\nprayer as 1 close it and place it side\nby side with the four volumes by\nSir E. K. Chambers on The Eliza-\nbethan Stage. A Marvel, a Monu-\nment, but not an example to follow.\nWhy ? and why am I so ? Why\nam I not on my knees with the others\nwho worship the monumental ? Because\nthe main thing in all historical re-\nsearch is to bring to life again. You\ncan only do that at all successfully if you\ndo little and make that little awaken our\nimaginations and revive our remembrance.\nThe long, exhaustive, marvellously\nscholarly world-shaking works simply\nwon't do.\nThey crush us while they leave us\nin a state of uncertainty all the time\nwith their hundred doubts. A histo-\nrical work should not contain the words\n4 perhaps * or * probably ', and these\nmighty monumental world-shaking works\nare riddled with holes made by these\ntwo destructive worms of words."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c055", "article_bluemountain": "bmtnaau_1928-01_01#c055", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "38", "page_fin": "38", "image_debut": 50, "image_fin": 50, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.30.6", "titre_corps": "ABOUT ENGLAND by M. V. Hughes", "titre_sommaire": "ABOUT ENGLAND by M. V. Hughes", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 50, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.50", "debut_caractere": 2618, "fin_caractere_exclue": 5658, "texte": "ABOUT ENGLAND by M. V.\nHughes. Dent & Sons. Price 5/ net.\nSOMETHING needs a little revision—\nsomeone a little more vision—at\nNo. 10 Bedford Street, Strand. For,\nwhile I do not like this book about\nEngland because its opinions are cheap\nand hastily tumbled out and because it\nattempts to do England in 359 brief\npages, the failure is after all not to be\nwondered at, and the attempt is any\nway made light-heartedly, which is\nsomething.\nBut I do wonder at the publishers.\nFirst I wonder, as I note what\nexcellent paper is used. But my spi-\nrits rise only to be utterly dashed again\nat almost everything else about what\nis, 1 believe, called the make-up of\nthe bock.\nTo begin with, there are many do-\nzens of large and small illustrations.\nInstead of being by one man they are\nby many men. The styles mix up and\nclash abominably. Is there no autho-\nrity in No. 10 Bedford Street that can\nprevent a blunder like that ? If ever\nHerbert Railton and Joseph Pennell\nillustrated a book together the thing\nwould have had some rhythm, some\nharmony; all would have been of a\npiece ; and of course you can set five\nor ten men to illustrate the same book\nIF you know how to order the designs\nto avoid a clash.\nBut here all through this volume 1\nsee the work of several well-known\nmen (whose names are not acknow-\nledged in the introduction or anywhere\nelse) : Brock, Herbert Cole, Gordon\nHome, .... and Railton. These are\njumbled together, chased into the pages\nlike frightened animals fleeing before a\nPampas fire; and, with these designs\nmade some twenty-five years ago, are\nmixed some imitations of the more mo-\ndern schools—ridiculous imitations; and\nthe fault does not lie with the young\nartists (who I am sure could do real\ngood stuff) but with the man who gave\nthe orders.\nImitations of John Nash are perhaps\nthe most fortunate; those of Lovat\nFraser are perhaps next best : but what\nis the matter with the publishers ?\nLook at page 29; pass on to page 33\nand then turn to 34, after which 39.\nThe design on page 39 is dated 1909\nand is a pretty thing by Mr. Cole, but\nfor all this it's close on twenty years\nlate.\nThe design on page 11 will do—as\nan attempt to imitate a modern effect—-\nbut what is any established publisher\ndoing, with laurels to lose if not to\ngain, what is he dreaming about, that\nhe doesn't know that imitation modern\nstuff won't do because really good mo-\ndern stuff is available ?\nThere are a hundred to two hundred\nexcellent young artists out of work, or\nwi h not half enough work to do, and\nwilling to work on a book like this if\npaid decently.\nBut a publisher may not want good\nmodern work\nAll right; but let him not attempt\nto palm off on the public wretched or\neven well attempted imitations of the\nmodern school. And let him never\nmix up his styles. Look at the design\non page 192 and that on page 248\nwith its attempt to be Nash-like.\nAnd, now that I have said what I\nthink of this bad direction at Dent's,\nlet me turn to a book of their's which\nis really excellent and all of a piece in\nthe way it has been produced."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c056", "article_bluemountain": "bmtnaau_1928-01_01#c056", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "38", "page_fin": "39", "image_debut": 50, "image_fin": 51, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.30.7", "titre_corps": "MODES AND MANNERS OF THE NINETEENTH CENTURY, Translated from the Gemran of Dr Oskar Fischel and Max von Boehn", "titre_sommaire": "MODES AND MANNERS OF THE NINETEENTH CENTURY, Translated from the Gemran of Dr Oskar Fischel and Max von Boehn", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 50, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.50", "debut_caractere": 5660, "fin_caractere_exclue": 6499, "texte": "MODES AND MANNERS OF\nTHE NINETEENTH CENTURY,\nTranslated from the German of Dr.\nFischel and Max von Boehn;\nWith two additional chapters by Grace\n7 hompson. 4 volumes. Dent & Sons.\nPrice £2 2.0.\nHERE it doesn't matter that the il-\nlustrations are from different hands\nfor the essence of mode is in its change.\nBut even then the selection of the\ndesigns and their arrangement could\nhave easily been blundered. As it is\nthe whole thing is excellently well done.\nThe work appeared in 1909 in\nthree volumes and lacking a number\nof delicious plates. Now it is com-\nplete, and for the first time you get\nthe 19th century modes and manners\nin a practical and luxurious set of books,\nand I think that you will not get a\nmore likeable four volumes on this\nsubject for many a year.\nOnly a hundred years are covered\nin tnese four books. T his is a gua-"}, {"page_pdf": 51, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 2843, "texte": "rantee that the thing has been dealt\nwith seriously, though you need have\nno fear that an excess of gravity in the\nwriting and pictures will send you to\nsleep. Max von Boehn has written it\nwell, and Dr. Fischel has selected the\ndesigns with apparently no other mo-\ntive than to please us, for page after\npage is a fresh delight; but as a matter\nof fact you get instruction thrown in\nextra ;—if you have this book you can\nbe sure of your facts, dates and all.\nAnd it is so much to be helped to\nknow which year it was they wore the\ncape you are looking at, and in which\nland ; and to learn who made the\ndesign. Each design has these three\nindications. The text is the easiest rea-\nding possible and is a mass of precise\ninformation at the same time.\nLet me specially recommend these\nfour volumes to every Little Theatre in\nEurope (1 won't waste my time attemp-\nting to recommend them to any English\nTheatre, for it is already for twenty\nyears now that they have proved that\nwhat they prefer is to obstinately refuse\nto listen to anything they are told\nabout).\nBut by one of the quick intelligences\nin each Little Theatre in Europe the\nvalue of this work will be caught up\nat once. They will know how to\napply the knowledge to be gleaned\nfrom it, and how to avoid blundering.\nHere are photographs of Offenbach,\nhands in pockets, eyeglass in eye, whiskers\npinned on and in plus-fours; of Bis-\nmarck and Pauline Lucca in 1865;\nof Ludwig II and Kainz; of Edward\nPrince of Wales : colour plates of pain-\ntings by Viktor Paul Mohn, by Feuer-\nbach, by Von Schwind, by Zorn which\nI will wager you've never yet seen;\nother colour plates of engravings or\ndrawings by Dev£ria, Danhauser, Beau-\nmont, Bruno Paul and dozens more;\nsome hundred and forty reproductions\nin colour of fashion plates from 1800\nto 1900 (and the authors give full\nmeasure and start before 1800 and\ncarry on beyond 1900) ; these plates\nby themselves are a banquet ; and\nbesides those you have the 860 black\nand white reproductions in half tone.\nWhy do I linger on the quantity ?\nbecause it is books which are full like\nthese that we need nowadays from\npublishers. Fair and square books not\nswindles.\nWhy this delight in the work of\nVon Boehn and Fischel ? because it is\nmen who refuse to bore us that we\nneed nowadays ; and, if these two told\nus of Germany in the 19th century\nand nothing but Germany we might\nbe bored ; but they have drawn from\nEngland, Germany, France and Den-\nmark, from America, Spain and Russia\nfor their information and designs, and\nmy only regret is that they have not\navailed themselves sufficiently of the\ninteresting material which Italy from\n1800 to 1900 had to yield them.\nMilano in 1800 was a place of inte-\nrest ; Torino too ; Napoli and Roma.\nBut then the work would have run\ninto five volumes; and besides, the\nauthors do not forget Italy altogether."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c057", "article_bluemountain": "bmtnaau_1928-01_01#c057", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "39", "page_fin": "39", "image_debut": 51, "image_fin": 51, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.30.8", "titre_corps": "SHERIDAN TO ROBERTSON by Ernest Bradlee Watson", "titre_sommaire": "SHERIDAN TO ROBERTSON by Ernest Bradlee Watson", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 51, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.51", "debut_caractere": 2845, "fin_caractere_exclue": 6209, "texte": "SHERIDAN TO ROBERTSON by\nErnest Bradlee Watson. Humphrey\nMilford. Oxford University Press.\nPrice 25/.-\nMR. Watson continues what Mr.\nAI win Thaler well began with his\n44 Shakespeare to Sheridan\" in 1922.\nIt must be admitted that Mr. Tha-\nler had a more difficult task, but one\nwith more brilliant possibilities. And\nMr. Thaler illustrated his volume bet-\nter ; it had thirty-nine of the most in-\nteresting illustrations I have come across,\nmost of them new to us, and selected\nfrom the astonishingly good collection\nin the Harvard College Library.\nBut Mr. Walson has one clinking\npicture for us.\nHe starts his book by a frontispiece\nshowing the scales, knife and bond\nused by Edmund Kean in the 44 Mer-\nchant of Venice \".\nHow did these treasures come to\nleave England ?\nPerhaps I have not searched this\nbook carefully enough, but I cannot\ndiscover in it any reference to these\nscales, knife and bond. And as they\nare featured as a frontispiece I am\neager to know.\nBut if I want to know a number of\nother facts about the London theatre\nof the nineteenth century I can get the\ninformation here, so 1 am well pleased\nwith the book.\nI regret to find no reference made\nto Dr. Stahl's 44 Das Englische Theater\nim 19 Jahrhundert\", a book publish-\ned by R. Oldenbourg in 1914 and\nworthy of considerable attention ; and\nalso to find Mr. Saxe Wyndham refer-\nred to as Saxe, H.\nAnd I cannot but again regret, that\nso many of our modern scholars and\nstudents-of the Drama and the Theatre\nwill write such long books (this\none is 445 pages) and cover such\nlong periods as this one covers.\nIt is not of sufficient use to us:\nwhat we want (I shall ever repeat it)\ni 3 a small book, on a far smaller theme\nand a theme no one else has approached.\nNo one man can write the History\nof a hundred years of the English stage.\nA small book apiece by many scho-\nlars each on one item in that hundred\nyears would, I feel, be a hundred times\nmore valuable.\nRead that small book written by\nTalma's gardener Louette on the great\nactor. Louette is the vivid historian\nfor me. Or, if you wish for another,\nthe small book by Count Algarotti\n44 Essay on the Opera\" ; or De Ruber-\ntiss 62 page \"II Teatro Nazionale \"\nreviewed in these pages *n 1926; or\nG. C. Moore Smith s \" College Plays \"\nreviewed in this number.\nI want a small book about the Thea-\ntre at Trausnitz, another on the old\nOpera House at Bayreuth ; a third on\nSancta Stella the singer, a fourth on\nVerona the Scene-painter, a fifth on\nThe Lighting in the Vicenza Theatre ;\na sixth on the Seghizzi system ; a se-\nventh on the architect Selva ; an eighth\non the theatres of architect Ferdinando\nMorozzi. I want a history of that\nBook on Theatres by Dumont and one\non the collected theatre scenes of Lancia.\nNone of these books exists, and none\nexists on five hundred of such unknown\nmatters ; whereas over and over again\nwe are made to listen to the same old sto-\nries about \" The Theatre of the 18th\ncentury \", \" The Art of the Dramatist \",\n44 The Stage from Garrick to Robson *'\nand 44 The Tragic Acting of Mrs. Sid-\ndons \" and the eternal 44 Elizabethan\nStage.\nThe Historians need to make a new\nstart I should say,\nUse the old car if you must, but\nput in a new motor and steer along a\nnew road.\nIf we don't do something like this\nin Europe.,., and I wish it could be\nEngland to do it. .. some one in China\nor in Massachusetts will."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c058", "article_bluemountain": "bmtnaau_1928-01_01#c058", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "39", "page_fin": "40", "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=bmtnaau192801-01.2.30.9", "titre_corps": "LONDON by G. H. Cunningham", "titre_sommaire": "LONDON by G. H. Cunningham", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 51, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.51", "debut_caractere": 6211, "fin_caractere_exclue": 6735, "texte": "LONDON by G. H. Cunningham.\nDevt & Sons. Price 21 /-.\nSTREET by street, in alphabetical\norder, London is laid down in\nthis book.\nThere are 806 pages and 70 pa-\nges of index. There are no illustrations\nand there are no plans.\nThe notion of the author is this\nto tell us about each celebrated house\nand who made it so either by buil-\nding it or by living in it. But we\ndo not get every house and every\ncelebrity.\nWe do however get about two thirds\nof the complete list in these closely prin-\nted 606 pages; the remaining third"}, {"page_pdf": 52, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.52", "debut_caractere": 0, "fin_caractere_exclue": 2540, "texte": "you can fill in for yourself on the\nample margins.\nThe work deserved better of the publi-\nsher. It deserved a second editor who\nwould add to the list the missing third;\nit deserved to be in two volumes for\nit costs a guinea : it deserved at least\ntwo large plans of London and better\npaper and a less cheap-looking cover.\nA few theatric omissions I will men-\ntion, since the theatrical entries are\nwhat you will get the book for.\nTo begin with, Arthur Roberts lived\nnear Sir A. W. Pinero ; yet while A.\nW. P. is entered Roberts is omitted.\nGeorge Robey's house is entered: again\nI ask why not the as celebrated\nRoberts' ? I see no entry under the\nBoltons of either W. S. Gilbert or the\ntwo Irving brothers.\nCannonbury Tower, - we should\nhave learned that Weedon Grossmith\nand Tom Hesiewood once lived there.\nIn Church Row, Hampstead, H. G.\nWells is entered ; why not William\nRothenstein and George Du Maurier ?\nIf in Devonshire Street, Theobald s\nRoad the author of \" Illustrations of\nPasses of the Alps\" deserves mention\nas hanging out at No. 29, why not\nHarold Monro and his Poetry Book-\nshop ? In Gower Street is a certain\nRoyal College of Dramatic Art: it\ndoes its best, yet it is excluded.\nSir Christopher Wren lived at Hamp-\nton Court and you may not omit him\nyet mention that Michael Farady lived\nthere.\nEllen Terry lived for many years\nin the King's Road, Chelsea ; the fact\nshould have been entered; she also\nlived in Longridge Road for some years\nbut this is not to be discovered here.\nSir George and Lady Lewis dwelt\nin Portland Place was it not No. 88\nanyhow they are not in the list.\nAnd how is it there is nothing about\nLord Barrymore's remarkahle Theatre\nbuilt in Savile Row ? where do we\nfind a word about Squib's Auction\nRoom in the same street, in fact on\nthe same site ?\nSir Henry Irving lived at No. 17\nStratton Street, Piccadilly, but the fact\nis not noted here.\nTbe White House, Tite Street, Chel-\nsea is entered as having been built by\nWhistler •• the eccentric artist where-\nas it was built for him by E. W.\nGodwin: and it is some twenty-eight\nyears too late to go on calling Whis-\ntler M the eccentric artist *\\\nBut there are several hundred en-\ntries of theatrical interest, so you must\nnot suppose it fails us in that.\nThe author has given a good deal\ntoo much space to the dwellings of the\nheroes and heroines of fiction. \" Here\nBetsy Frump left by the 3.30 on Fri-\nday Jan. 14th 1809 in a Diligence to\nmeet Tom Crumpet. \" :\nWhich is all very well, but, as Gran-\nville Barker would say, I protest, oh!\nhow wrong."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c059", "article_bluemountain": "bmtnaau_1928-01_01#c059", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "40", "page_fin": "40", "image_debut": 52, "image_fin": 52, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.30.10", "titre_corps": "SAMPLERS, Selected and Described by Leigh Ashton", "titre_sommaire": "SAMPLERS, Selected and Described by Leigh Ashton", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 52, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.52", "debut_caractere": 2542, "fin_caractere_exclue": 3882, "texte": "SAMPLERS, Selected and Described\nby Leigh Ash ton, 7he Medici So-\nciely. Price !7j6 net.\nTHIS delightful picture book will\nplease all students of design, and\nall ladies who have still retained an\nappreciation of the delicacies and intri-\ncacies of needle-craft,\n\" Samplers *\\ are rich in interest,\nboth historically and artistically, and in\nMr. Leigh Ashton's book there is re-\nproduced, in six colour plates and se-\nventy-two monochrome illustrations a\ncomplete series of English Samplers\nfrom the earliest times, with special\nreference to the older specimens. ...many\nfrom the Victoria and Albert Museum\nwith which Mr. Ashton is associated\nofficially, (in the Department of Tex-\ntiles) and also a representative collection\nof Foreign samplers, including the Ame-\nrican types.\nA study of these plates, with their\ninfinite variety of design and of stitches,\ncertainly leaves us with a respectful\nwonder at the capacities of those who\nwrought them, and so patiently stitched\nthese pious mottoes, and flowers and\nfruits and animals and birds and lords\nand . ladies, into squares of linen to\nthe glory of God and the delectation\nof their descendants for generations to\ncome.\nThe name of the seamstress is almost\nalways given, and so you too may find\na sampler worked by your great grand-\nmother here if you are curious and if\nyou get the book."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c060", "article_bluemountain": "bmtnaau_1928-01_01#c060", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "40", "page_fin": "41", "image_debut": 52, "image_fin": 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=bmtnaau192801-01.2.30.11", "titre_corps": "THE COURT MASQUE by Enid Welsford", "titre_sommaire": "THE COURT MASQUE by Enid Welsford", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 52, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.52", "debut_caractere": 3884, "fin_caractere_exclue": 6789, "texte": "THE COURT MASQUE, A Study\nin the Relationship between Poetry\nand the Revels by Enid Welsford.\nCambridge University Price 25/-net.\nTHE author of this 407 page book\nwith an excellent 26 page index\ndisclaims the idea that it is intended\nto be \" an exhaustive treatise on the\nmasque\" and tells us that her chief\naim has been to interpret and to coor-\ndinate and that she has not tried \" to\nadd to the great wealth of detailed\ninformation and this I consider ra-\nther a pity.\nPersonally I enjoy hearing anyone\ninterpret for me a difficult subject: I\nshall always feel grateful to a lady in\nFlorence who used to lecture upon\nDante, for she gave me the only vi-\nvid notion I ever was able to get of\nthat immense artist Not reading Ita-\nlian sufficiently to enjoy the original,\nI tried to wade painfully through the\nhorrible translations—only horrible be-\ncause as no one can translate Dante\nthe effort to do so sticks in our throats\nas we read, breaks our simple sense\nof any rhythm we may have in us,\nand leaves us prostrate.\nThat is horrible.\nBut this lady made it all so clear:\nJ attended only one lecture because\nwhat I received in that brief three-\nquarters of an hour was so much 1\nfelt I could do with no more.\nEver since my thoughts, when tur-\nned towards Dante, have been sane.\nPreviously 1 heard of, and even saw,\nshelves which bent under some five\nhundred volumes all of which purpo-\nsed to coordinate and interpret this\nso-easily understood Dante ; — easily\nunderstood provided one was fairly\nmodest in one's mental appetite. To\nstuff food at the dining table is no\nstupider than to stuff at the literary table.\nI value Miss Welford's interpreta-\ntion and of course am ungrateful. I\nwanted to be informed of certain\nfacts, for which I am fast becoming a\nglutton.\nI wanted to know about Nicholas\nLani&re and I found but one entry\nwhich refers to him and there an end.\nWhat a number of excellent short\nhistorical booklets could be prepared\nby able students like Miss Welsfora ;\nand the number of these students is\non the increase, yet the booklets do\nnot appear,\nWere I an influence in Oxford or\nCambridge (this book comes from Cam-\nbridge) 1 would counsel young men\nand women always to avoid attempting\na big work on a subject covering seve-\nral nations, thousands of persons and\na couple of centuries. I would sug-\ngest that to take the life's work of a\nLani&re or a family like the Parigi or\na group like the Gelosi was quite suffi-\nciently difficult, and really valuable to their\nfellow-students and even to the wisest\nprofessors. 1 feel that students who\nhave learned so much from these big\nmen should dedicate a year or two of\ntheir time to at least one small work\non one small subjest such as I have\nindicated, as a return for all the things\nreceived from these masters.\n1 would suggest that a student\nshould attempt to do less and so per-\nhaps achieve more.\nI like so much that old and reliable"}, {"page_pdf": 57, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 616, "texte": "style which announced some excellent\nlittle brochure as a contribution to-\nwards the study of such and such a\nsubject; and 1 rather dislike a tendency,\nwhich today increases, of coming out\nwith a book proposing to be a final\ninterpretation of a vast subject which\nno amount of talk can exactly explain.\nSome student will surely be pop-\nping up shortly with a book called\n•• The Ocean : an interpretation \".\nOne shell of the Ocean is what I\nshould suggest as sufficiently difficult\nand more fitting to a student were I\nan authority at Oxford or Cambridge.\nBut 1 am always saying this: 1\nwonder if anyone is listening."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c061", "article_bluemountain": "bmtnaau_1928-01_01#c061", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "41", "page_fin": "41", "image_debut": 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=bmtnaau192801-01.2.30.12", "titre_corps": "ANTON TCHEKHOV by S. S. Koteliansky", "titre_sommaire": "ANTON TCHEKHOV by S. S. Koteliansky", "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": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.57", "debut_caractere": 618, "fin_caractere_exclue": 4776, "texte": "ANTON TCHEKHOV by S. 5.\nIfotcliansfzy. George Routledge &\nSons. Price 12/6 net.\n0 THE GENTLE ART. o\nIN a country like ours which has no\ntime to lose if it ever intends to\nget on towards a new Theatre, (and\nby that I mean a theatre peculiar to\nitself, and that again means a rare lot\nof systematical experimenting) are we\nnot making a very big mistake to gush\nabout those two extremes, the Russian\nBallet and the Russian Tchekhov ?\n1 almost think 1 have touched on\nthis before ; but as you haven't heed-\ned, let me go on again. To be eter-\nnally showing a gushing joy over the\nproduce of another people, neither\nmore stupid than we are, nor I be-\nlieve, cleverer, will not bring us the\ngood will of our own men to whom\nwe look for Ballets and Plays and\nOperas and the rest.\nWe clear Arcos out of England;\nduring the same week we insipidly en-\ncourage the Russian Ballet to land at\nDover, and we publish more and more\nbooks on Tchekhov and by Tchekhov,\nPersonally 1 delight in the Russian\nBallet and I enjoy Tchekhov ; and\nthough I'm never quite sure which of\nthe two leaves me the more depressed,\n1 would not have missed either.\nBut though Russian artists and Rus-\nsian pei formers interest me, though I\nam always freshened when I come\nacross something different in a Thea-\ntre, be it in Berlin, Milano or Ame-\nrica, 1 have enough common-sense left\nalways to remember England, to re-\nmind myself that our business is the\ncreation or reestablishment of the En-\nglish stage. And by that I mean a stage\nfreed at last from the old purposes ; not\nto make money, not to flash into publi-\ncity, not to intrigue and generally to\nruin the profession and the art, but\nto fix new purposes; to recover its\nvigour, and then to make this particu-\nlarly barren corner of our English gar-\nden blaze again with the red, the blue\nand the white of our old English plants.\nIt is because Russian Ballets, Rus-\nsian Tchekhovs, Russian producers, set-\ntled in London and Paris, together\nwith the rest of the Russians, are dis-\ntracting the attention of a certain sec-\ntion of the English public from the\ntruth, which is that we English can do\nsomething quite as good for our own peo-\nple, that I have set my face against the\nForeigner and his pretty Foreign goods.\nI won't find fault with this book\nby M. Koteliansky because it's every\nbit as good as some of the books\nwhich are now flooding the English\nmarket on William Blake. Kotelians-\nky's book on Tchekhov is only twenty\nyears late ; the books on Blake are a\nhundred and twenty years late.\nBut I suppose that too is all right,\nsince it is considered right to starve\ndown English artists, without conside-\nration whether it is economic to do so,\nor particularly brave. Should you sup-\npose I am exaggerating, please be mo-\nderate enough to realize that it is pos-\nsible 1 understate the case.\nThis book on this Russian writer\nis one of the very best. It's section\nentitled M Theatrical \" written by Thea-\ntre people makes out Tchekhov to be\nrather unpractical. Theatre people too\noften try to convey this impression of\nothers, believing that they alone are\nreally practical,\nThe essay by Stanislawsky I dislike.\nIt is a weakness of this fine actor and\nexcellent stage manager to pretend off\nthe stage as much as did the old actors\nwhom he rather despises, His parti-\ncular role off the stage is to show\nsurprise when a man of intellect like\nTchekhov utters an illuminating com-\nment on the workings of a play,\nStanislawsky would rob the words\nand the wisdom of all their light by\nthis sudden show of dogged, open-\nminded, earnest surprise—puzzlement,\n\" 1 felt myself a little man in the\npresence of a celebrity. 1 wanted to\nbe better and wiser than I was made\nby God \" he writes, and we can add\n\" Fudge \", for he follows up the pre-\ntence by a show of surprise: he is scep-\ntical of everything this Tchekhov says.\nHere we have the ingrained insin-\ncerity of the stage asserting itself under\na mask of innocent wonder and doubt-\ning the very Gods.\nNo, no, no,— the theatre all over\nthe earth has to revise its rules, and\nthe sooner it stops pretending off the\nstage the less vain it will appear and\nthe more real it will become,"}]}, {"article_id": "bm-bmtnaau-1928-01-01-c062", "article_bluemountain": "bmtnaau_1928-01_01#c062", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "41", "page_fin": "42", "image_debut": 57, "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=bmtnaau192801-01.2.30.13", "titre_corps": "\"RUDY\" An Intimate portrait of RUDOLPH VALENTINO. By Natacha Rambova", "titre_sommaire": "\"RUDY\" An Intimate portrait of RUDOLPH VALENTINO. By Natacha Rambova", "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": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.57", "debut_caractere": 4778, "fin_caractere_exclue": 6942, "texte": "nRUDY\\ An Intimate portrait of\nRUDOLPH VALENTINO. By\nNatacha Rambova (his wife). Pub-\nlished by Hutchinson & Co. Price 10 6\nNet.\nTHIS is one of the astonishing re-\ncords ; it ranks with Casanova's\nMemoirs for its astounding qualities,\nalthough in no way resembling those\nmemoirs.\nIn fact it is exactly the opposite of\nall that is Casanova.\nIt is badly written, while Casanova's\nwriting is admirable.\nIt is about an Italian of to-day, and\nis all rush: Casanova, an Italian of\nother days, was all speed.\nIt is about the after life : Casanova\nvery much about the life on earth.\nIt deals with Theosophy and Casa-\nnova's doesn't. Casanova wasn't pretty\n.... Valentino was pretty.\nBut it shocks us as Casanova did.\nIn this, this resembles that .... in this\nalone. We are shocked for we be-\nlieve the whole thing to be a tarriddle,\njust as we once believed and probably\nstill believe Casanova's prattle to be all\ninvention.\nBut why should we so believe, why\nall this scepticism? for Valentino's mes-\nsages (some 78 pages long) sent from\nthe other world may be quite real\nthings. If you don't think so, some do.\nDo I, you ask me ; I am not here\nto talk Theosophy and the after-life\nwith you—l am here to review a\nbook.\nBe fair, accept this book as all truth.\nWhy should you not—for assuredly if\nyou go for it, and laugh at it, you will\ndo wrong.\nWhy you will be wrong I cannot\nsay, but so it is.\nAre you then to believe it ? you are\nfirst to read the book, reading with the\nconviction that its true, every word,\nand then, according to your tempera-\nment, having paid your money take\nyour choice.\nIt's nothing of a story; compared with\nthe life of Chaplin for example,—his\n• Life 'to come, when that does come\nto be written, it will not show up well.\nFor presumably we shall hear all about\nChaplin's spirit; by that I mean his\nway of work, about his firm persuasions\ntoo, about himself.\nHis collars, furniture, written of;\nwhere he went and when he left, and\nif he travelled in three coupees cr in\nthe luggage van, these things dont\ninterest us; we want the spirit of the\nman. It's that, isn't it ?\nAlas, all we get of Valentinos' spirit\nis a ghost of a man. That's not for"}, {"page_pdf": 58, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 3673, "texte": "us I take it, though it will add per-\nhaps to our astonishment.\nYet, may be 1 am unfair, and what\nis more, irreverent; may be this ghost\nis a spirited thing, vivid, all that's good.\nI'd say it was with more conviction,\nwere I more convinced.\nI am not convinced by this book.\nI should call the book a libel and yet\nI didn't know poor Valentino. It's a\nwretched book as a book.\nCharles Lamb was a writer, and\nwhen he wrote of Roast Pig or Mun-\nden the actor, or such-like trifles, he\nwrote ever so well, but he was wise\nenough not to write about the after\nlife, or upon Heaven or Hell.\nThese he left to William Blake,\nwhose capacity was greater and who,\nwith these as theme, wrote them down\neven as well as Lamb wrote down pig.\nAnd Shakespeare touched upon spirits,\nwhite and grey, and armed from head\nto foot.\nHad we seen what he and Blake\ncould see, it would have much amazed\nus .... very likely .... very likely .... But\nwithout seeing we feel this—that these\nmen, these writers, were able to get it\nover, and still are able so to do. We\nthrill, by jove, how we thrill.\nWhat is art ? What on earth is\nart ? What in Heavens name is art ?\nI will explain precisely.\nIt is precisely not what this book\non poor Valentino is, not what it\nmight lead you to suppose, and will\nlead 8,000,000, people to suppose it\nto be.\nTouching these said eight million,\nthey are good people as you know :\nsee .... they pay for their art; Half a\ndoller or four lire or more, as much\nas ever they can afford they will give\nit in exchange for some art. Valen-\ntino's, Negri's, Pickford's and the ever\ndelightful Douglas Fairbanks' art.\nThey are good people these 8,000,000,\nI daresay they know more about art\nthan anyone who will read this review.\nDo remember they pay for their art:\nand they enjoy their art, they know\nwhat they like, and they more than\nlike this art, they love it; do recall how\nthey love it.\n1 have heard the Cinema spoken of\nas being still in its infancy. So what\nthey love is a sort of baby art.\nRather pretty of such a big crowd\nto be so attracted by such a little tot\nof a spirit, for it's the spirit of this art\nI lake it, which is baby still, not its\ncorpus, which admittedly is a bit too\nbig to be at all baby.\nOne can believe in baby after all\nafter a11... \" by heavens he echoes me\".\nWhen age and all has sickened us,\n(why it should do so I have not yet\ndiscovered and never expect to), when\nexperience, talk, arts, science and the\nrest of the wisdom and of the doings\nof man and woman has rendered us\nutterly sceptical, it is a big happiness\nto have a baby art of our own,. .\nall our very own which we can\nlove.\nA place we can take our dear friends\nto without fear of embittering them, a\nreally innocent place, where all those\nwho travail and are heavy laden, can\nfind rest.\nThat place is the Cinema.\nEvidently it is the Cinema. Once\nupon a time we went to a church to\nfind peace and rest and balm for hurt\nminds and then, (so I am told and its\nthe Cinema tells me so) the Church\nbecame a hard deadly parade, a lec-\nturing place, cruel to the outcast. I\nwonder if the Cinema is quite right\nthere.\nIt can't be very wrong in itself if it\nattracts and warms eight or may be eighty\nmillions of people yearly.\nThere must be something in the Ci-\nnema, \" yes—eighty millions you\nreply, and you add A vision of ci-\nvilization's end \".\nBut that will hardly wash; Civiliza-\ntion will also go on, militarization too.\nWhat may perhaps come on is life.\nThats a point anyhow, it may. *Go\non ' you say ; ! repeat * come on\nAnd through the Cinema ?\nI pause at my own question to ask\nyou what do you think ?\nRead this book on Valentino, and\nyou will probably decide one way or\nanother."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c063", "article_bluemountain": "bmtnaau_1928-01_01#c063", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "42", "page_fin": "42", "image_debut": 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=bmtnaau192801-01.2.30.14", "titre_corps": "THE \" PHILOSOPHE \" IN THE FRENCH DRAMA OF THE 18TH CENTURY by Ira O. Wade", "titre_sommaire": "THE \" PHILOSOPHE \" IN THE FRENCH DRAMA OF THE 18TH CENTURY by Ira O. Wade", "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": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.58", "debut_caractere": 3675, "fin_caractere_exclue": 4302, "texte": "7HE \" PHILOSOPHE \" IN THE\nFRENCH DRAMA OF THE 18 TH\nCENTURY\" by Ira O. Wade.\nPrinceton University Press. U, S. A.\nMr. Humphrey Milford, London\nPrice 7/-. net.\nof the Elliot Monographs, this\nbook of 143 pages in its paper\nwrapper deals with a subject not so\nvery often treated with such tho-\nroughness as that which Mr. Wade\nreveals.\nA careful bibliography completes a\nvery scholarly volume, and we actually\nbegin to have a certain interest in the\nPhilosophe as he was known to those\nwho lived with him in the 18th cen-\ntury.\nThen he fades out, and our interest,\nwith some gratitude added to it, is\ntendered instead to Mr. Wade."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c064", "article_bluemountain": "bmtnaau_1928-01_01#c064", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "42", "page_fin": "42", "image_debut": 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=bmtnaau192801-01.2.30.15", "titre_corps": "EUGENE O'NEILL by Barrett H. Clark", "titre_sommaire": "EUGENE O'NEILL by Barrett H. Clark", "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": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.58", "debut_caractere": 4304, "fin_caractere_exclue": 5288, "texte": "EUGENE O'NEILL by Barrett H.\nClark. Macßride & Co. Neu) York•\n(Price not given).\nO'NEILL is the son of James O'Neill\nthe actor-manager. James was'\nalso a maker of plays.\nEugene. has been an actor. He has\nalso been two years at sea and\nwas in business. His health broke\ndown, and, while getting better, the\nnotion of writing plays came to him.\nHe is forty years of age.\nAt the age of thirty-five he had\nfound that \" happiness is a word \",\nand believed that he perceived it\nhidden somewhere in tragedy.\nAnd so we may note that O'Neill\nhas put himself a most difficult task\nthe most difficult in this remarkably\nfalse age.\nTo smash up the world hardly seems\nto me to be as necessary as Moscow\nis reported to believe ; but to smash\nup that barred door which is guarded\nby prejudice against all arts and all\nthe artists is something that has to be\ndone to balance things a bit better.\nAnd it won't hurt anyone : it will\ndo the reverse.\nI hope O'Neill will be writing when\nthe door is down."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c065", "article_bluemountain": "bmtnaau_1928-01_01#c065", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "42", "page_fin": "43", "image_debut": 58, "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=bmtnaau192801-01.2.30.16", "titre_corps": "MILANO VECCHIA by Otto Cima", "titre_sommaire": "MILANO VECCHIA by Otto Cima", "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": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.58", "debut_caractere": 5290, "fin_caractere_exclue": 6391, "texte": "MILANO VECCHIA by Otto Cima.\nFratelli Treves; with 50 illustrations.\nPrice 32 lire.\nMILANO VECCHIA or Old Milan\nis one of the most delightful of\ncities in Europe not so much for its\ngreat age or the doings and people of\nits earliest times, as for its life during\nthe early part of the 19th century.\nAnd I seem to find this, the Na-\npoleonic part of the old place, always\ngay and lively on revisiting it afresh.\nAt that time the Teatro della Scala\nwas but young, the building having\nbeen begun under the architect Pier-\nmarini in 1776, and inaugurated in\n1778 on August 3rd.\nIt cost 1,000,000 lire and was the\npride of the Milanese, rich and poor\nalike, who numbered at that time about *\ntwelve to thirteen thousand citizens.\nNot bad, that sum of a - million lire\nthen ; for nowadays, out of many\nmillion people, we can rarely collect\nfrom the very richest of them as much\nas that, and it takes three times as\nmuch to build a reasonable sized\nplayhouse.\nLa Scala was unreasonably big and\nbuilt to suit the tastes of the best\ntheatre-goers of the age. It was the\nlargest theatre in Italy, and that meant"}, {"page_pdf": 59, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.59", "debut_caractere": 0, "fin_caractere_exclue": 1312, "texte": "in the world. It is assuredly still one\nof the very largest and yet cost under\n£50,000 to build.\nIn Old Milano as in Old London,\nhow many good things of that kind\nwere possible that seem to be now no\nlonger possible.\nWhy do we grow less and less\nable to do even the possible ?\nIt is quite stupid and therefore quite\ncharacteristic of the human mind, that\nthe good things of any time should\never be allowed to decrease. We\nshould preserve the old while estab-\nlishing the new good things. Although\nthis is acknowledged to be the most\nsound way to proceed, it is acknow-\nledged when too late. Thus we build\na new city in the very heart of an\nold one ; a most ridiculous proceeding,\nwhen we could easily preserve the old\none intact and let it remain the heart\nof the new one.\nMilano in no way likes to be dif-\nferent from her confreres ; and if they\nmust and will be stupid well, says\nshe, I will be stupid too.\nThat, after all, is how we get the\n1800 Milano of which I am so very\nfond: but it wouldn't have done any\nharm to have kept the 1700 city as\nit was and spread a wing during 1800,\nand be spreading another wing this\ncentury.\nThis is what you will be apt to\nfeel on reading Signor Cima's excel-\nlent, well illustrated record of the city\nwhich John Evelyn called 44 a sweet\nplace \" and which Stendhal adored."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c066", "article_bluemountain": "bmtnaau_1928-01_01#c066", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "43", "page_fin": "43", "image_debut": 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=bmtnaau192801-01.2.30.17", "titre_corps": "SPENSER by Emile Legouis. J. M", "titre_sommaire": "SPENSER by Emile Legouis. J. M", "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": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.59", "debut_caractere": 1314, "fin_caractere_exclue": 4789, "texte": "SPENSER by Emile Legouis. J. M.\nDent & Sons. Price 61.\nTHIS book on our most noble drea-\nmer and poet Mr. Edmund Spen-\nser, follows close upon the heels of\nProfessor W. L. Ren wick's fine book\n44 Edmund Spenser, An Essay on Re-\nnaissance Poetry but was written\nbefore the Professor's book appeared ;\nso it follows it so far and no more.\nHow strange at any time (it some-\ntimes seems) for anyone to write a\nbook about one who wrote books and\nsang songs. For the songs of Spenser\nhave barely reached our ears. Have\nyou a Spenser in the house ?\nWhere is someone who will sing\nthese songs to us again ? for if no one\ncomes to do that, I doubt very much\nwhether the world will ever hear them.\nNo one acts Shakespeare well,\nhardly anyone; for to say that Shake-\nspeare is acted is to say that all\nEngland knows his songs, his sayings,\nand has caught his way, ...which would\nbe utterly untrue.\nAnd since no one sings Shakespeare's\nsongs no one is going to bother about\nSpenser.\nNow ...admit it ...you can't quote\nten consecutive lines Spenser ever wrote.\nSuppose we have a volume in the\nhouse ; we pick it up, we open it,\nwe read, and we see before us troops\nof lines drawn up at attention not\nvery attentive are we, for ail we hear\nis know been show misween\nseen sphere unseen heart\nappear. Not a ghost of a fault any-\nwhere ; all veiy trim and a quan-\ntity of fairies occasionally a real\nperson.\n44 Dan Chaucer, 7v ell of English undefyled\nOn Fame's eternal beadroll worthy to be\n[fyled\"\n44 Thissay M. Legouis, 44 was\nnot idle praise \" ; but he does not as-\nsure us that it was not bad poetry.\nAny of the Sitwells can beat it\nhollow, it seems to me. And Spenser\nloved Chaucer passionately and was,\nas the author and everyone else tells\nus, enamoured of old English verse.\nWell, this passion for E. W. Spen-\nser is, I'm thinking, but wishy-washy\nstuff.\nWhen in Eclogue VI,BI he apostro-\nphises his great master Chaucer, he\nsimply fails to touch us. He fails,\nI should say, to touch me. Whereas\n44 Come away come away Death \"\nfive words of Shakespeare's singing,\nand the dart is in us.\nSpenser winds up his two verses to\nChaucer\nm\n441 soon would learn these words to wail\n[my woe\nAnd teach the trees, their trickling tears\n[to shed *'\n44 Wailing woe \" and 44 trickling\ntears \" ! Why not 44 griping grief \" and\n44 doleful dumps\" at once and have\ndone with it ?\nAnd again,\n'4 Who wilt not mercie unto others show\nHow can he mercie ever hope to have \" ;\nWhy even 1, who cannot write a line\nof veise, know enough to have taken\nEdmund aside and said to him, 44 Boy\n4 hope to have ' simply will not do\nSpenser seems to have said some\nordinary polite things wi hout any feel-\ning, and in rather an ungainly fa-\nshion : and as he was so ungainly,\nthe Ervines of the day said 44 Come\nlet us praise him he's poor but\n'twill save us from being forced to\nspeak the truth which is that,\nname him not is the better poet \".\nBut I am sorry for Spenser. He\nwas a great fool and relied on Pa-\ntrons. They let him down. I hate\nto use such a phrase as let him down\nabout a so well plastered poet but it's\ngood enough for the Patrons.\nAgain, how far wiser Shakespeare.\nGoes in for some public theatricals\ngets shares or half shares cr some-\nthing in time remains independent\nof these Patrons of the Arts.\nM. Legouis tells us that Spenser in\nthe Fairy Qneen 44 merely followed in\nAriosto s footsteps\" but this is not\nquite exact; 44 he fell into one of\nAriosto s footsteps \" would have been\nmore correct."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c067", "article_bluemountain": "bmtnaau_1928-01_01#c067", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "43", "page_fin": "44", "image_debut": 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=bmtnaau192801-01.2.30.18", "titre_corps": "EVERYMAN LIBRARY (Dent) and THE WORLDS CLASSICSTHE LIFE AND LETTERS OF JOHN KEATES by Lord HoughtonTHE BROTHERS KARAMAZOV by Theodor KikhailovitchLESSER ENGLISH COMEDIES FO THE 18TH CENTURYTHE ADVENTURES OF CAPTAIN SINGLETON. Defoe", "titre_sommaire": "EVERYMAN LIBRARY (Dent) and THE WORLDS CLASSICSTHE LIFE AND LETTERS OF JOHN KEATES by Lord HoughtonTHE BROTHERS KARAMAZOV by Theodor KikhailovitchLESSER ENGLISH COMEDIES FO THE 18TH CENTURYTHE ADVENTURES OF CAPTAIN SINGLETON. Defoe", "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": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.59", "debut_caractere": 4791, "fin_caractere_exclue": 6362, "texte": "EVER YMAN LIBRAR Y (Dent) <0\nand THE WORLD'S CLASSICS\n(Oxford University Press).\nThe Life and Letters of John Keats\nby Lord Houghton. Dent. Prieet Ij-net.\nThe Brothers Karamazov by Theodor\nKikhailovitch Dent. 2\nVols. 21-net each volume.\nLesser English Comedies of the 18th\nCentury. Oxford University Press.\nPrice 2/- net.\nThe Adventures of Captain Single-\nton. Defoe. Oxford University Press\nPrice 2 - net.\nIwas sorry to hear, from an unim-\npeachable source, that this Everyman\nLibrary does not pay. The profit is\nvery small, I was told.\n1 gather too that book publishing\non the whole does not pay,\nI can sympathise with those who\nfabricate and distribute these things of\npaper, ink, etcetera, because I have\nwritten a few books (perhaps you\nknow them) and it's true they have\nnot sold at all well.\nPerhaps you know my books by\nname. 44 Sixpenny Humming Birds \"\nis perhaps my best: in that work I\nshow how any really genuine Bird with\na Hum can be limed for less than a\nshilling, 44 Pop goes the Weasle \" is\nanother, and in this, still dwelling on\nmatters of finance, I discourse on how\nthe money goes,\nBut these books have never paid\nme any profit. I gave more than a\nyear to writing each, and they have\nbrought me in £97 and £ll6 re-\nspectively. One can't call that making\nit pay and one cannot live upon £ 1 16\na year in any land of hope and g!ory.\nPerhaps there are too many books\n\n(1) twiner recently issuea volumes m\nthe Everyman series are Renan's 44 Life\nof Jesus Harrison Ainswonh's 44 Admi-\nrable Crichton \" and a funny 44 Book of\nNousense \" by several authors."}, {"page_pdf": 60, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.60", "debut_caractere": 0, "fin_caractere_exclue": 3695, "texte": "produced by the publishers nowadays.\n1 am sure that there are too many\nindifferently produced.\nThe Everyman Series is wonderful\nin several ways, but it is not up to\nthe Tauchnitz mark; yet both of these\neditions pay no authors' fees and so\neach has a fair margin to expend on\npaper, printing, binding and the like.\nThe Tauchnitz books are paper\ncovered, and, so far as 1 have\nheard, no one objects to buy them\non that score. Most book buyers\nprefer an ordinary little book with\npaper covers.\nIf Everyman ....I mean the one who\nneeded a guide ....had not been such\na guffin, he too would have had his\nLibrary bound in paper covers. He\ncould then have afforded to use a\nbetter paper for the text instead of\nthe paper which is used and which\nis disagreable. It is a paper one as-\nsociates with cheap editions of the\n44 Decamerone \" or the other forbidden\nbooks of the Victorian era, when\nnothing first-class could be afforded by\nthose publishers.\nThe binding is gay and neatly done.\nBut after being critically examined it\nmust be admitted to be one of the\nfamous the most famous perhaps\nseries of reprints. It shares the palm\nwith the World's Classics of the Oxford\nUniversity Press, which has only issued\n350 volumes whereas Everyman can\nboast over 800.\nBut the Oxford Press uses a much\nfiner paper: and yet there I am\ntoo quick. In their volume of 18th\ncentury Plays the paper is excellent,\nbut in its 44 Captain Singleton\n(Defoe) it's paper is almost as bad as\nthe Everyman paper.\nThe Everyman is evidently managed\nbetter; there is an orderliness about\nthe whole series which I admire. Bad\nor good, they are consistently so ;\nwhereas the series of the Oxford\nUniversity Press has an uncouth way of\nchanging its mind. The paper, title-\npages, cover design, publishers' mark,\nall hop about as though the publishers\nhad never quite come to a decision as\nto what qualities the volumes were to\nhave and to hold.\nOf the contents of these popular\nlibraries there can be no two opinions,\nfor each contains more or less what\nthe other contains, and both fail to\nissue some of the most enchanting\nbooks ever written.\nYet no obstacle stands in their way.\nThe copyright is lost to the authors.\n1 have three books in mind which\nwould help very considerably to in-\ncrease the profits of both series .... or\nto be more sincere, which I would\nlike to get for 2/-.\n1 suppose \" The Brothers Karama-\nzov \" by Dostoevsky (Everyman) will\nprofit Dents far more than the five\n18th century comedies will profit the\nOxford Press. And I suppose Lord\nHoughton's Life and Letters of Keats\nwill sell quite reasonably well.\nFor my own part 1 find both the\nLife and the Letters dull, and the\nwork by Dostoevsky, though not dull,\nis intolerably long: it is over 800\npages, and by Jove, how gloomy.\nThe 18th century plays are quite\nentertaining, but the book of books,\nin short a real book, is 44 Captain\nSingleton\". It is not because of\nOxford but solely because of Defoe.\nHe utterly chases Dostoevsky off the\nfield. It is a world and many lives\nwe discover through Defoe; we only\ndiscover a rather dusty corner of a\nprovince in Dostoevsky.\nThe Oxford Press might have done\nsomething more for this Englishman\nthan merely reprint his text and insert\nan awful portrait of him as frontispiece\nin brown and green ink. It is an utter\nwaste of money which could have been\nspent far better on a map showing us the\nwanderings of the Captain and William\nthe immortal William. Mr. Watts\nDunton writes a Preface in which he\nsays that Mr. Ryder Haggard's *4 King\nSolomon's Mines \" is 44 more poetically\nif not more picturesquely, told \".\nKing Solomon's Mines is all right\nbut not as we say the rain is right,\nand Defoe is as right as rain."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c068", "article_bluemountain": "bmtnaau_1928-01_01#c068", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "44", "page_fin": "45", "image_debut": 60, "image_fin": 61, "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=bmtnaau192801-01.2.30.19", "titre_corps": "THE HOUSE OF SATAN by G.J. Nathan Knopff", "titre_sommaire": "THE HOUSE OF SATAN by G.J. Nathan Knopff", "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": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.60", "debut_caractere": 3697, "fin_caractere_exclue": 6814, "texte": "THE HOUSE OF SATAN by\nG. /. Nathan. Knopff.\nLONG ago should this book have\nbeen reviewed for it is two years\nsince it reached me.\nHad I a reason for delaying ? Yes\nassuredly I had a reason, and it was\nto see if it would keep. It keeps\nright enough.\nI suppose all the other bottles were\nsold long ago, but you should make\nsure before you lose a late chance or\nbefore it becomes too late. For this\nis full of good things, this bottle of\nNathan.\nNathan is one of those terrible\npeople who attack the American\nTheatre until it be attacked by the\nEnglish, when he ups with their heels\nand he smothers their squeals and the\nAmerican Theatre is made shining\nand splendid by the only stirring\nchampionship it ever gets, In short,\nNathan may attack the American\nTheatre, we may not.\nOr rather, those of us who hate\nand straightforwardly attack its imita-\ntion European Drama and methods\nare allowed to pass and go on with\nour talk ; it's those who under-handedly\npropagate the notion that all American\ndrama is vulgar without manners\nthese, and very rightly these, are the\nfellows Nathan goes for. He asserts\nthat \"the English have gone so shrewdly\n(kind word) about this underhand\nbusiness that they - have converted all\nthe American critics to their point of\n••\nview ,\nHe then shows that in the English\ndrama is just as much vulgarity, and\nthat the worst of manners are revealed\nby most of the characters.\n•• But Nathan is down on everything \"\nis what I hear said, and it's quite\nfalse. He is quite clearly for as many\nthings as he is against others.\nHe distinguishes between Stanislavsky\nand Danlshenko; while praising the\nformer he finds that \" Dantchenko is\na talented theatrical director but God\nis against him \".\nOf the theatre he writes: \"a\nTheatre must be a theatre even\nbefore its curtain goes up on drama\nDoesn't a sentence like that stamp this\ncritic as one of the very few dramatic\ncritics of sense living today in the\nworld? Can we hesitate to trust such\na man for a moment ?—7 he reply\nis \" 1 never heard of him\". So there\nwe are : shout a bit louder, Nathan.\nOne of the most admirable of Na-\nthan's essays is upon the performance\nof Hamlet in modern clothes, wherein\nhe speaks wise words of a work of\ndramatic literary art as compared with\na work of theatrical art.\nBut he speaks his wisdoms so vi-\nvidly, never letting the reader go to\nsleep; and this is such a blessing be-\ncause a whole book of wise theatre\ntalk can easily become a bore.\nBut if a whole book by Nathan is\nenjoyable, how very much more so\nmust be his regular columns which\nreach the New Yorkers regularly\nthrough the press. 4\nI am unaware if this critic writes in\nany other Journal than in the M Ame-\nrican Mercury \"t but for the sake of\nthe good health of the New Yorkers\n1 hope he does; and if any reader\nof 44 The Mask \" hasn't two or three\nof Nathan s books, the sooner he gets\nthem the better. It's quite easy now,\nfor his publisher Alfred Knopf has a\nLondon branch, (38 Bedford Place,\nLondon), and 1 advise you to make\nhaste and write for this 44 House of\nSatan \", and, unless you have it already,\nfor his 44 Land of Pilgrim's Pride \"."}, {"page_pdf": 61, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.61", "debut_caractere": 0, "fin_caractere_exclue": 282, "texte": "Yes, on second thoughts it is im-\nportant to say this, for, while we sup-\npose you to be a purchaser of books,\nwe often discover you are not. You\ntalk of Nathan and yet have\nnever read one word of him.\nWhy not do that ?\nYes, on third thoughts it's quite\nimportant to have said this."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c069", "article_bluemountain": "bmtnaau_1928-01_01#c069", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "45", "page_fin": "45", "image_debut": 61, "image_fin": 61, "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=bmtnaau192801-01.2.30.20", "titre_corps": "THE MUSICAL QUARTERLYTHE STORY OF MUSICLUDWIG BEETHOVEN'S PIANOFORTE SONATAS", "titre_sommaire": "THE MUSICAL QUARTERLYTHE STORY OF MUSICLUDWIG BEETHOVEN'S PIANOFORTE SONATAS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 61, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.61", "debut_caractere": 284, "fin_caractere_exclue": 4316, "texte": "THE MUSICAL QUARTERLY.\nVol. XIII. No. 2. April 1927. G.\nSchirrner, New York•\nTHE STORY OF MUSIC by Paul\nBekker- Dent & Sons. Price / 0/6.\nLUDWIG BEETHOVEN'S PI A-\nNOFORTE SONATAS. W. Beh-\nrend. Dent & Sons. Price 6/-.\nIT is strange to realize that before\nthis queer century can be brought\nto admit that a great artist is a great\nartist, it has to be flattered by being\ntold that he has a number of bad\nfaults.\nWhy the critic, a man of parts as a\nrule, troubles to leave the artist's side for\na moment to go over and chat confiden-\ntially with the people who don't un-\nderstand, don't want to understand, and\nwho deserve to be left without under-\nstanding, is not clear.\nWe rather enjoy seeing when one\nof the lesser toadies is in the posture of\nlicking the boots of Mayfair or the\ntyres of an automobile; but when the\nexcellent Edward J. Dent strolls across\nand is seen chatting amiably with the\nmugs it is a little disheartening but\nis worth consideration.\nWhy does he do it ? why do\nyou do it ? why do I do it ? We\nhave all time to think over the answer.\n1 for one cannot find a reply satisfactory\nenough.\nBut the fact remains that Mr. E. J.\nDent recently addressed himself to 44 a\nyounger generation \" and said that he\nadmitted that Beethoven wasn't all\nthis and all that that the man had\nquite a lot of faults...\nI won't attack Dent : he has a rea-\nson for feeling as he does. I haven't\nfound that he very often bothers about\nthe mugs; I don't attack any younger\ngeneration, for it remains yet to be de-\ncided what is a younger generation.\nIt would seem to be 44 a whole body\nof persons born about the same time \" ;\nand I suppose that by now we are\nquite clear as to the triviality of most\n44 bodies of persons \". If a whole body\nbe persuaded (without outside persua-\nsion) of the perfections of common sense\nwell and good ; but they never are.\nOnly a firm personal persuasion can\nhelp to 41 remove mountains and\n44bodies\" are unfortunately quite without\nthis 44 firm persuasion \" of their own.\nSo that Dent's reason for conside-\nring this whole body of persons and\nsaying that he agrees that Beethoven\nisn't this and wasn't that is puzzling.\nHis article appeared in the 1927\nApril number of 44 The Musical Quar-\nterly \", a number dovoted to the life\nand the works of Beethoven and well\nworth getting.\nAnother useful but not too well ar-\nranged work is the 44 Katalogue der\nInternationalen Ausstellung Music im\nLeben der Volker, Frankfurt am Main,\nby Dr. Kathi Meyer, with its 340\npages of text and its 59 plates.\nYou can get it by writing to the\nprinters, Hauserpresse Werner U. Win-\nter, G. M. B. H. Frankfurt A. M.\nLess useful is Paul Bekker's 44 The\nStory of Music \", whereas William\nBehrend's book on Beethoven is inte-\nresting because he does not fail to tell\nus a great deal about the man; small\nfacts, not surmises, as he tells us all\nhe can about the music he was writing\nwhile these things happened.\nThe facts have some connection\nwith his work, but exactly what, no one\ncan quite say. You are an artist; you\nare writing verse; your cook brings up\nthe coals ; you are not troubled by this;\nshe frowns or she doesn't; you have\neaten a poor breakfast; the coffee was\ncold ; or you have slept badly ; or it\nis raining. What do these small facts\nmatter ? They do matter, but do they\naffect your verse ? I will leave you to\nthink it over. It will take you some\ntwenty-five years to come to any de-\ncision... and then you will decide as\nI do.\nBeethoven. Let us listen when-\never we can to what he wrote and\nthank the stars for it and say nothing ;\nand get home and again thank the\nstars ; and so go listening on when the\nsounds have died out and be as grate-\nful as we can.\nBut never talk about Beethoven ;\nnever persuade the silly world about him.\nThere is a sensible world around\nus; let us always try to remain in it\nand with it: it is densely populated.\nThe silly world is, and always has been,\na monstrous fat clique. And the new\ngeneration will (unfortunately) see to it\nthat this clique is kept ever fresh and\nclaqu£."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c070", "article_bluemountain": "bmtnaau_1928-01_01#c070", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "45", "page_fin": "45", "image_debut": 61, "image_fin": 61, "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=bmtnaau192801-01.2.30.21", "titre_corps": "WILD HONEY by Frederick Niven", "titre_sommaire": "WILD HONEY by Frederick Niven", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 61, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.61", "debut_caractere": 4318, "fin_caractere_exclue": 6179, "texte": "WILD HONEY by Frederick Ni-\nven. Dodd, Mead & Co. (No price\ngiven),\n44 W/ILD Honey\" is nothing theatri-\nVV cal, but is a tale of a tramp in\nBritish Columbia by men who had to\ntramp, not dilettanti. 41 There's no\nhurry—there's lots of time \" is the\nrefrain. 41 C'& piu tempo che vita \"\nas the Italian puts it.\nFrederick Niven is one of the tram-\npers, and two queer fellows, Hank\nand Slim, are his companions. They\nride in, on and under freight-trains,\nsleep where they can, and do not fall\nout. They carry a frying-pan ; they\nmeet all sorts of people, but they\nseem to prefer to be alone. They\nwalk on without introductions. A tra-\nveller de luxe, even though he tramp\nit, has those introductions, and enters\nin his 44 journal \" after a long day's\ntramp, 44 reached Val d'Elmo mca at 10\nat night : was glad of the hospitable\nbed and the good will offered me by\nthe Baron del Monte ; after I had had\na refreshing wash I descended to the\ndiningroom where a dish of eggs with\nartichokes and a salad with some cold\nfowl soon revived me;—a bottle of\ngood Bruciatto completed the feast\nNot so with Slim, Hank and\nNiven.\nAnd it is the utter absense of all\nhospitality which renders the book so\nwell worth reading. This first of all.\nAnd then there are some 4 pomes \\\n\" Sceptre and Crown must tumble down\nAnd in the dust \"\nand when Niven starts quoting one\nof these 4 pomes ' on the huge slope\nof a mountain and Hank implores for\nsome more and gets a few lines by\nheart and goes off to say them over\nto himself—and not a soul to be met\nwith for miles and no hospitality to\nbe met with for years, we get to a\nland, a people, not easily come to, not\noften seen. And there is much that\nis amusing in the book. Yet how it\ncan emerge from so much that is de-\nsolate is something I wonder at.\nWell, it's a tale of the fryingpan,\nsure enough, and of the very edge of\nthe fire."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c071", "article_bluemountain": "bmtnaau_1928-01_01#c071", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "45", "page_fin": "46", "image_debut": 61, "image_fin": 62, "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=bmtnaau192801-01.2.30.22", "titre_corps": "THE GRASSHOPPER and other Stories by Anton ChekhovTHE BETROTHED by Alessandro Manzoni", "titre_sommaire": "THE GRASSHOPPER and other Stories by Anton ChekhovTHE BETROTHED by Alessandro Manzoni", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 61, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.61", "debut_caractere": 6181, "fin_caractere_exclue": 6602, "texte": "THE GRASSHOPPER and other\nStories by Anton Chekhov. Price\n2/6 net 0).\nTHE BETROTHED by Alessandro\nManzoni. Price 2/6 net. Both is-\nsued by Stanley Paul & Co. The\nInternational Library Series.\nTHESE Russian stories are gloomy,\ntragic but gloomy ; and they are\ncomic but wistful; pathetic but misty;\nand so often interesting when you can\ndodge the gloom; well printed, well\n\n(i) See also The Mask, pag. 40, vol.\nXIII, 2927."}, {"page_pdf": 62, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.62", "debut_caractere": 0, "fin_caractere_exclue": 1535, "texte": "bound, light to hold in format; but\ngloomy and grey is the way of telling\nthem. Not that all Russian things are\ngrey and sad,—witness Arcos and the\nother Russian Ballets.\nWe suggest to the publishers that\nthey bring out in this agreable edition a\nvolume of Pushkin's tales just to show\nus all how the Russian can write when\nhe likes, ....when he is not pining to-\nwards Revolution or spying on his\nhosts. For Pushkin is what is still called\nin English very much the gentleman.\nBut that 1 had seen 44 The Be-\ntrothed \" as a film I should have\nenjoyed it as a novel; as it is I stop-\nped after thirty pages of it. I could\nnot go on: for the Film has quite\nspoiled the book of the words for me,\nand I am not surprised that the cu-\ntest authors refuse permission to the\nCinematograph to popularize their plays,\nnovels and stories for it assuredly chea-\npens them. This 44 Betrothed \" is an\nexample of what I mean. I was\nhaunted by the film pictures and, it\nseems to me, I shall never be able to\nread any more of this masterpiece.\nAnd if witnessing a Romance like\n44 The Betrothed \" as a film can pre-\nvent others reading it as it prevented\nme, it roust prove in time very bad busi-\nness for the booksellers and authors.\nThe Film stamps its pictures into\nour brains; like jazz music it gets\nthere. And the Film picture and the\nauthor's picture are seldom the same\nthing. It is like reading our best\nbooks to the accompaniment of a\nnumber of illustrations: these illustra-\ntions, say what you will, are not liked\nby men who are good readers."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c072", "article_bluemountain": "bmtnaau_1928-01_01#c072", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau192801-01.2.31", "titre_corps": "I have been unable to discover in any books in my own", "titre_sommaire": "I have been unable to discover in any books in my own", "signature_source": "C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 53, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.53", "debut_caractere": 103, "fin_caractere_exclue": 1231, "texte": "I have been unable to discover in any books in my own\nLibrary whether Van Westerhout was a scenographer, for\nwhat operas he designed scenes, or for what opera this and\nthe other scene (Plate 7) were destined.\nMy prints are proof sheets pulled for the engraver and\nnot included in the book. But the designs were used in a\nsmall book measuring about 13 x K. 9, for I have one of the\nplates in duplicate folded up to that size.\nThe Theatrical books seem to ignore Westerhout entirely ;\n110 word of him in Professor Nicoll's '4 Development of\nthe »rama Bapst's 44 Essai \"or Ferrari's 44 Scenografia\nIn both these scenes the Scenographer is concerned with\n\" praticables \".\nIn the first soldiers raise their shields on their spears,\nand on these shields which form steps two heroes escape.\nEven today such a theatric trick could only be achieved with\nimmense difficulty.\nIn the second we see a practicable bridge over which a\nsinger on horseback passes. It is claimed that De Louther-\nbourg made the first practicable( bridge for Garrick's Richard III.\nBut this is early and the bridge in 4< Ercole in Tebe 1661,\nis still earlier.\n\nC."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c073", "article_bluemountain": "bmtnaau_1928-01_01#c073", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau192801-01.2.31.1", "titre_corps": "DESIGN FOR A SCENE FOR AN OPERA (Circa 1690)", "titre_sommaire": "DESIGN FOR A SCENE FOR AN OPERA (Circa 1690)", "signature_source": "Arnold Van Westerhout", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 53, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.53", "debut_caractere": 0, "fin_caractere_exclue": 101, "texte": "DESIGN FOR A SCENE FOR AN OPERA (Circa 1690).\nEngraved by Arnold Van Westerhout (1666-1728).\nPlate 6."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c074", "article_bluemountain": "bmtnaau_1928-01_01#c074", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 55, "image_fin": 55, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.2.32", "titre_corps": "DESIGN FOR A SCENE FOR AN OPERA (Circa 1690)", "titre_sommaire": "DESIGN FOR A SCENE FOR AN OPERA (Circa 1690)", "signature_source": "Arnold Van Westerhout", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 55, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 101, "texte": "DESIGN FOR A SCENE FOR AN OPERA (Circa 1690).\nEngraved by Arnold Van Westerhout (1666-1728).\nPlate 7."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c075", "article_bluemountain": "bmtnaau_1928-01_01#c075", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "46", "page_fin": "46", "image_debut": 62, "image_fin": 62, "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=bmtnaau192801-01.2.33", "titre_corps": "MAGAZINES", "titre_sommaire": "MAGAZINES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 62, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.62", "debut_caractere": 1537, "fin_caractere_exclue": 4307, "texte": "MAGAZINES.\n\nQOME of the most interesting En-\nO glish magazines — those held to\nbe exceptionally good — do not reach\nus, for they contain very little about\ntheatrical things.\nBut there cannot be a very much\nbetter magazine published in London\nthan the \" Monthly Criterion 9\\ and\nthis seems to be increasing in strength\nwith every number — and I am told\nthat the sales are very good.\nIts January Dramatic Chronicle by\nF. S. Flint is excellent, and the \" Flo-\nrentine Journal \" by Arnold Bennett is\nespecially readable by those of us who\nhave known Florence, but, for those who\nstill live there, it can not be particularly\nlively.\nTo me it lost much of its freshness\nby coming to me fitfully, both from\nEngland and America. It was in the\n4* Monthly Criterion\" and in the A-\nmerican 44 Bookman \". 44 The Book-\nman, though it had to travel across\nthe Atlantic, would bring me Bennett's\n44 Journal\" about a week before the\nsame thing arrived from England, which\nnot only shows 44 The Bookman's\"\nwide-awakeness, but also Mr. Ben-\nnett's. For Ptlr. Bennett or his agents\nwould have to send to America, get-a\nreply, agree or disagree to terms, sign\na bond, and so on, before 44 Bookman \"\ncould start printing. And the 44 Month-\nly Criterion\" would perhaps have to\nwait for a signal which said 44 Go \".\nThen both would start off running\ntogether.\nTherefore that 44 Bookman \" should\nhave arrived first, and have issued in its\nDecember number what 44 Criterion \"\nissued in its January number, makes me\ngleeful and at the same time I don't\nlike it. As one of the Public I object.\nI don't see why this 44 Florentine\nJournal \" should have been printed in\ntwo different magazines. It's Business.\nGood. Mr. Bennett's writings are\nneeded in America as well as in En-\ngland. Good. All I would hold is\nthat if this be good and proper, the two\nmagazines should keep to their own\ncountries and not be exported.\nThe colour of the 44 Criterion's\ncover pleases me so lAuch, the good\npaper second, the type-setting third, and\nthe Dramatic notes most of all.\nThat a single note on English Dra-\nmatics can sound at all thrilling strikes\nme as a little wonderful but Mr. Flint\nmanages it.\nHis comments on some wierd ela-\nborate settings are admirable ; his objec-\ntion to those actors of London who\ncultivate middle-class respectability is\njust, yet what else have they to cultivate\nif they would escape an early death ?\nI like the 44 Criterion \" for its con-\nstancy to the artist ; for it would pay it\nfar better to disregard him : and the\n44 Criterion \", in not accepting what too\nmany journals accept the pay which\ngoes with the kick to the artist—is not\ndoing anything very exceptional, you\nthink.\nThere you err. It is acting as\nother famous journals would like to\nact and haven't the, pluck to."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c076", "article_bluemountain": "bmtnaau_1928-01_01#c076", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "46", "page_fin": "46", "image_debut": 62, "image_fin": 62, "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=bmtnaau192801-01.2.33.1", "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": 62, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.62", "debut_caractere": 1549, "fin_caractere_exclue": 4307, "texte": "QOME of the most interesting En-\nO glish magazines — those held to\nbe exceptionally good — do not reach\nus, for they contain very little about\ntheatrical things.\nBut there cannot be a very much\nbetter magazine published in London\nthan the \" Monthly Criterion 9\\ and\nthis seems to be increasing in strength\nwith every number — and I am told\nthat the sales are very good.\nIts January Dramatic Chronicle by\nF. S. Flint is excellent, and the \" Flo-\nrentine Journal \" by Arnold Bennett is\nespecially readable by those of us who\nhave known Florence, but, for those who\nstill live there, it can not be particularly\nlively.\nTo me it lost much of its freshness\nby coming to me fitfully, both from\nEngland and America. It was in the\n4* Monthly Criterion\" and in the A-\nmerican 44 Bookman \". 44 The Book-\nman, though it had to travel across\nthe Atlantic, would bring me Bennett's\n44 Journal\" about a week before the\nsame thing arrived from England, which\nnot only shows 44 The Bookman's\"\nwide-awakeness, but also Mr. Ben-\nnett's. For Ptlr. Bennett or his agents\nwould have to send to America, get-a\nreply, agree or disagree to terms, sign\na bond, and so on, before 44 Bookman \"\ncould start printing. And the 44 Month-\nly Criterion\" would perhaps have to\nwait for a signal which said 44 Go \".\nThen both would start off running\ntogether.\nTherefore that 44 Bookman \" should\nhave arrived first, and have issued in its\nDecember number what 44 Criterion \"\nissued in its January number, makes me\ngleeful and at the same time I don't\nlike it. As one of the Public I object.\nI don't see why this 44 Florentine\nJournal \" should have been printed in\ntwo different magazines. It's Business.\nGood. Mr. Bennett's writings are\nneeded in America as well as in En-\ngland. Good. All I would hold is\nthat if this be good and proper, the two\nmagazines should keep to their own\ncountries and not be exported.\nThe colour of the 44 Criterion's\ncover pleases me so lAuch, the good\npaper second, the type-setting third, and\nthe Dramatic notes most of all.\nThat a single note on English Dra-\nmatics can sound at all thrilling strikes\nme as a little wonderful but Mr. Flint\nmanages it.\nHis comments on some wierd ela-\nborate settings are admirable ; his objec-\ntion to those actors of London who\ncultivate middle-class respectability is\njust, yet what else have they to cultivate\nif they would escape an early death ?\nI like the 44 Criterion \" for its con-\nstancy to the artist ; for it would pay it\nfar better to disregard him : and the\n44 Criterion \", in not accepting what too\nmany journals accept the pay which\ngoes with the kick to the artist—is not\ndoing anything very exceptional, you\nthink.\nThere you err. It is acting as\nother famous journals would like to\nact and haven't the, pluck to."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c077", "article_bluemountain": "bmtnaau_1928-01_01#c077", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "46", "page_fin": "47", "image_debut": 62, "image_fin": 63, "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=bmtnaau192801-01.2.34", "titre_corps": "EDITORIAL NOTES : JANUARY: FEBRUARY: MARCH", "titre_sommaire": "EDITORIAL NOTES : JANUARY: FEBRUARY: MARCH", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 62, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.62", "debut_caractere": 4309, "fin_caractere_exclue": 6077, "texte": "EDITORIAL NOTES.\nJANUARY: FEBRUARY: MARCH.\n\nSTRINDBERG, BARON\nPALMSTIERNA AND\nROBERT LORAINE.\nIN the recent and much advertised\nquarrel between the Swedish minis-\nter in London, Baron Palmstierna and\nRobert Loraine the English actor, we\nthink we discern the fine diplomatic hand\nof Mr. C. B. Cochran. We think that\nit must have been all Mr. Cochran's\ndoing so as to secure a rush for tickets.\nIf not we can find no reason whatever\nin the whole incident.\nWe see no reason for the Swedish\nminister to have bothered his head\nabout whether Loraine was going to\nmassacre Strindberg or no for if\nactors should chop him up in pieces\nStrindberg would not be destroyed.\nYou can't destroy Strindberg. Strind-\nberg would only vanish from England.\nWe sympathise with the Baron in\nhis wish to protect the work of a\nfellow countryman, but Strindberg can\nlook after himself.\nLoraine was rude; but Loraine was\nalso polite: he expressed his regrets\nfor having been 44 unnecessarily rude\nColonel Loraine is the right sort: but\nLoraine the actor is the wrong sort.\nHe thinks and writes that 44 it is better\nto cut a passage in a play than ap-\npear to be conveying an impression of\nobscure and awkward thought.\" Then\nhe defends his having left out whole\npages of Strindberg's dialogue.\nThat won't do. The thing actors\nhave to do whether English, Russian,\nSpanish, French cr Esquimaux, is to\ntake time and go to the pains of dis-\ncovering what is the thought of a\ndramatist, not to protest that a passage\nwhich they have not understood is\n44 obscure and awkward \" and cut\nit out.\nIn the course of five hours we\nhad translated only eleven pages \"\nwrites Mr. Loraine. What matter if\neven in ten hours you only manage to\nget but four pages done so long as\nthey are done properly. We find that"}, {"page_pdf": 63, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.63", "debut_caractere": 0, "fin_caractere_exclue": 6333, "texte": "eleven pages in five hours is fairly\nquick work.\nBesides, why leave such an impor-\ntant work to the last moment ? A\ntranslation of a play by Strindberg\nshould be ready at least six months\nbefore rehearsals begin. The trans-\nlation of such a dramatist should\nhave been submitted to Mr. Bernard\nShaw, Mr. Robert Lynd, Mr. Des-\nmond McCarthy or any eminent\nEnglish critics who were on the spot\nwho understand Dramatics and who\nhave quick wits.\nAfter that, perhaps, a visit of cour-\ntesy to the Swedish Minister.\nBut to ask the Swedish Minister to\ndo our work for us is a little too\nmuch to ask: to fail to appreciate his\nservices, after having asked for them\ntoo, is exceeding all bounds,\n\nWHAT'S IT ALL ABOUT?\n£5,000,000 FOR THEATRES.\nMR. SZARVASY'S BIG SCHEME.\nALL \" BRITISH MONEY\".\nUNDER three headlines a London\nDaily announced the formation cf\na corporation for acquiring 44 a great\ngroup of kinematograph and other\ntheatres\" in England.\n(Not the Shakespeare Memorial\nTheatre, by the way).\nWhat it failed to announce was whe-\nther the Brains would be all British.\nNo amount of money, not fifty\nmillions even if all British, can be\nproperly administrated so long as the\nBritish artists are unemployed.\nBy British artists we mean the play-\nwrights, the actors, the stage directors,\nthe designers, the dancers, the singers\nard all. Great combines are all fluff\nand worthless until the Brains of the\nTheatre are combined.\nBut if you have £5,000,000 there\nis no longer any excuse if you fail to\ncombine all the talents in one group.\n\nCO VENT GARDEN THEATRE\no AGAIN. a\nCOVENT Garden Theatre has once\nmore awakened.\nTo realize what?\nThat Chaliapine and Foreign Operas\nare firstsclass things.\nWhy wake up to discover what\nwe all knew? Go to sleep again.\nCovent Garden, for you are a noodle.\nThe brilliant London Daily journals,\nbrilliant in twenty ways, but dull as\nditch water when considering the\ntheatre, allowed the Direction of this\nscheme to announce that it will be\n44 on the grandest scale\", that Covent\nGarden will give a ten weeks season\neach year for three years, 44 not as good\nas that in continental capitals but finer\nthan anywhere else in Europe \".\nAgain let us repeat, unless you have\nall the talents you cannot do as you say.\nUnless these talents can ripen under\nconditions which are lasting you cannot\nget them to combine. You seem to\nforget that artists in their work are\npractical men and never join silly\nschemes like this.\nAnd let us ask press and public to\nbe a little more serious.\n\nMILLIONS AND MILLIONAIRE\nPATRONS OF THE ART.\n44 ' | TIE Mask \" has for twenty years\nA now been telling the English\nintelligences the truth about the whole\nmatter of the Theatre and nothing is\ndone to make matters better. Only\nmore millions are spent.\nNew millionaires never heard of\ntill yesterday appear and fail as usual\nto do their duty or even to keep their\npromises.\nAnd think of James White too !\nWhat but harm to the Theatre is he?\nWhile we are prepared to champion\nany genuine patron of the Arts, we\nare equally determined to deride any\nweak failures of any wealthy men\nwho, being in a position to act as\ntrue patrons of the arts do no such\nthing, but go running after publicity\non the strength of having dribbled out\n£lO,OOO in many directions.\n\nSTRATFORD - UPON - AVON.\nSOME Americans pretend to be\namazed that the Britishers, Bernard\nShaw and Gordon Craig, can be found\nprotesting against Americans helping to\nbuild the Theatre for Shakespeare.\nThese Americans suppose Shaw and\nCraig to hate the interference of the\nYankees. They don't. What they\nhate is the situation in England which\nfor some unknown reason obliged the\nenthusiasts in Stratford-upon-Avon to\nbeg from America or to see the\nwhole project fail. The talk about\nShakespeare being the Universal Poet is\nall bunkum. So is Dante, yet Italy\ndoesn't muddle its affairs and allow\nprivate persons to annex the Poet and\nrun him from Ravenna where he died\nor Firenze where he was born.\nMr. Flower and the small Shake-\nspeare group in Stratford-upon-Avon\nshould never have been allowed to do\nas they have done.\nWhen Statues or Theatres\nare erected, France sees to it, not\nBoulogne-sur-Mer. When Goethe is\nhonoured the whole of Germany sees\nto it, not Mulhausen or Ebberfelt or\neven Weimar. And France, Italy\nand Germany do not invite Americans\nor any other nations to contribute but\nonly to share as guests in the festival.\n\nIF NOT SALVIATI... WHO ?\nONE or two experts in matters Histo-\nrical, Theatrical and Scenical,\nhave written us suggesting that the\ntwo designs which served as frontis-\npiece to our last issue are not, as at-\ntributed, by Francesco Salviati; may\nbe by some artist of a much later\ndate. They may be; but after all, the\nBritish Museum isn't exactly a place\nwhere incompetent men are given im-\nportant positions, and these two designs\nhave been long enough in the British\nMuseum for a correct decision to have\nbeen made as to who was their designer.\nIf it's incorrect, what the deuce is\nthe matter with our keepers and as-\nsistant keepers of our Drawing and\nPrint Department of the said British\nMuseum?\nIt may be the error of our agent\nwho procured the photographs and\ncopied out the information and the\nKeepers may have merely put 44 attri-\nbuted to Salviati \".\nInstead of 1550 the drawings cer-\ntainly look more like the work done\nin 1640 indeed, two scenes made\nby Giacomo Torelli dated 1644 and\n1645 and reproduced as Figures 267,\n268 in Professor Nicoll's 44 Develop-\nment of the Theatre \" and the scene\nfor 4411 Solimano \" 1620, Figure 96\nof the same book, are assuredly remi-\nniscent of these two so-called Salviati\ndesigns. But for our part we should be\nas willing to agree that Raphael had de-\nsigned these two scenes, and Raphael\nwas a good deal earlier than any of\nthem yet often looks a good deal later.\nRaphael dates from 1483 to 1520,\nyet his work is sometimes florid enough,\nor, say masterly enough, to look like\nwork at least a hundred years later.\nWe am not speaking like experts; we\nare merely going by how it strikes us.\nSo if it's only a matter of looking\nmuch later than Salviati's time, then\nthe British Museum Authorities may\nbe quite correct, and Salviati may\nwell be the designer after all.\nBut what a jolly find if they turned\nout to be by Raphael, who was oc-\ncasionally given to the designing of\nsceneries for the Pope."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c078", "article_bluemountain": "bmtnaau_1928-01_01#c078", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "46", "page_fin": "47", "image_debut": 62, "image_fin": 63, "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=bmtnaau192801-01.2.34.1", "titre_corps": "STRINDBERG, BARON PALMSTIERNA AND ROBERT LORAINE", "titre_sommaire": "STRINDBERG, BARON PALMSTIERNA AND ROBERT LORAINE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 62, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.62", "debut_caractere": 4353, "fin_caractere_exclue": 6077, "texte": "STRINDBERG, BARON\nPALMSTIERNA AND\nROBERT LORAINE.\nIN the recent and much advertised\nquarrel between the Swedish minis-\nter in London, Baron Palmstierna and\nRobert Loraine the English actor, we\nthink we discern the fine diplomatic hand\nof Mr. C. B. Cochran. We think that\nit must have been all Mr. Cochran's\ndoing so as to secure a rush for tickets.\nIf not we can find no reason whatever\nin the whole incident.\nWe see no reason for the Swedish\nminister to have bothered his head\nabout whether Loraine was going to\nmassacre Strindberg or no for if\nactors should chop him up in pieces\nStrindberg would not be destroyed.\nYou can't destroy Strindberg. Strind-\nberg would only vanish from England.\nWe sympathise with the Baron in\nhis wish to protect the work of a\nfellow countryman, but Strindberg can\nlook after himself.\nLoraine was rude; but Loraine was\nalso polite: he expressed his regrets\nfor having been 44 unnecessarily rude\nColonel Loraine is the right sort: but\nLoraine the actor is the wrong sort.\nHe thinks and writes that 44 it is better\nto cut a passage in a play than ap-\npear to be conveying an impression of\nobscure and awkward thought.\" Then\nhe defends his having left out whole\npages of Strindberg's dialogue.\nThat won't do. The thing actors\nhave to do whether English, Russian,\nSpanish, French cr Esquimaux, is to\ntake time and go to the pains of dis-\ncovering what is the thought of a\ndramatist, not to protest that a passage\nwhich they have not understood is\n44 obscure and awkward \" and cut\nit out.\nIn the course of five hours we\nhad translated only eleven pages \"\nwrites Mr. Loraine. What matter if\neven in ten hours you only manage to\nget but four pages done so long as\nthey are done properly. We find that"}, {"page_pdf": 63, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.63", "debut_caractere": 0, "fin_caractere_exclue": 685, "texte": "eleven pages in five hours is fairly\nquick work.\nBesides, why leave such an impor-\ntant work to the last moment ? A\ntranslation of a play by Strindberg\nshould be ready at least six months\nbefore rehearsals begin. The trans-\nlation of such a dramatist should\nhave been submitted to Mr. Bernard\nShaw, Mr. Robert Lynd, Mr. Des-\nmond McCarthy or any eminent\nEnglish critics who were on the spot\nwho understand Dramatics and who\nhave quick wits.\nAfter that, perhaps, a visit of cour-\ntesy to the Swedish Minister.\nBut to ask the Swedish Minister to\ndo our work for us is a little too\nmuch to ask: to fail to appreciate his\nservices, after having asked for them\ntoo, is exceeding all bounds,"}]}, {"article_id": "bm-bmtnaau-1928-01-01-c080", "article_bluemountain": "bmtnaau_1928-01_01#c080", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "47", "page_fin": "47", "image_debut": 63, "image_fin": 63, "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=bmtnaau192801-01.2.34.2", "titre_corps": "WHAT'S IT ALL ABOUT? : 5,000,000 FOR THEATRES", "titre_sommaire": "WHAT'S IT ALL ABOUT? : 5,000,000 FOR THEATRES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 63, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.63", "debut_caractere": 687, "fin_caractere_exclue": 1529, "texte": "WHAT'S IT ALL ABOUT?\n£5,000,000 FOR THEATRES.\nMR. SZARVASY'S BIG SCHEME.\nALL \" BRITISH MONEY\".\nUNDER three headlines a London\nDaily announced the formation cf\na corporation for acquiring 44 a great\ngroup of kinematograph and other\ntheatres\" in England.\n(Not the Shakespeare Memorial\nTheatre, by the way).\nWhat it failed to announce was whe-\nther the Brains would be all British.\nNo amount of money, not fifty\nmillions even if all British, can be\nproperly administrated so long as the\nBritish artists are unemployed.\nBy British artists we mean the play-\nwrights, the actors, the stage directors,\nthe designers, the dancers, the singers\nard all. Great combines are all fluff\nand worthless until the Brains of the\nTheatre are combined.\nBut if you have £5,000,000 there\nis no longer any excuse if you fail to\ncombine all the talents in one group."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c081", "article_bluemountain": "bmtnaau_1928-01_01#c081", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "47", "page_fin": "47", "image_debut": 63, "image_fin": 63, "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=bmtnaau192801-01.2.34.3", "titre_corps": "COVENT GARDEN THEATRE AGAIN", "titre_sommaire": "COVENT GARDEN THEATRE AGAIN", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 63, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.63", "debut_caractere": 1531, "fin_caractere_exclue": 2499, "texte": "CO VENT GARDEN THEATRE\no AGAIN. a\nCOVENT Garden Theatre has once\nmore awakened.\nTo realize what?\nThat Chaliapine and Foreign Operas\nare firstsclass things.\nWhy wake up to discover what\nwe all knew? Go to sleep again.\nCovent Garden, for you are a noodle.\nThe brilliant London Daily journals,\nbrilliant in twenty ways, but dull as\nditch water when considering the\ntheatre, allowed the Direction of this\nscheme to announce that it will be\n44 on the grandest scale\", that Covent\nGarden will give a ten weeks season\neach year for three years, 44 not as good\nas that in continental capitals but finer\nthan anywhere else in Europe \".\nAgain let us repeat, unless you have\nall the talents you cannot do as you say.\nUnless these talents can ripen under\nconditions which are lasting you cannot\nget them to combine. You seem to\nforget that artists in their work are\npractical men and never join silly\nschemes like this.\nAnd let us ask press and public to\nbe a little more serious."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c082", "article_bluemountain": "bmtnaau_1928-01_01#c082", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "47", "page_fin": "47", "image_debut": 63, "image_fin": 63, "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=bmtnaau192801-01.2.34.4", "titre_corps": "MILLIONS AND MILLIONAIRE", "titre_sommaire": "MILLIONS AND MILLIONAIRE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 63, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.63", "debut_caractere": 2501, "fin_caractere_exclue": 3254, "texte": "MILLIONS AND MILLIONAIRE\nPATRONS OF THE ART.\n44 ' | TIE Mask \" has for twenty years\nA now been telling the English\nintelligences the truth about the whole\nmatter of the Theatre and nothing is\ndone to make matters better. Only\nmore millions are spent.\nNew millionaires never heard of\ntill yesterday appear and fail as usual\nto do their duty or even to keep their\npromises.\nAnd think of James White too !\nWhat but harm to the Theatre is he?\nWhile we are prepared to champion\nany genuine patron of the Arts, we\nare equally determined to deride any\nweak failures of any wealthy men\nwho, being in a position to act as\ntrue patrons of the arts do no such\nthing, but go running after publicity\non the strength of having dribbled out\n£lO,OOO in many directions."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c083", "article_bluemountain": "bmtnaau_1928-01_01#c083", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "47", "page_fin": "47", "image_debut": 63, "image_fin": 63, "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=bmtnaau192801-01.2.34.5", "titre_corps": "STRATFORD - UPON - AVON", "titre_sommaire": "STRATFORD - UPON - AVON", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 63, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.63", "debut_caractere": 3256, "fin_caractere_exclue": 4389, "texte": "STRATFORD - UPON - AVON.\nSOME Americans pretend to be\namazed that the Britishers, Bernard\nShaw and Gordon Craig, can be found\nprotesting against Americans helping to\nbuild the Theatre for Shakespeare.\nThese Americans suppose Shaw and\nCraig to hate the interference of the\nYankees. They don't. What they\nhate is the situation in England which\nfor some unknown reason obliged the\nenthusiasts in Stratford-upon-Avon to\nbeg from America or to see the\nwhole project fail. The talk about\nShakespeare being the Universal Poet is\nall bunkum. So is Dante, yet Italy\ndoesn't muddle its affairs and allow\nprivate persons to annex the Poet and\nrun him from Ravenna where he died\nor Firenze where he was born.\nMr. Flower and the small Shake-\nspeare group in Stratford-upon-Avon\nshould never have been allowed to do\nas they have done.\nWhen Statues or Theatres\nare erected, France sees to it, not\nBoulogne-sur-Mer. When Goethe is\nhonoured the whole of Germany sees\nto it, not Mulhausen or Ebberfelt or\neven Weimar. And France, Italy\nand Germany do not invite Americans\nor any other nations to contribute but\nonly to share as guests in the festival."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c084", "article_bluemountain": "bmtnaau_1928-01_01#c084", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "47", "page_fin": "47", "image_debut": 63, "image_fin": 63, "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=bmtnaau192801-01.2.34.6", "titre_corps": "IF NOT SALVIATI... WHO ?", "titre_sommaire": "IF NOT SALVIATI... WHO ?", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 63, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.63", "debut_caractere": 4391, "fin_caractere_exclue": 6333, "texte": "IF NOT SALVIATI... WHO ?\nONE or two experts in matters Histo-\nrical, Theatrical and Scenical,\nhave written us suggesting that the\ntwo designs which served as frontis-\npiece to our last issue are not, as at-\ntributed, by Francesco Salviati; may\nbe by some artist of a much later\ndate. They may be; but after all, the\nBritish Museum isn't exactly a place\nwhere incompetent men are given im-\nportant positions, and these two designs\nhave been long enough in the British\nMuseum for a correct decision to have\nbeen made as to who was their designer.\nIf it's incorrect, what the deuce is\nthe matter with our keepers and as-\nsistant keepers of our Drawing and\nPrint Department of the said British\nMuseum?\nIt may be the error of our agent\nwho procured the photographs and\ncopied out the information and the\nKeepers may have merely put 44 attri-\nbuted to Salviati \".\nInstead of 1550 the drawings cer-\ntainly look more like the work done\nin 1640 indeed, two scenes made\nby Giacomo Torelli dated 1644 and\n1645 and reproduced as Figures 267,\n268 in Professor Nicoll's 44 Develop-\nment of the Theatre \" and the scene\nfor 4411 Solimano \" 1620, Figure 96\nof the same book, are assuredly remi-\nniscent of these two so-called Salviati\ndesigns. But for our part we should be\nas willing to agree that Raphael had de-\nsigned these two scenes, and Raphael\nwas a good deal earlier than any of\nthem yet often looks a good deal later.\nRaphael dates from 1483 to 1520,\nyet his work is sometimes florid enough,\nor, say masterly enough, to look like\nwork at least a hundred years later.\nWe am not speaking like experts; we\nare merely going by how it strikes us.\nSo if it's only a matter of looking\nmuch later than Salviati's time, then\nthe British Museum Authorities may\nbe quite correct, and Salviati may\nwell be the designer after all.\nBut what a jolly find if they turned\nout to be by Raphael, who was oc-\ncasionally given to the designing of\nsceneries for the Pope."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c085", "article_bluemountain": "bmtnaau_1928-01_01#c085", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "48", "page_fin": "48", "image_debut": 64, "image_fin": 64, "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=bmtnaau192801-01.2.35", "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": 64, "page_imprimee": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.64", "debut_caractere": 0, "fin_caractere_exclue": 7703, "texte": "LAST WORDS.\n\nWHO IS E. 8., LONDON?\nA word in support of Mr. Leslie Fa-\nber the English actor who 44astoun-\nded \" the excellent E. B. who writes\n44 Theatre Notes \" on that important\ndocument issued regularly in London\n'4 The Official Theatre Guide or Pro-\ngramme for the Week \".\nPublished by T. B. Lawrence of Im-\nperial House, Kingsway, W. C. 2, Lon-\ndon, this sheet is issued to tell ns what\nis being performed in London, at which\ntheatre, and when. And E. B. likes to\nadd a few 44 Notes\nIn one of his Notes he says he was\n44 very astounded to read the remarks of\nMr. Le lie Faber regarding the infinite\nsuperiority of the American Stage over\nour own Pie then proceeds to say\nthat 44 Having been to the United States\nfor the last twenty years, my last visit\nbeing as recent as 1927, the impression\nobtained there was, from a point of view\nof acting, production, and of house or-\nganization, we had nothing to learn\nWe hate that: it leads nowhere but\nalong that old rut where E. B. loves to\nsquat with some of the West End Thea-\ntre Managers Ltd. who 44 supply the in-\nformation \" published by this excellent\n44 Official Theatre Guide\nWe support Leslie Faber's state-\nment not because we like all American\nmethods but because we hafee the me-\nthods ol those in love with squatting in\na rut. What Mr. Faber meant was this :\n'• America is going ahead ; why not go\nahead in England ? \"\nIs that a very wrong thing to say ?\nShould it astound anyone but mugwumps?\nHe is but a mugwump whoever he\nis who asserts that 44 we have nothing\nto learn \" ; for even when American\nmethods are preposterous, we have to\nlearn where not to follow them. »\nIt is E. B. and some of the West End\nTheatre Managers who seem bent on\nfollowing fhe worst American methods\nInstead of their best.\nMr. Faber was speaking on behalf\nof the best American methods.\nThe worst American method can be\ncondensed into a phrase, 44 Money at\nall costs \" ; and that is the method which\npossibly E. B. and some of the London\nManagers so dread to see imported.\nIt is not a little innocent, that dread.\nLet us recommend to our contempo-\nrary in America, 44 Theatre Arts Month-\nly this admirable weekly report pub-\nlished by Mr. Lawrence, and suggest\nthat if carefully read week by week it\nwill yield food for thought, offering,\nas it does, themes for the most enter-\ntaining articles on the backward (that\ndon't mean conservative) section of the\nEnglish Stage.\n\nON BEING LIKED.\nJ. B.\n44 Everybody in the world speaks well\nof him \". Sheridan.\nMR. P. G. Wodehouse, whose Lbridge\nand whose Psmith have given me\nhours of delight, whose books I buy\nand do not get sent 44 for review \", has,\nas most people know, recently had a\ngreat success with a play in London.\nWhether he has had other successes\non the stage I cannot say ; but a Lon-\ndon Daily has recently published a few\nof his wise words about the American\nstage and the prices paid to American\nperformers ; these he states to be 12 % of\nt he gross takings to the leading lady, 10 %\nof the gross takings to the leading actor.\nil As the theatre (Mr. Ziegfeld's) is\ntaking 50,000 a week it means that\nthe two of them are drawing jointly\nir,000 a week which is more than\n£ 200 \" said Mr. Wodehouse, adding\nthat a young English actor is quickly\nbecoming the favourite juvenile lead be-\ncause 44 everybody likes him\n\" And, do you know \" added Mr.\nWodehouse, 44 I believe that being liked\nis at least as important as genuine merit\nin every angle of the theatrical business\nnowadays Which strikes me as the\ntruth—the emphatic truth.\nAnd I am thinking what a good\nthing it is that Mrs. Siddons is dead,\nand Edmund Kean, Talma and Rachel\nand all that lot 44 safely stowed They\nwould have been liked by no one today.\nI doubt if even Irving and Bernhardt\nwould be liked tcday—liked in the sense\nthat the young juvenile in America is\nliked. And if I may continue thinking\naloud upon this matter I don't know that\nsome of our best rulers are liked—or the\nbest ones that are coming likely to be\nliked over much,\nMr. Calvin Coolidge is liked, I should\nsay—but who knows. I should not use\nthe word 44 likeable \" in regard to Si-\ngn or Mussolini,—it's just a little too small\na word for il Duce.\nAnd, in the trifling matter of the\ntheatre, who knows. Perhaps it's less\nlikeable people who are needed to bring\nthe American and the English stages to\nsomething more approaching their right\nform.... That phrase 4' everybody likes\nhim \" so well appreciated by our brilliant\nWodehouse is not really much recommen-\ndation for the young Englishman in New\nYork if our not less brilliant Sheridan\n(English playwright 1751-1816) is in any\nway to be trusted as an observer of human\nnature. Isn't this how the talk goes :\nSir Feter Teazle. Joseph is, indeed, what\na youth should be, everybody in the\nworld speaks well of him.\nOliver Surface. I am sorry to hear it ;\nhe has too good a character to be\nan honest fellow Everybody speaks\nwell of him ! Pshaw! then he has\nbowed as low to knaves and fools as\nto the honest dignity of genius and\nvirtue.\nNot for a moment will I admit that\nthis applies to our young Englishman in\nNew York ; but it is to be compared care-\nfully with Mr. Wodehouse's descrip-\ntion as to what is important in the Thea-\ntre business of today and pondered 011\n—a little.\n\nmmmtmmmmmmmwamammmmmmmmmmmmmmmmmmmmmmmmmKmmtmammmmmmmmmmamammmmmmammmmmm\nEVERYTHING I~K ITS PLACE'\n44 Rill \" Thompson, the mayor of\nI) Chicago, for some reason dees not\nlike the British to be in too much evi-\ndence in the same Chicago.\nWe have seen how in the last year\nor so he has done away with all the Bri-\ntish elements in that city which he could\ncontrol. And why, in the name of Ame-\nrica, not ?\nWhat harm will it do to England or\nAmerica if England be excluded from\nChicago? Wbat good would it do to\nAmerica or England if England should\never colonize Chicago ?\nAnd now apply the same argument\nto Stratford-upon-Avon.\nThat the English keep out of Chicago\nand the Yankees keep out of Stratford\nis the commonsense wish of every sens-\nible and disinterested American and En-\nglishman.\nWe can love each other quite as\nWell at a distance ; may be even better.\n\nLAST EDITORIAL.\nTHE DISCIPLES OF SALZBURG.\nJ. S.\nTT'he Times — its Literary Supplement—,\nhas invented this title, \"the disciples\nof Salzburg \" for some of the Englishmen\nwho yearly make a pilgrimage to that\ncharming old Austrian city where Mozart\nwas born, where Reinhardt now has\ntheatres and a large and hospitable palace\nwhere he entertains, and where other\nartistic activities flourish.\nThe Times is still young; it can -\ntouch the spot with precision; if it is\nold fashioned it was one of the fashions\nto touch the spot: nowadays amongst\nthe fashions we revere that of missing\nthe target by a mile. But who are the\nu disciples of Salzburg i} ?\nThere is Mr. Ashley Dukes, Dr.\nAllardyce Nicoll, Mr. Sheldon Cheney;\nwho else ? We are eager to learn. \"\nAnd, talking of learning, it is presumably\nto learn that Duke, Nicoll and Cheney\nvisit Salzburg. Would you have them\nvisit Genova which is not so far off?\nTo learn what do the disciples ol\nwhom visit Salzburg ?\nIf Reinhardt be a disciple of Craig\n— disciple is the most gracious word we\ncan find — why be a disciple of a dis-\nciple ? This is what Fleet Street was\nasking yesterday and the West End is\nasking today and Earl's Court will be\nasking next week.\nWe fully expect to hear that the\nColliers of Newcastle are off to Athens\nin a few weeks to look for coal there:\nand so we have wired to Signor Popo-\nloplipolis \" Newcastle sending coal ex-\nperts to your city—do not fail to despatch\na few Athenians to England — lots of\nowls have been located there.\"\nTO THE ILLUSTRIOUS MEMORY\nOF\nADOLPHE APPIA\nMARCH 1928.\nMASK."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c086", "article_bluemountain": "bmtnaau_1928-01_01#c086", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "48", "page_fin": "48", "image_debut": 64, "image_fin": 64, "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=bmtnaau192801-01.2.35.1", "titre_corps": "WHO IS E. B., LONDON?", "titre_sommaire": "WHO IS E. B., LONDON?", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 64, "page_imprimee": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.64", "debut_caractere": 13, "fin_caractere_exclue": 2413, "texte": "WHO IS E. 8., LONDON?\nA word in support of Mr. Leslie Fa-\nber the English actor who 44astoun-\nded \" the excellent E. B. who writes\n44 Theatre Notes \" on that important\ndocument issued regularly in London\n'4 The Official Theatre Guide or Pro-\ngramme for the Week \".\nPublished by T. B. Lawrence of Im-\nperial House, Kingsway, W. C. 2, Lon-\ndon, this sheet is issued to tell ns what\nis being performed in London, at which\ntheatre, and when. And E. B. likes to\nadd a few 44 Notes\nIn one of his Notes he says he was\n44 very astounded to read the remarks of\nMr. Le lie Faber regarding the infinite\nsuperiority of the American Stage over\nour own Pie then proceeds to say\nthat 44 Having been to the United States\nfor the last twenty years, my last visit\nbeing as recent as 1927, the impression\nobtained there was, from a point of view\nof acting, production, and of house or-\nganization, we had nothing to learn\nWe hate that: it leads nowhere but\nalong that old rut where E. B. loves to\nsquat with some of the West End Thea-\ntre Managers Ltd. who 44 supply the in-\nformation \" published by this excellent\n44 Official Theatre Guide\nWe support Leslie Faber's state-\nment not because we like all American\nmethods but because we hafee the me-\nthods ol those in love with squatting in\na rut. What Mr. Faber meant was this :\n'• America is going ahead ; why not go\nahead in England ? \"\nIs that a very wrong thing to say ?\nShould it astound anyone but mugwumps?\nHe is but a mugwump whoever he\nis who asserts that 44 we have nothing\nto learn \" ; for even when American\nmethods are preposterous, we have to\nlearn where not to follow them. »\nIt is E. B. and some of the West End\nTheatre Managers who seem bent on\nfollowing fhe worst American methods\nInstead of their best.\nMr. Faber was speaking on behalf\nof the best American methods.\nThe worst American method can be\ncondensed into a phrase, 44 Money at\nall costs \" ; and that is the method which\npossibly E. B. and some of the London\nManagers so dread to see imported.\nIt is not a little innocent, that dread.\nLet us recommend to our contempo-\nrary in America, 44 Theatre Arts Month-\nly this admirable weekly report pub-\nlished by Mr. Lawrence, and suggest\nthat if carefully read week by week it\nwill yield food for thought, offering,\nas it does, themes for the most enter-\ntaining articles on the backward (that\ndon't mean conservative) section of the\nEnglish Stage."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c088", "article_bluemountain": "bmtnaau_1928-01_01#c088", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "48", "page_fin": "48", "image_debut": 64, "image_fin": 64, "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=bmtnaau192801-01.2.35.2", "titre_corps": "ON BEING LIKED", "titre_sommaire": "ON BEING LIKED", "signature_source": "J. B", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 64, "page_imprimee": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.64", "debut_caractere": 2415, "fin_caractere_exclue": 5267, "texte": "ON BEING LIKED.\nJ. B.\n44 Everybody in the world speaks well\nof him \". Sheridan.\nMR. P. G. Wodehouse, whose Lbridge\nand whose Psmith have given me\nhours of delight, whose books I buy\nand do not get sent 44 for review \", has,\nas most people know, recently had a\ngreat success with a play in London.\nWhether he has had other successes\non the stage I cannot say ; but a Lon-\ndon Daily has recently published a few\nof his wise words about the American\nstage and the prices paid to American\nperformers ; these he states to be 12 % of\nt he gross takings to the leading lady, 10 %\nof the gross takings to the leading actor.\nil As the theatre (Mr. Ziegfeld's) is\ntaking 50,000 a week it means that\nthe two of them are drawing jointly\nir,000 a week which is more than\n£ 200 \" said Mr. Wodehouse, adding\nthat a young English actor is quickly\nbecoming the favourite juvenile lead be-\ncause 44 everybody likes him\n\" And, do you know \" added Mr.\nWodehouse, 44 I believe that being liked\nis at least as important as genuine merit\nin every angle of the theatrical business\nnowadays Which strikes me as the\ntruth—the emphatic truth.\nAnd I am thinking what a good\nthing it is that Mrs. Siddons is dead,\nand Edmund Kean, Talma and Rachel\nand all that lot 44 safely stowed They\nwould have been liked by no one today.\nI doubt if even Irving and Bernhardt\nwould be liked tcday—liked in the sense\nthat the young juvenile in America is\nliked. And if I may continue thinking\naloud upon this matter I don't know that\nsome of our best rulers are liked—or the\nbest ones that are coming likely to be\nliked over much,\nMr. Calvin Coolidge is liked, I should\nsay—but who knows. I should not use\nthe word 44 likeable \" in regard to Si-\ngn or Mussolini,—it's just a little too small\na word for il Duce.\nAnd, in the trifling matter of the\ntheatre, who knows. Perhaps it's less\nlikeable people who are needed to bring\nthe American and the English stages to\nsomething more approaching their right\nform.... That phrase 4' everybody likes\nhim \" so well appreciated by our brilliant\nWodehouse is not really much recommen-\ndation for the young Englishman in New\nYork if our not less brilliant Sheridan\n(English playwright 1751-1816) is in any\nway to be trusted as an observer of human\nnature. Isn't this how the talk goes :\nSir Feter Teazle. Joseph is, indeed, what\na youth should be, everybody in the\nworld speaks well of him.\nOliver Surface. I am sorry to hear it ;\nhe has too good a character to be\nan honest fellow Everybody speaks\nwell of him ! Pshaw! then he has\nbowed as low to knaves and fools as\nto the honest dignity of genius and\nvirtue.\nNot for a moment will I admit that\nthis applies to our young Englishman in\nNew York ; but it is to be compared care-\nfully with Mr. Wodehouse's descrip-\ntion as to what is important in the Thea-\ntre business of today and pondered 011\n—a little."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c090", "article_bluemountain": "bmtnaau_1928-01_01#c090", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "48", "page_fin": "48", "image_debut": 64, "image_fin": 64, "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=bmtnaau192801-01.2.35.3", "titre_corps": "EVERYTHING IN ITS PLACE", "titre_sommaire": "EVERYTHING IN ITS PLACE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 64, "page_imprimee": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.64", "debut_caractere": 5269, "fin_caractere_exclue": 6130, "texte": "mmmtmmmmmmmwamammmmmmmmmmmmmmmmmmmmmmmmmKmmtmammmmmmmmmmamammmmmmammmmmm\nEVERYTHING I~K ITS PLACE'\n44 Rill \" Thompson, the mayor of\nI) Chicago, for some reason dees not\nlike the British to be in too much evi-\ndence in the same Chicago.\nWe have seen how in the last year\nor so he has done away with all the Bri-\ntish elements in that city which he could\ncontrol. And why, in the name of Ame-\nrica, not ?\nWhat harm will it do to England or\nAmerica if England be excluded from\nChicago? Wbat good would it do to\nAmerica or England if England should\never colonize Chicago ?\nAnd now apply the same argument\nto Stratford-upon-Avon.\nThat the English keep out of Chicago\nand the Yankees keep out of Stratford\nis the commonsense wish of every sens-\nible and disinterested American and En-\nglishman.\nWe can love each other quite as\nWell at a distance ; may be even better."}]}, {"article_id": "bm-bmtnaau-1928-01-01-c092", "article_bluemountain": "bmtnaau_1928-01_01#c092", "volume": "bmtnaau_1928-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "48", "page_fin": "48", "image_debut": 64, "image_fin": 64, "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=bmtnaau192801-01.2.35.4", "titre_corps": "LAST EDITORIAL : THE DISCIPLES OF SALZBURG", "titre_sommaire": "LAST EDITORIAL : THE DISCIPLES OF SALZBURG", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 64, "page_imprimee": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.64", "debut_caractere": 6132, "fin_caractere_exclue": 7703, "texte": "LAST EDITORIAL.\nTHE DISCIPLES OF SALZBURG.\nJ. S.\nTT'he Times — its Literary Supplement—,\nhas invented this title, \"the disciples\nof Salzburg \" for some of the Englishmen\nwho yearly make a pilgrimage to that\ncharming old Austrian city where Mozart\nwas born, where Reinhardt now has\ntheatres and a large and hospitable palace\nwhere he entertains, and where other\nartistic activities flourish.\nThe Times is still young; it can -\ntouch the spot with precision; if it is\nold fashioned it was one of the fashions\nto touch the spot: nowadays amongst\nthe fashions we revere that of missing\nthe target by a mile. But who are the\nu disciples of Salzburg i} ?\nThere is Mr. Ashley Dukes, Dr.\nAllardyce Nicoll, Mr. Sheldon Cheney;\nwho else ? We are eager to learn. \"\nAnd, talking of learning, it is presumably\nto learn that Duke, Nicoll and Cheney\nvisit Salzburg. Would you have them\nvisit Genova which is not so far off?\nTo learn what do the disciples ol\nwhom visit Salzburg ?\nIf Reinhardt be a disciple of Craig\n— disciple is the most gracious word we\ncan find — why be a disciple of a dis-\nciple ? This is what Fleet Street was\nasking yesterday and the West End is\nasking today and Earl's Court will be\nasking next week.\nWe fully expect to hear that the\nColliers of Newcastle are off to Athens\nin a few weeks to look for coal there:\nand so we have wired to Signor Popo-\nloplipolis \" Newcastle sending coal ex-\nperts to your city—do not fail to despatch\na few Athenians to England — lots of\nowls have been located there.\"\nTO THE ILLUSTRIOUS MEMORY\nOF\nADOLPHE APPIA\nMARCH 1928.\nMASK."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.1", "texte": "TH F MASK\"\n1 11 4-li 1V I O\nVOLUME FOURTEEN. NUMBER ONE\nJANUARY - FEBRUARY - MARCH\n19 2 8\nANNUAL SUBSCRIPTION wSK EDITION DE LUXE\nTEN SHILLINGS JfpRICE TWENTY SHILLINGS\n(POST FREE) f\\ /OvVt (POST FREE)\n° W-\"°\nTWO & A HALF DOLLARS WCOPYr FIVE DOLLARS\nFOR AMERICA FOR AMERICA\nADDRESS: BOX 444. FLORENCE. ITALY.\n\nSHAKESPEARE, OUR DUMMY, THE\nSTRATFORD - UPON - AVON MEMO-\nRIAL THEATRE FARCEO AMERICAN\nALMS FOR OUR NATIONAL POET, AND\nOTHER MATTERS RELATIVE TO SHAKE-\nSPEARE by John Balance, John Semar and Others.\nRECOLLECTIONS OF HENRIK IBSEN BY\nP. A. Rosenberg,Translated by Georg Brochur.\nMBOMBET AND EDWARD LEAR,\n, with entertaining details of Lord Byron\nand of Edward Lear's wanderings in Calabria,\nby Gixoon Craig.\nA TERRIBLE TRACT AND THE PRE-\nSENT-DAY EFFECTS OF A BRICK\nTHROWN AT WILLIAM BLAKE WHILE\nHAPPILY TRILLING HIS EARLY VERSES,\nby Di ury Pervil.\nTHEATRE AND MUSIC IN BADEN-\nBADEN by Paul McPharlin. ij\nSCENOGRAPHIC WILL'O THE WISPS\nwhose Scenic Designs we seek in vain to see,\nby J. S.\nARTISTS, IDEALISTS AND STEELE\nMACKAYE by C. G. S.\n\nILLUSTRATIONS\nA VIEW OF THE ROYAL CIRCUS, LONDON AS REBUILT BY CABANELL\nJR.: SCENES AND PORTRAITS ILLUSTRATING THE THEATRICAL\nAND MUSICAL LIFE OF BADEN-BADEN IN THE NINETEENTH CENTURY.\nA VIEW OF THE THEATRE DU LUXEMBOURG. PARIS AND TWO DESIGNS\nFOR SCENES FOR OPERA ENGRAVED BY ARNOLD VAN WESTERHOUT."}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.2", "texte": "THE MASK. JANUARY-MARCH 1928\nNOTICE TO CONTRIBUTORS. The Editor is always glad to consider articles and illustrations from\nexperts in theatre history and art, which result from special research or personal experience. Where stamped\nand addressed envelopes are included, every effort will be made to return in due course rejected contributions:\nbut in no circumstances can he hold himself responsible for safe custody or return. All articles should be\ntypewritten.\nAddress: The Editor: \"The Mask Box 444, Florence, Italy.\nI J -\\y •*:\n\nLITERARY CONTENTS.\nFOREWORD J- S\nWILLIAM SHAKESPEARE, OUR DUMMY, . . John Balance . •9-\nTHE SHAKESPEARE MEMORIAL THEATRE FUND\nFARCE J* S * 4\nMY MEMOIRS OF HENRIK IBSEN .... P. A. Rosenberg. IHI\nTranslated by Georg Brochur . I . .7\nPIRANESI AND A DELUSION . Allen Carric 10\nA TERRIBLE TRACT Drury Pervil 11\nTHE SEARCH FOR LOVE Q. E. D '4\nTHEATRE AND MUSIC AT BADEN-BADEN, with\nBiographical Notes Paul McPharlin 15\nSC.ENOGRAPHIC WILL'O THE WISPS J. S 21\nARTISTS, IDEALISTS AND STEELE MACKAYE . C. G. S. . . ; . . .22\nM. BOMBET AND EDWARD LEAR .... Gordon Craig ..... 24\nA LETTER FROM DENMARK ! Lbbe de Neergaard . . . .33\nCORRESPONDENCE. FOREIGN NOTES. BOOK REVIEWS. EDITORIAL NOTES.\n\nILLUSTRATIONS.\nTHE ROYAL CIRCUS, LONDON, RENAMED THE\nSURREY THEATRE . Anon- • • • Pla,e '» Face !\nCONVERSATIONSHAUS, BADEN-BADEN: TEMPO- > „ llf s 2, \" '\nRARY CONCERT HALL, BADEN-BADEN .\nMLLE. DELPHINE FIX ...•••• \" • 9 3> Precede 17\nTHREE CARICATURES • ) n ...» 4, » 17\nPORTRAIT OF JOSEPH STRASS. . ... ) ' ' ■\nTFJEATRE DU LUXEMBOURG, PARIS . . . Anon. . . . * 5, \"17\nDESIGN FOR A SCENE FOR AN OPERA . . . Arnold Van Westherhout \" 6, Face 40\nANOTHER DESIGN FOR A SCENE FOR AN OPERA \" ■ •\" \" 7, Precede 41\n\\ •\nHead and Tail Pieces from old and modern Designs."}, {"page_pdf": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.3", "texte": "THE ROYAL CIRCUS, LONDON, AS REBUILT BY GAB AN ELL JUNR IN 1806 AND RENAMED THE SURREY THEATRE.\nDestroyed by Fire. January 30th 1865. Rebuilt and opened December 26th of the same year.\nPlate 1.\n\nTHE MASK"}, {"page_pdf": 5, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.5", "texte": "The Mask\n1908 1928\n\nFOREWORD\nJ. S.\nTHIS year a hundred years ago Ibsen was born.\nThis year a hundred and ten years ago Shake-\nspeare was Bowdlerized.\nThe two dramatists are quite without any in-\nfluence at all in England. The British Stage likes milder\nand neater notions than those of Shakespeare and Ibsen.\nAttempts are still being made, and with quite a little\nsuccess, to render Shakespeare lit for the English Stage.\nIt was in 1818 that Dr. Bowdler was called in to\nperform an illegal operation on the body of Shakespeare.\nDr. Bowdler successfully rendered Shakespeare a eunuch.\nSo Shakespeare is tamed at last, and even actors can\nnow be seen in his company.\nEvery effort is therefore being made to interpret the\nwreck as tamely as possible. And, to help the good work\non, £ 250,000 is being spent on building this eunuch a\ntheatre from which it is still hoped that every taint of the\ntheatrical will have been eliminated before it is opened.\nCongratulate yourselves."}, {"page_pdf": 6, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.6", "texte": "WILLIAM SHAKESPEARE, OUR DUMMY\nBY JOHN BALANCE.\nRUIN\n\"QHAKESPEARE spells ruin \" is an old\nO cry: it was first heard issuing from\nthe mouth of some English theatre manager\nwho meant that a Shakespeare play pro-\nduced in a Theatre of his would not pay\nand so he, for one, would be ruined.\nBut it has meant other things since.\nIt has been said that Shakespeare's\nplays are a danger to the Empire: spell\nruin to that. H m m ....\nRecently an attempt has been made\nto fan into a flame the last sparks of af-\nfection and pride for Shakespeare which\nsome of us believe cannot quite be ex-\ntinguished in the minds and hearts of English\nmen. But the result has been remar-\nkedly unsuccessful. In attempting to raise\nsome money, with which to re-build his\nTheatre at Stratford-upon-Avon, the col-\nlectors have been forced to go to America\nand ask for funds, admitting to America\nthat the English could not manage to raise\n£250,000 for their Shakespeare. In this\nway Shakespeare certainly is coming to\nspell ruin: for everyone naturally supposes\nthat, if our country can afford to raise\nimmense sums for valueless purposes, it\ncan at least afford a quarter of a million\nonce in a century to pay for its Shake-\nspeare.\nNow the whole world knows that\nthis is not so, yet it would surely have been\nworth three millions to stop the doubt\nfrom becoming a conviction.\nThere must be something to be said\non behalf of the idea that Shakespeare\nis not needed, and it is this.\nThe Shakespeare our forefathers swore\nby, has vanished: he has either decamped\nor has been spirited away, and in place\nof him is a Dummy.\nExactly when the original Shakespeare\ndisappeared is uncertain; how lost, no\nman can exactly say: it would seem that\nhe was lost by a general concensus of\npublic opinion. Anyhow this is not the\nman—tis the Dummy.\nThe Dummy is a most loveable crea-\nture— quite the sweetest little toy ever\noffered to a Baby Public.\nIt's not like the ugly Shakespeare at\nall: its a pretty daisy-eyed thing devised\nafter years of labour.\nFor years and years the work has gone\non and on: meetings have been held, produc-\ntions have been made, publications have been\nissued all to prove that Shakespeare, the real\nShakespeare, was not well, quite nice,\nbut that a very nice, tidy, sweet little Dum-\nmy was to be made to replace him ; now this\nlabour of love has reached its final deve-\nlopment and the Doll is ready. Shakespeare\nis gone, and this dummy called Shake-\nspeare is in his place accepted by all.\nUpon this very great work of the\ntribe of Bowdler the world now meditates.\nThe world stands with head uncovered\nin front of the Doll and silently wonders\nwhat it ought to say—and then it turns\nto its spokesmen with \" you say it for\nme ' and they begin.\nThe spokesmen, in a state of sheer\nfunk, are preparing to say what is expected\nof them, when it begins to rain and so\nthat's all right, and everyone goes home\nand the trying situation is over.\nTHERE have been men who have said\nwhat the real Shakespeare is, and others\nwho have tried their best to do so; amongst"}, {"page_pdf": 7, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.7", "texte": "these have been some poets, (some of these\nare still living to-day) some actors, some\nscholars, and some statesmen.\nBut, except for these, everyone has\ntalked rubbish, being as 1 have said petri-\nfied by fear lest they should offend the\nworld and its top-hat, and pretty bonnet.\nAnd these four works, ('J which I\nam reviewing are but four out of four\nthousand of those publications which have\nhad to miss the whole point about Shake-\nspeare ; it was (they considered) their duty,\nit was (they considered) good manners,\nnot to question the genuineness of the Dummy\nof whom they were dreaming and whose\nadvent they foretold.\nThese four thousand writers then concoct\nextremely interesting or rather dull books\nupon this coming Dummy, and I really do\nnot think that four thousand Jesuits of\nthe 18th. Century could have done it better.\nAnd then the thing arrived and is\nbeing feted.\nProfessor Boas in his little work is\nvery readable ; it is an enjoyable book\nand he is one of our great scholars and\nis with-all a magician, for he takes this\nDummy Shakespeare, seats it on his knee,\nand, by the aid of some ventriloquism,\nmakes it seem that the Dummy is alive.\nAfter some patter the Conjurer says\nto the Dummy, \" Now then, Willy, sing\none of your nicest little songs to the\nladies and gentlemen\". \" But I don't\nknow any songs\" \"Oh yes, you do,\nWilly, you're a clever boy you know.\nYou can make up songs and (to the\naudience) that everyone knows. So\nnow sing one of your best—that one out\nof the \" Merchant of Venice\n\"Oh, that!\" cries Willy, and be-\ngins something on these lines:\nOh Mr. Dooly I love you truly\nYou're the finest politician ever grew\nSo diplomatic, so democratic\nOh Mr. Dooley-ooley-ooleyoo.\nGreat applause breaks out.\n\" Is'nt he wonderful\" says Molly.\n\" I'm so glad I came \". But she doesn't\nexpress any sorrow that Shakespeare s\ngone.... for she doesn't know.\nExcept for this unfortunate fact, this\nbook on the Dummy is the very best one\nto give to Molly.\nMolly will not read it, but her brother\nJim will; he'll know, leave Jim alone to\nknow.\nHe will later on write a book on\nShakespeare, and lecture on him, and\nproduce a play or two, and no one will\ncontradict him. But none of it will pay,\nall will be so much ruin.\nMiss Albright's book, which was\nfinished before Sir E. K. Chambers' more\nfamous book appeared, is very good. As\nMr. Greg points out in a rather unsym-\npathetic review of this book in the\n\" Review of English Studies \" (a review\nsimply devoted to the cult of the Dummy)\n\" Miss Albright has had very bad luck\",\nbecause she and Sir Edmund were going\nit hammer and tongs on the said Dummy\nat the same time, attacking the same rag\npatch and all unbeknown to each other.\nSir Edmund's scholarship is known\nall the world over. No Shakespearean\nscholar is more respected: his four volumes\nwere a revelation.\nIt stirred the group standing around\nthe Dummy as no other book has done\nfor a hundred years.\nIndeed if Sir Edmund chose to turn\n\n(1) Dramatic publications in England 1580-1640,\nby Evelyn May Albright 21/- net. Oxford University\nPress.\n\"Introduction to the reading of Shakespeare\" by\nF. S. Boas 2/6 net. Oxford University Press.\n\" A series of Papers on Shakespeare and the\nTheatre\" by Members of the Shakespeare Association,\n16/- net. Oxford University Press.\n\" The Review of English Studies \" Sedgwick &\nJackson 6/- net January 1928."}, {"page_pdf": 8, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.8", "texte": "his scholarship to Adevoyle, he would illu-\nmine the darkness there, or if he elected\nto write upon a grain of mustard seed,\nhe could write five volumes on it. And\n1 believe Miss Albright could beat him\nat it; Mr. Greg calls her \" vague in\nthod\"naive\" in her reading, and\n\" pursued by a demon of inaccuracy \".\n1 cannot; if I did the straw would\nbe out of the Dummy, and that must be\nprevented at all costs.\nBesides I won't: what should all these\nbooks on Dummy Shakespeare be but\ninaccurate? \" Her insight\" says Mr. Greg,\n\" seems unreliable \"but then so is eve-\nryone's insight or they would all say\n\" It's a Doll \".\nBut, Mr. Greg is fair and admits\nthat \" Miss Albright has collected a\nquantity of interesting material some of\nwhich may be new even to the expert \".\nAnd doubtless in her very rich book\nthere is much about the man who dis-\nappeared—this Shakespeare who once\nplaced us all in such an awkward situation.\nThere are some curiously sugges-\ntive chapters in this book by the Ame-\nrican lady, one of them being entitled\n\" Subjects Considered Dangerous \". She\nherself does not whisper \" Dummy \" but\nthe chapter should be read.\nNot that after reading anyone will\nbe any the nearer discovering where the\nreal Shakespeare has been put; not if you\ncan read all four books, will you discover\nthat, nor even guess the spot.\nAnd now for that most praiseworthy\nvolume entitled \" Shakespeare and the\nTheatre \". It is by nine different authors,\nnot one of the nine gives you a single\nclue as to his whereabouts.\nIndeed it surprises me, and you must be\nsurprised too, to observe how it becomes\npossible to write so adequately on nothing.\nFor all this which remains to us is nothing.\nYou point to the plays.... but you know\nquite well that they are like the dreams of\nPharaoh and Nebuchadnezzar, which all\nthe wise men failed to interpret. It was\nmore than their place was worth to\ninterpret the truth.\nSo is it with us and our Shakespeare.\nAH that he dreamed and told next\nday has been misinterpreted systematically\nby the timid minds of the past centuries.\nAll that was rough has been cooled\ndown: all the exaggerations made reasonable\nand the truth smoothed out: all that was\nfiery has been explained away.\nWhat remains is something soft and\nflabby, righteously smug-looking, and eve-\nryone agrees that this is the very thing\nto usher into the new Stratford-upon-\nAvon Theatre which Miss Scott has\ndesigned so excellently: everyone will be\nhappy and will be the Dummy's guide,\nin his most need\nto go by his side—\nyou bet yer !\n\nTHE SHAKESPEARE\nMEMORIAL THEATRE\nFUND FARCE.\n\nA farce it is—to see America fooling\nEngland, but a tragic farce to watch\nEngland being fooled.\nWe are English, and so we are na-\nturally as much against this game as are\nmillions of English men and women.\nIn Stratford live Americans—and it\nwas these kindly people who first called\non America to send money over to help\nus rebuild the Shakespeare Theatre.\nIt was doubtless well meant. But in"}, {"page_pdf": 9, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.9", "texte": "Stratford there also live English men and\nwomen. Yet left to them, Stratford might,\ntruly, never have had a theatre at all.\nEven if left to all England the result\nmight have been the same.\nWhat to do, then?\nObviously the one thing the good\nStratford Americans did,—that is, to get\nmore money from America, and a consi-\nderable number of Englishmen, seeing so\neasy away open, eagerly seconded the plea.\nMr. Bernard Shaw is right when he says\nthat this begging on behalf of the Stratford\nTheatre from the United States is shameful.\nFor the English are rich—rich enough\nto find £ 100,000 or five times that sum\nfor such a purpose as this.\nThe \" Daily Mail\" in a leader of July\n6th 1927 had the following passage:—\n\" The mere idea of being at the\nmercy of an American trust with regard\nto such an important thing as beef is\ndecidedly alarming\nTo very active people Beef and\nShakespeare are more or less identical.\nThe Americans who come over here are\nenchanting people.... they just love Europe\nwith an unselfish love which wants to help.\nHear them upon English beef:\n\"Oh, say, I think your meat is.the sweetest\nmeat I ever saw it's classic meat. Your\nmeat pies, say, they're bully, they are:\nI'd just love to have a finger in all your\npies\nof your best \". Now that's all real,\ngood, honest heartiness— Is it not?\nHear the same good man two days\nlater in Italy. \" Gosh, that maccaroni\nof yours is something grand. I reckon\nit's the grandest dish I know. I'd like\nto buy the whole of Tuscany and grow\nit for love of the Italian people: why, in\nthe early Italian morning when I wake\nup and hear the little birds twittering\nfirst one little bird, then another little bird\nit makes me realize what a sweet\npeople Italians are and I long to help\nthem to help them realize themselves\nI long to shout to them, Say, you\nsweet people, do you figure out what\nmiles of sweetness your little Tuscany\nholds? there's more money in a square\nyard of Tuscan sweetness than you Italians\nknow how to get out of all it's hundreds\nof square miles. And then I grow real\nsad to see what a waste is going on\nfor I see how I could make it all pay \".\nNow we have no doubt of the Ameri-\ncan kindness. As in the war, when money\nwas lavishly poured out sometimes when\na few pounds had been sufficient, we\ncould see that the notion was kindliness\n—concealed no ulterior motive: and it is\nkindliness, and pride of having a finger in\nthe pie, which now impels our good\nfriends over there to help.\nBui for all this the English are being\nfooled—fooled and don't know it.\nWho wouldn't pay a million dollars\nfor the fun of seeing rich people made ri-\ndiculous? All we object to—and object\nstrongly —is that these rich people being\nfooled are the English.\nit's not their fault; for who has ever\nshown them the worth money-worth, pa-\ntriot-worth, war-worth and peace-worth,\n—of the real Shakespeare? The Shakespeare\nof Heaven and Hell, not the milk and\nwater one.\nDuring the war he was left unemployed.\nNo word was spoken from the steps\nof the Throne, the steps of St Paul's or\nthe benches of the House of Commons\nto call the country to attend for a moment\nto the power of Shakespeare.\nIn scholarly, in literary and in jour-\nnalistic circles alone was Shakespeare re-\nmembered with a sigh.\nAnd this was all in the natural order\nof things, since for three hundreed years"}, {"page_pdf": 10, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.10", "texte": "he has not been noticed, his immense Drama\nnot provided with a home.\nNo National Theatre was wanted, they\nsaid, for the greatest National Dramatist\nthat ever wrote. And that is why, when\nfire destroyed the little Stratford Theatre,\n*/ '\nEnglishmen were caught napping : none of\nthem knew who Shakespeare was.\nEven now they don't know.\nBut behind all this, tragically comic\nas it is, is something even more comic;\nand that is the ignorant if not malicious\nmisinterpretation cf the Poet and his work.\nThere is, of course, a little talk of\nthat fellow Shakespeare behind the scenes\nat Court, in Church, in State, and else-\nwhere where authority lurks.\nThe talk is that he is rather unreadable\nand it's a hit risky, they whisper, to\nacknowledge the fellow, for, after all, he\nwas not quite a gentleman. It is gentlemen\nwho do all this whispering behind the arras.\nShakespeare wrote some awful things,\nfive or six rlays—if printable, absolutely\nunactable: and that's what's behind the three\nhundred years denial of Shakespeare.\nThus the people of England have\nbeen cheated out of the plays and\nShakespeare not »here to defend them.\nThe English people do not care one\nfig about Shakespeare \" wrote* John Keats.\nHad the English people a chance of\nhearing, of seeing, of getting, Shakespeare,\nwho knows that they would not care.\nBut,as \"The Mask\" has twice pointed\nout, Shakespeare is rather dangerous and\nvery theatrical, O\nWere Americans raising a big sum\nto establish a first-class Shakespeare\nTheatre in America, that would be quite\nanother thing, and would be the very\nbest incentive to spur and force England\nto make some efforts to do the same; for\nwhen Europe heard in America was\na real Shakespeare Theatre in which,\nonce a year, a number of the great plays\nwere performed better than anywhere else,\nthe shock to us would be something really -\nworth while, and would tend to disgust\nEngland with the provincialism of the\nStratford-upon-Avon affair.\nShakespeare is too big for Stratford;\nthis is the fact, the unalterable fact.\nStratford has never been quite able to ,\nlook at ease about Shakespeare; the lines\nof Othello, Lear, Macbeth and Hamlet\ndo not sound natural in that place, for\nit's not a village and not a city, and\nShakespeare requires the space and the\nvitality of a great city, before he can\never come to life again.\nMoreover, Stratford is not by any\nmeans whole-hearted for Shakespeare; it •\ndoes not follow the Americans who reside\nthere and who have been the more active *\nin trying to awaken interest in poor\nShakespeare: it rather resents these acti-\nvities. Some fifty years ago it resented\nthe activities of Mr. Charles Edward\nFlower in its midst. It wouldn't raise a\ntheatre from its own funds yet it objected\nto Mr. Flower attempting to do the thing.\nStratford is therefore too small-minded\nand too weak in purpose for this purpose,\nand it deserves to be bought up by Americans\nif it won't and can't make an effort for itself.\nStratford of course doesn't represent\nEngland: all Stratford does is to misre- -\npresent England.\nWho doubts for a moment what Mr.\nBernard Shaw means and what we mean? *\nWe mean that all England has for\nsome reason or other avoided this matter •\nfor years and is still avoiding it, by letting\nit all rest with Stratford —poor little beast.\nThat's what is so unfortunate and that -\ncannot be gainsaid.\n(1) A Letter lately received, and printed in our\nCorrespondence columns, once more draws attention to\nthis strange, and supposedly English, distrust of the 44 Thea-\ntrical Editor.\n\nJ. S."}, {"page_pdf": 11, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.11", "texte": "MY MEMOIRS OF HENRIK IBSEN\nBY DR. GEORG BROCHUR.\nMY first memory of Henrik Ibsen dates\nfrom the home of my childhood. My\nfather was one of the few Danish critics\nwho after the publication of Kongsemnrne\n(The Pretenders) publicly maintained (in\nDanskhaanedsskrift) that a new, great drama-\ntist had arisen in Scandinavia. Ibsen never\nforgot that. On the occasion of the first ga-\nthering of Northern Students in Christiania\nmy father called on Ibsen in his poor home\nin one of the outskirts of the town and he\nhas told me how shocked he was at finding\nsuch a man in such straits. Later on Ibsen\noften visited my father in Copenhagen, where\nwe lived on Peterborgsvej, next door to\nIbsen's brother-in-law, M. Ludvigsen, a ma-\nnufacturing engineer, and it was here I saw\nIbsen for the first time, in the beginning of\nthe seventies.\nI was, while still a schoolboy, greatly\ninterested in Ibsen's writings. My comrade\nat the Soro public school, Herman Bang\n(who became a famous author) occupied the\nroom next to mine and recited fragments from\nFru Ingertil Ostraat so vigourously that he\ndisturbed me in my studies; he repeated\nmore especially the sentence: \" Great God,\nhow fair and proud she was!\" times innu-\nmerable with different intonations (all flat).\nEmperor and Galilean I had read seven\nconsecutive times, in the end with desperate\nsobbing because I could not understand the\nmeaning of the third Kingdom.\n. One afternoon the bell rang, I opened\nthe door, and a little man in a velvet jacket\nstood on the steps; he asked if my father\nwas at home. 1 sized him up as the\nAmericans say, and made him out to\nbe a commercial traveller of which class a\ngood many used to trouble my father. I\nanswered him consequently somewhat coldly\nthat I would go and see. \" Tell him it is\nIbsen\", the man said when I had turned\nround to go up the stairs.—\" Henrik Ibsen? \",\nand I again turned round, terrified and gazed\nat him. \"The poet\" 1 faltered. \"Well,\nyes \" he answered smilingly. And that was\nhow my idol looked! A terrible disappoint-\nment!\nBut when he sat at our table and fixed\nnis wonderful eyes on me, I fully realised my\nstupidity.\nOne day Ibsen, Bjornson and Magdalene\nThoresen (Ibsen s mother-in-iawanda charming\nWriter) sat beside each other in the sofa\nof our living room. This was a sight for a\nschoolboy with keen literary interests. Mme\nThoresen was explaining her plan of a drama\nabout Christopher in Bergen.\nYou must let me have that subject for\nmyself she said. Bjornson acquiesced on\nthe condition that she left Trygoeson\nalone; he was thinking of writing a drama\nabout this King with music by Grieg. Ibsen\nsaid nothing. \" Haven't you got anything\nyou want to reserve for yourself ?\" asked\nhis mother-in-law, and Ibsen replied: \"Yes,\nMagnus Heineson \". I had never heard that\nname before and asked who he was. Ibsen\nlooked at me and 1 noticed that his one eye\nwas larger than the other. Slowly and with\nimpressiveness he replied: \" He was a great\nscoundrel \".\nOn a subsequent occasion, many years\nafter, I reminded Ibsen of this and he said\nthat the subject had interested him conside-\nrably in his \" romantic\" period. . I have\nfrom early memories a distinct impression of\nBjornson s great admiration for Ibsen; I think\nit was De Unges Porbund (The Union of\nYouth) which put an end to this friendship.\nAfter my father's death i found several\nletters from Ibsen in his drawers; one more\nespecially struck me as interesting. It was\nwritten in Dresden during the war of 1864\nand gave expression to Ibsen's feeling of\nshame and powerlessness at being compelled\nto sit still without being able to do anything.\nMy next meeting with Ibsen was at the\nfete at the Dagmar Theatre, Copenhagen in\nhonour of his seventieth birthday. Martinius\nNielsen, actor and director, had staged The\nComedy of Love and himself played the\nprincipal part in Brand, which I had adapted\nfor the stage and staged. Both plays had\ntheir premiere in Denmark on that occasion.\n\n(I) Copyright De Feoslevske Blade."}, {"page_pdf": 12, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.12", "texte": "Ibsen, of course, was invited and saw Brand\nperformed for the first time in his life. He\nwas apparently much affected and several\ntimes dried his tears during the scenes in\nthe fourth act. \" Ikketicke \" ! (Don't weep)\nhe murmured to himself. After the per-\nformance, which lasted until midnight, he\nasked to be introduced to Martinius Nielsen\nand my wife, who had taken the parts both\nof Svanhild and Agnes and 1 too was sent\nfor. We spent three unforgettable hours\nwith Ibsen, Besides Professor Riis-Knudsen\nwho was the proprietor of the Dagmor Theatre,\nMme Oda Nielsen the wife of Martinius\nNielsen and a charming actress was present\nand later in the evening Sven Scholander,\nthe famous Swedish singer, put in an ap-\npearance. Ibsen was very lively and talked\nincessantly, quite an unusual thing for him.\nHe was genuinely pleased with the perfor-\nmance and 1 know that afterwards he lauded\nit spontaneously to other people. He said\nabout Martinius Nielsen's rendering of the\npart: \" It is my Brand; this is how I have\nseen him\". He was also loud in his praises\nof Agnes and he insisted in sitting between\nmy wife and Mme Oda Nielsen the whole\nevening. When he at 3 a. m. had to drive\nto Hotel d'Angleterre (the supper was in a\nroom at the Dagmar Theatre) he demanded\nthat the two ladies should go with him in\nthe carriage, \" The two husbands can do\nwithout them so long, I suppose \" he laughed.\nI wish I could remember everything he\nsaid about his writings and his methods! It\nwas in many ways exceedingly elucidating\nand interesting. Professor VaJdemar Vedel\nhad in honour of the day published a book\nabout Ibsen's influence on Danish authors and\nhe had also asked me for a contribution,\nadding that he did not mean to publish my\nletter, but only use the main impression, the\ngist of it, so that I could write without any\nreserve, which I did, in a long letter. In\nthis I said that it was Ibsen as artist 1 ad-\nmired and not at all Ibsen as philosopher. I\nhad not had time to read Vedel's book,\nbeing so taken up with the Brand production,\nbut I know that Ibsen had read it; and I\nwas candidly a little nervous at the thought\nof what Vedel had used of my letter.\nAt the table 1 sat opposite Ibsen; a vase\nwith flowers stood between us and when\nMartinius Nielsen had made his speech to\nIbsen, the latter put the vase to one side\nand looked searchingly at me and said quite\nslowly: \"People in Denmark speak about\nmy philosophy. I have no philosophy. *\nPeople sometimes call me an apostle of truth.\nI am not aware that 1 have proclaimed a\nsingle truth. Have I? \"\nMartinius said: \"Still the Doctor has\nsaid that the man is the strongest who stands\nmost alone \"\n\" Wait a bit\", Ibsen answered, \" when\nhave I said that ? \"\n\" In 'An Enemy of the People'\n\" Is it not Stockman who says that?\"\nu V 99\ni es-s\nI am not responsible for all that rot he\ndelivers himself of.\"\nNo, but through the trend of the\ndrama\", I remarked, \" one has a distinct\nidea of where the Doctor's sympathy is \".\n\" Do you think you know that \", Ibsen\nanswered. \" Perhaps you are mistaken\".\n\" Weil \", 1 answered, \" the Doctor has\nanyhow expressed your opinion, your sym-\npathy or antipathy \".\n\" Where? \" he asked sharply.\nIn the lyric poems.— s\nIbsen was for a moment a little taken\naback and then said with an inscrutable\nsmile: \"Ah, those little devils ought never\nto have been published\".\nAfter which I ventured to raise my glass\nin honour of \" the little devils \".\n\"No, you see\", said Ibsen, \"I should\"\nbe likened to a chemical scientist who mixes\ndifferent substances and waits for the result.\nMy characters often surprise me by doing\nor saying things, I never expected from them;\nyes, at times they turn my original plan upside\ndown, the Satans. A poet must listen-in to\nhis work;'it is a complete misunderstanding\nthat he can \" command the poesie \", on the\ncontrary, it is the poesie which commands\nhim\". I\nHe spoke about • his method of working\nand said that he for choice laid his plan for 4\nthe day's work when he awoke in the morn-\ning, for then he felt his imagination was its\nfreshest; on the other hand criticism was less •\nkeen in the half-dreaming hour of dawn. It\ndid not awake entirely until he sat at his\nwriting-table, and it (the criticism) often „\nturned down everything he thought he had\ninvented whilst in bed. He mentioned the"}, {"page_pdf": 13, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.13", "texte": "small india-rubber devils with red tongues\nwhich he always had standing on his writing\ntable. \" There must be Troll in what 1\nwrite \", he said and in a tone half in jest\nand half in earnest he then spoke of the\n\" chief devil \"He only makes his ap-\npearance towards the end, when I am most\nput to it. Then I lock my door and bring\nhim out. No human eye, except mine, has\nseen him, not even my wife has seen him \".\n\" What is he like?\" I asked\nMust you know that? \" Ibsen answered.\n\"It is a bear playing a fiddle and tramping\nthe time with his foot \".\nI thought of the bear which learnt to\ndanse \" in the cauldron below wonderful\nmusic and a substantial heat This mascot\nof Ibsen's ought to be preserved if still in\nexistence,\nIbsen had a picture of Strindberg over his\nwriting table. \"He is hanging there on the\nwatch\" Ibsen said, \" for he is my arch\nenemy \". The keenest possible critic should\nbe \"on the watch\"; every scene was held\nup before this \" enemy\" whether he had\nany fault whatever to find with it. This is\ncharacteristic of the intense earnestness with\nwhich Ibsen sacrificed himself to his art.\nHe said that he perhaps would write a\nbook in which he accounted for the plan of\nhis plays. \" They are often so confoundedly\nmisunderstood \", he said.\nWe had all, a day or two before been\nat the notorious banquet at Hotel d'Angle-\nterre, in Ibsen's honour; Ibsen referred to it\nwith discretion and a wonderful irony. The\nmaladroit arrangements reached perhaps their\nclimax when Sven Scholander got up and\nsang Gubben er zammel (literally ' the old\nman ' is getting old), one of Bellman's\nfamous songs. He probably meant no harm,\nbut everything seemed to go wrong that\nevening. Scholander, who had joined the\nIbsen party at Hotel Dagmar received several\ndigs in the course of the evening. Ibsen\nalso spoke of the performance at the Royal\nState Theatre of The Wild Duck., of which\nhe, strange to say, did not approve. All\nwe others were unanimous in lauding Bloch's\nmasterly staging, Mme Hennings's exquisite\nHedvig, Emil Poulsen's Hjalmar, Olaf\nPoulsen's Old Ekdal and Mile Anthousen's\nsplendid Gins. But Ibsen declared there\nwas too much farce about the performance.\nIt shall be tragic comedy \", he said,\notherwise Hedvig's death is incomprehen-\nsible \". Mme Hennings was the only one\nhe unconditionally praised. \" She is Hed-\nvige \", he said ; \" the others do not play the\ngame \". 1 must confess that 1 until this day\nfind his verdict most peculiar.\nIn the course of our conversation we also\nspoke about Emperor and Galilean and Ibsen\nsaid in that connection : \"If you will promise\nme to play the drama in two evenings, 1\nwill at once set to work about arranging it\nfor your theatre\". If only Riis-Knudsen\nand Martinius Nielsen had clenched the\nbargain it is not impossible that the world\nwould have been the richer by Ibse&'s own\nadaptation of his most powerful work. But,\nunfortunately, they hesitated and ere long it\nwas too late.\n\" You haven't cut out much from Brand\nfor the performance '* he said. 1 rather\nhesitated for I had been compelled to cut\nout more than one third of the play.\nMay 1 have a look at the prompter's\nbook\" he said. 1 brought him the book\nwith a trembling heart. I had run my\npencil through one page after tire other.\n\" The Devil\", Ibsen murmured as he\nturned over the leaves, \" Yes, I seem to\nhave forgotten most of that matter .\nOne scene in the staging had called me\nsome trouble—the moment Agnes was com-\npelled to give Brand the lost keepsake of\nthe child, the baptismal cap, and he goes\nout to give it to the gypsy. Agnes has no\nwords to say; all the book says is, that her\nface suddenly, showed a great and radiant\njoy, and when Brand comes back she turns\nto him, exclaiming: \"I am free! \" My wife\nquite correctly thought that this would not\ndo on the stage. If she, without any ap-\nparent reason, looked so radiant, people\nwould think that she had become mad from\ngrief. My wife asked if 1 could not make\nup a remark for her, but of course I would\nnot attempt that. During a wakeful night 1\nhappened to think of the window facing the\nchurch-yard, which Brand has ordered Agnes\nto close, because she could not bear to look\nat her child's grave. I suggested to my\nwife that she should look halt shyly towards\nthe window, then approach it hesitatingly,\nput out her hand and again withdraw it and\nfinally with determination open the shutters and"}, {"page_pdf": 14, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.14", "texte": "look out, and then the changed expression of\nher face could hardly be misunderstood, and\nher exclamation would have something like a\nbackground. I spoke to Ibsen about it and\nhe said \"Is it not like that in the play? \"\n\" Well, when the Author himself thinks he\nhas written it\" I answered delighted, \" then\n1 know it cannot be wrong \". It shall be\ndone in the same way in Norway\" Ibsen\nsaid with some decision. I don't know\nwhether this has been done, but it was in\nany case his wish.\nWhen at three o'clock he prepared to\nleave he said: \" I must try and get home,\nfor I must sit at my writing table tomorrow\nat seven o'clock\". \" Not this morning,\nsurely?\" 1 asked. \"Yes\", he replied,\n\" come, and you will find me there at\nseven o'clock\". \"But, Doctor, you won't\nget enough sleep \", said Martinius Nielsen—\n\" Yes, I shall \", Ibsen answered with dignified\nquiet, \"for I shall sleep with all the more\nenergy. Thanks for tonight! It has been a\ngood evening \".\nAnd so we all thought.\n\nPIRANESI AND A\nDELUSION.\nAllen Carric.\nTHE work of Piranesi is often included in\nbooks dealing with .scenography, yet, so\nfar as we know, Piranesi himself never stood\non a stage in his life.\nHow is it his things are so theatrical ?\nFor the simple reason that he saw and felt too\noften like a showman;—but this in no wise\ngives him any status in the Theatre.\nThere are calligraphers whose penmanship\nis almost like print, but none of them could\nearn £ 5 a week at a printing works, for\nthey do not know the game.\nPiranesi is supposed to have exercised a\nvast influence on the scenographers of the\n18th century, whereas it is more than likely\nthat it was he who was influenced by them,\nespecially by Ferdinando Bibiena, his inferior\nas a draughtsman and his inferior as an en-\ngraver. He was influenced by Bernini too\n—and possibly by another six or seven of\nhis age.\nIn that useful book, \" The Development\nof the Theatre \", Professor Nicoll includes\nsome designs by Piranesi; —as well might\nhe have included some photographs of an-\ncient Roma or Greece or Egypt, with their\nlofty arches and sense of space and pools of\nshadow.\nIt would be quite as correct.... and more\nsensible.... to say that these three lands, and all\ntheir architects, and nature herself, influenced\nthe scenic men of the 17th and 18th centu-\nries as to assert that Piranesi did so.\nHe saw these arches, these bridges and\nthese crumbling ruins, but so did everyone\nelse. He drew them, but so did a dozen\nothers, and before he did : he felt their po-\nwer and charm, but so did most of the Ro-\nmans of his time.\nAs do most of the Londoners in our time\nwhen they witness • the immense spectacle\nwhich our city lays before them daily. That\nfive or six well-known artists from Brangwyn\nto Bone have seen a Piranesian resemblance\nbetween today's London and ancient Roma\nis not after all very extraordinary. We need\nnot gape about it: we need not fancy we\nare wise to note it. For Velasquez saw the\nsame things in Madrid, and Guardi even\nsaw them in the very small city called by us\nVenice.\nThe Egyptians were before them all, and\nthe Chinese were not behind-hand either.\nPeople will always suppose they have\nmade a discovery of some worth when they\nstumble over or into a ditch. There were\ndykes and crevasses before their ditch.\nIn art they come across the vast or the\nminute and are impressed, believing it to be\na new thing.\nWhat miraculously fine work, they say\nof some young modern, and they add \" under\nthe strong influence of Memling \" : it's true\nhe was under his influence until he saw the\nintricate fine work of China.\nBut who remembers China."}, {"page_pdf": 15, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.15", "texte": "A TERRIBLE TRACT\n\n\" Improvement mak.es strait roads; but the\ncrooked roads Without Improvement, are roads\nof Genius \". Blake.\nHOW on earth can you marry Heaven to\nHell?'yet until you do so, unrest will\ntorture the world. \" Sooner murder an infant\nin its cradle than nurse unacted desires\"\nwrites Blake: Yet the separation of Heaven\nand Hell chokes our world with a million\nunacted desires. Though the world is all right\nit appears that the world is mighty sick....\nand all because the Deep sea and the Devil\nwon't make it-up.\nCertain science will cure it, Fascism will\ncure it, Religion will cure it, and Art will heal\nit. The cures proposed are innumerable, so\npresumably there may be really something\ngroggy with this remarkably pleasant and\nbeautiful world.\nI too sometimes think something is wrong\nwith it. Perhaps you would like to know\nwhat a man perfectly enchanted with every-\nthing here below finds is wrong.\nSo far as I know 1 have only howled\nout now and again about thing: not the\nworld but the disorderly mimic world, the\nTheatre.\nBlake though takes us out of the 1 heatre,\nso for the first time let us go out and see\nthat horrific thing Real life.\nIt appears to me just the same as it ap-\npeared many years ago when 1 left it and its\nviolet rayed light to go into the stuffy Theatre\nto hold a rehearsal. 1 seem to have been\nrehearsing for years inside that darkened buil-\nding with its stage and trapdoors, goblins,\nfairies and its Dramatics Persons, its heated\natmosphere and its hot and very inadequate\nyellow light. Now I come out for a breath\nof fresh air, some delicious laburnam light, and\nlam struck by the perfection of eve rything,\nthe wealth of it all, the joy in it and the\nastounding thing that it's a gift to me.\nBut you want to know what it is I find\nwrong. Only one thing ... 1 may not have\nany of it.\nI may stay half an hour at the stage door,\nTHE MARRIAGE OF HEAVEN & HELL, by\nWilliam Blake. Dent & Sons. 211- net.\nPOETRY & PROSE OF WILLIAM BLAKE.\nEdited by Geoffrey Keynes. Nonesuch Press. 12j6.\nsmoke a pipe or a cigarette or two, or breathe\nin the fresh air, and notice the movement of\nlife of the street, but in half an hour's time I\nhave to go back to work in the dark, the\nexcessive heat, and under the quite ridiculous\nconditions imposed on me by that guy called\nNecessity. I have to do this to make a\nliving ; that's a pretty word, a living: it means\ngetting £2.15.0. a week so as to be utterly\nunable to live; I get £2.15.0. just forgoing\ninto the dark and preparing theatricals on a\nfar too expensive scale.\nThat's all I find wrong with this world\nand our existence. It's not much. You will\nsay it's nothing to speak of; still after all it\nis something to think that I am to lose the\nwhole of life, just because Heaven and Hell\nwon't make it up again.\nAnd Blake terrifies me : does he terrify\nyou? You have an income of some £150,000\na year, I have no income at a!!; you, accor-\nding to Blake, are a villain, a sneaking ser-\npent robed in mild humility —how does that\nstrike you ? I on the other hand am a just\nman driven forth into barren climes and\nraging. Naturally (if just), such a man would\nrage and has a distinct right to roar.\nHow do you like these two pictures,\nyourself and me,.... \" Robes of Thespis \" ! !\nI don't like acting and I don't like actors,\nI get my £2.15.0 a week out of lime light;\nI don't like it. I shall not break down ....\nmind you, I shall not make a scene, I have\nfar too much respect for the reserve force of\nmodern acting for that; what 1 don't like is\nthe serfdom of it all, and for such a poor\nthing as make believe.\n1 know it's poor for, don't forget, 1 do get\na half hour daily at about 12-30 when I may\nstand at the stage door, and then I see the\nlovely world and know how rich it is.\nThat world is the thing which Shake-\nspeare, Blake, Shelley and Byron all write\nabout; more than that, it is the thing my\nsenses, my hellish senses, and my soul, my\nheavenly soul, respond to with such ardour\nas I stand at 12.30 right there on the brink\nof life. But, as I say, I never really live; I\nhave to work. Why? were I paid £BO a\nweek or a £IBO, it would be different, for\nI who, ever since I was thirty and possibly\nmuch earlier, wished so well of and for all\nthings that 1 soon caught the notion what life\nis for. I pronounced it was for living: I"}, {"page_pdf": 16, "page_imprimee": "12", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.16", "texte": "added, a while later, and a place for letting\nlive and for generally marrying Heaven to\nHell, and to Hell with the Pope. Not that\nI feel any disrespect towards his Holiness ; I\nonly added that in desperation, and it popped\nout here and now solely because I have a\nparrot who always cries out 4' to Hell with\nthe Pope \", and there we have it. We are\nall a lot of Parrots, some catching up Bad\nwords, others echoing Good words, and all\nchained to a perch.\nThere is Mr. Baldwin for example,\nchained up to a perch, echoing the very best\nwords he is able to remember, and doing\ngood deeds and working on and on and on\nall for nothing.\nSir Austin Chamberlain, too, a nicer\nlooking bird, I do not know, but shackled,\nchained, up, rendered useless in spite of a\nstunning plumage. There is his grace the\nArchbishop of Canterbury, what sailors call,\n44 a knowing old bird\"—He and I, Chamber-\nlain, and Baldwin, all of us shrieking out or\nmuttering in dignified guttrals \"To Hell\nwith the Pope \"or \" Polly put the kettle\non \" or some other bit of blasphemy or bril-\nliance, and there we end. Even the Raven,\nwere he with us still, could only add \" no-\nthing more \".\nBut to return to Blake's notion that\nHeaven and Hell are to be re-married and\nto ask yen what you, you, wealthy \" Serpent\",\nthink of it.\nYou and 1 are good friends. I would not\ncall you a \" Serpent \": Blake does: Yes, I\nthink he means you when he talks of \"the\nsneaking serpent who walks in mild humility \".\nYes, he certainly means you and the \" suc-\ncessful \" others. Now, why he should have\nraged and roared at you is not clear ; it is\nnot quite clear to me, for you and I really\nare good friends, and it is not at all clear to\nyou. But I see one of his points.\nHe is rather hungry, and no man so op-\npressed (I hate the word for it's fudge as a\nrule) so oppressed as he, is able to feel at all\naffectionate, tolerant even, towards such as\nyou. He began as a Poet so deliciously:\nyou remember how his first songs were one\ntrill after another, and then, it was just as he\nwas trilling, that one of your friends threw a\nbrick at him. Your friend was nicely dressed\nand carried a clouded cane, and had been\nplaying \" faro \" at White's near Piccadilly,\nwas working out a problem, how he could\npossibly manage to pay Dandy Bluff the 5000\npounds he had the evening before won of him,\nand how he could, at the same time, meet the\nlittle extra expense of the new horses which\nwere coming over the water to him from\nFrance; and besides all this there was a debt\nand an upkeep, Mr. Chateriss, and the pretty\nRuby from the opera !... all this was quietly\nrumbling in his mind when trill-trill-trill,\nwent William Blake 44 Piping down the\nvalley wild \". \" Oh damn that noise \" cries\nyour friend and hurls the brick and Blake\nturns from the major to the minor. A hundred\nyears later the whole London and American\nPress comes out with posters headed\nMassacres in Moscow,\nUpheaval of Southern China,\nChildren burnt alive in Soudan\nChaos spreading thru Europe....\nTHE cry of the newspaper boy dies away\ndown the Strand, for the point has been\nmade.\n1 shall never trill to you, dear friend ; you\nhave, as I say, a comfortable stream of gold\npouring in through your estate: you don't\nknow what to do with it, and poets and other\ncattle of the kind are dying by the score\naround and about.\nBut I shall never annoy you for I am\nnot fully persuaded that I am so very just,\nI could not bring myself to pose as \" that\njust man driven into barren climes \" of whom\nBlake was thinking, and so I cannot look\nupon you and those like you as 44 serpents\nrobed in mild humility Besides, 1 am\nconvinced, you would never waste a brick\non me. I'm not worth it. But you and I,\nas two old chums, shall we say, chums by\nforce of circumstances, two chums like parrots\nchained close together, 1 a rare species, for\none reason, (my beak has six notches in it),\nyou a rare species for another reason, (your\ninscrutability is clothed in the orange and\nblue), let us talk it over.\nDo you notice, old friend, that the snow-\ndrops are coming up ? have you observed the\nthrust of yonder crocus ? all nature's roots look\nappetising today. Have you sensed this,\ncomrade? How wonderful it is to sit perched\nup here, you and I, and to know that nothing\ncan prevent the crocus and the snow-drops\nfrom coming up in due time over and over again."}, {"page_pdf": 17, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.17", "texte": "Whether we can get at it to eat it or merely\nlook at it from afar all's one : up they'll come.\nI am a reviewer of books and a worker\nin theatres; you are a banker; my perch\ndown here, yours up there in the Strand :\nchained and happy we can freely observe na-\nture at her work.\nBut I would nudge you to look in the\ndirection where those seeds which Blake\nplanted are also coming up. Vainly would I\nattempt to draw the attention of my own coun-\ntrymen to the fact, it would be quite useless:\ntheir attention is never to be drawn to look\nat anything. But you are such a human \" ser-\npent \" that, when 1 hiss \" Bolchevism\" at\nyou, you will know at once what I mean.\nWho would have thought that the man\nwho sang \" When the voices of children\nare heard on the green \" was, all because of\na brick, going to sow the most terrible seed\nin the fair fields of England that has ever\nyet been sown.\nFor he has practically sown Bolchevism\nin there, and all because he was allowed to\nstarve, somewhat physically, entirely mentally.\nToday everyone in England calls this\nbook of his, his masterpiece. Messrs Dent &\nSons, the mildest and most respectable of good\nmen, have brought it out in colour: there\nis a run on it. It certainly is a masterpiece.\nWe all thank Messrs Dent & Sons over and\nover again, but do they know what they are\ndoing? Does the British Museum, which\nharbours this terrible tract, know what it is\nharbouring? is anyone in England aware of\nthis ultimatum, this \" Marry Hell and Heaven\nor Bust\" ?\nIf we dread Bolchevism we .... what\ndo we do ? I should hate to say. Hundreds\nof books advocating the destruction of an\nEngland, which to-day parodies the real old\nEngland, have been rejected in a proper na-\ntional spirit, by Messrs. Dent and Sons and\nall sound publishers. One and all have scorned\nsuch revolutionary rubbish. When I think of\nthis, and then turn to this book by Blake\nand see and read this, THE most revolutio-\nnary volume ever given to the world, I am\noff again, and three times I cry aloud to you\nup in the north.\nPolly put the kettle on \"\n\" Polly put the kettle on \"\n\" Polly put the kettle on\nFor in this book Blake states once more\nhis old belief that in England the Devil is\nseated on the throne of God; that rogues are\ndisguised as good men; that in our churches\nthose who are the priests are really Satan's\nemissaries, that in our banks are Satan's\ncoiners; in the Halls of Justice- rascals laying\ndown the law and robbing good men of\ntheir riches and their lives ; and in all the\nwalks of our social life rogues and vagabonds\nare shown the utmost difference and given\nplaces of high distinction.\nBut he says a great deal more than this:\nhe calls the English unnatural monsters and\nblithering idiots into the bargain; he says\nthat the eternal female groans, and that her\ngroan is heard all over the earth. And I\nam positive that there are many who will\ncall that an exaggeration.\nFancy hearing a groan all over the earth,\nwhereas the fall of a sovereign can be\nheard any distance by those who love 20/-\nin the £.\nThus bad begins but worse remains\nbehind: for the Marriage of Heaven and\nHell is but one of Blake's works ; all of them\nyou can get for 12/6 in the most perfect\nvolume I know issued by the Nonesuch Press.\nBy the way the Nonesuch Press is also\none result of the seed dropped by Blake; it\ngives as well as takes.\nThere is not a cheap touch in the whole\nvolume: distinction and commonsense have\nproduced what I think is the best ordinary\nfair and square book 1 know of. There\ncannot be a ha'porth of profit in it.\nBlake is of course a likeable creature\nspite of his occasional roarings and his rages.\nIndeed the dear fellow had something to\nrage about.\nNow in 1928 1 suppose we only grieve\ntoo sincerely for the way we treated him when\nliving, and 1 suppose we really are trying\nhard to find some way to make sure that\n\" it shall not occur again \".\nBut only if we are taking steps to do\nthat can we prevent what is the poison of\nhis despair from becoming far more attractive\nto us all than those divine young trills which\nwe silenced.\nIt is not generally known that Mr. Pervils connection\nwith the British Stage dates back to the days of Mrs Anne\nOldfield, his ancestor of that day, 1730, being property\nman of Drury Lane Theatre.\n\nDRURY PERVIL."}, {"page_pdf": 18, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.18", "texte": "THE SEARCH\nFOR LOVE\nQ. E. D.\no GEORGE SAND o\nTHE SEARCH FOR LOVE\no BY MARIE JENNEY HOWE. o\nA biography of the extraordinary woman\nwho thought in terms and lived by\n\" standards a century ahead of her time.\nrhe story of her struggles as a pioneer of\n\" feminist freedom, her literary triumphs, her\nrole in the lives of many famous men, is\n\" told with sympathy and insight\".\nSome of which may be true but most of\nwhich is false.\nWhat is true is that George Sand was\nan extraordinary woman—a fact no one ever\ndoubted. And true it is and pity 'tis 'tis\ntrue she struggled but not as a pioneer of\nfeminist freedom. That old tarradiddle is so\nancient now one would think it could be\nallowed to rest with the first unknown woman\nwho sprang the joke on her sex.\nWhat is untrue, and cheaply so, is that\nsub-title. \" The search for love It suggests\nthat this extraordinary woman was prone to\nstupidity, packed some big trunks and scoured\nEurope and Africa in search of the obvious,\nand all the time giving dusty and drab\nreasons to any old confidante who came along\nas to why the obvious had never occurred\nto her.\nFor this piquant sub-title \" The Search\nfor Love \" does suggest that love is a thing\nto be found in some hidden corner.\nIt recalls that old joke of the man hunting\nfor his spectacles which are all the time on\nhis forehead.\nThe title of the book strikes one as\nworthy of a cheaper age than ours. When\nI am told that thousands of young men and\nwomen today bounce up and down enjoying\njazz tunes and the Charlestown I am not\ntaken in. .For I am assured by a few young\nmen and women that they are going to kill\nthe jazz and the Charlestown and the Black\nBottom because they don't think these good\nenough for them.\nThey blaze at me they look like I\nknow not what. \"That tenth-rate stuff\"\ntuey say you think we will be put off\nwith that? \"\nI witnessed this spectacle of youth in\nrevolt only last month.\nI was never so surprised or delighted in\nmy life. I was beginning to suppose all the\nyoung men and all their sweethearts were\nguys and muffs and could really be diddled\nout of all the worth-while things including\nthe best music, songs, dances, books and\ntheatres.\nAnd now I'm wiser; I understand that\nthey are going to stop the damned thing and\ndemand the best.\nAll of them? well, all the best, and\n1 can see the others simply don't count.\n» The others will continue to \" search for\nLove , will search for happiness, will search\nfor art, will search for success and for every\"\nthing else. And they will miss it all for\ncertain just because they search.\nThey will pop from one notion to another;\nthey will pop hopefully if idiotically; for they\nsuppose that great hope, with wide open eyes\nlooking like daisies, is a prime virtue when\nhunting and they hunt to find love, happi-\nness, success and all as though it were a\npin, something easily found by really careful\nsearch, it being something which is lying\naround and to be spotted, pounced on,\nsecured.\nIf only this were so, it wouldn't be at\nall easy to secure it: everyone would grab at\nit* tbere would be one long unending;\nscrimmage.\nAs it is, the best things can always be\nfound at once and without any noise or\ntrouble to others, being in us - and not at all\noutside us."}, {"page_pdf": 19, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.19", "texte": "THEATRE AND MUSIC\nBADEN-BADEN 1858 - 1859\nBY PAUL MCPHARLIN\n\nAbookdealer had the kindness to send\nme a parcel with an inner wrapping of\nmany pages of an old periodical. It was\nI'lllustration de Bade. I reassembled the\ncrumpled pages and patched together the\ntorn—it took me some time—and found that\nI had the first two volumes, nothing at all\nmissing, although I feared, like the trembling\ncollator of incunabula, that every moment\nwould bring me to a fatal hiatus. For I had\nnot failed to notice that there were theatrical\nparagraphs and a few portraits of musicians\nand actresses.\nThere could not have been a great many\nof these weeklies published. The Badcblatt,\nwhich they pretended to supplement, was\nsufficient for the permanent residents. Of the\nfifty thousand yearly visitors that went to\nBaden-Baden for the wators and pleasanter\nattractions at that time, 18,000 were German,\n14,000 French, 5,000 English, 4,000 Russian\nand American, half-in-half, and the rest other\nnationalities. Did many of these preserve\nthe little illustrated paper they purchased of\nD. R. Marx, proprietor of the circulating\nlibrary and vendor of all the waltzes, galops\nand polkas played on the promenade? If\nthey did, I'm afraid they went for starting\nfires and not so bad a fate wrapping\nbooks. Have 1, then, perhaps the only file\noutside of that in the local archives of Ba-\nden-Baden?\nThe director of this publication was\nCharles Lallemand. The editor at Baden\nwas M. J. Hohmann. The printer, G. Sil-\nberman at Strasbourg. Twenty numbers ap-\npeared during the season, from May to\nOctober. They treat the fashionable diver-\nsions of the place, music, dancing, operettas\nand comedies, sight-seeing (there were a few\nantiquities, the ruined Old Castle and a\nfifteenth century parish church, as well as\nthe landscape of the surrounding Black Forest\nand the costumes of its peasants) and in the\nautumn, racing and shooting. There is pas-\nsing mention of the gaming; it was extensive,\nbut required little comment. And there is a\ndutiful analysis of the salubrious water.\nThe musicians of Austria and the Ger-\nman duchies, the actors and singers of Paris,\ngladly came to perform their pretty pieces\nbefore the appreciative fashionable audiences.\nAnd many of the operettas that were tried\nout in the Salon Louis XIV of the Conver-\nsationshaus later found their way on to the\nStages of the capitals.\nA map of the town presented to subscri-\nbers to I'lllustration shows the open square,\nplanted with alleys of trees, on the opposite\nside of the river Oos from the main cluster\nof buildings (many of them hotels) on the\nhill. To the west of this square is the\nTrinkhalle, to the south the Conversationshaus\nand promenade, and to the east, on Beutig-\nstrasse, a building with an apse marked\nTheatre. This must be the hall known as\nthe Salon Louis XIV where all the large\ngatherings took place. The rhapsodic critics\nof our paper never tire of praising its Vene-\ntian glass lustres, its caryatids and its gilt\nchairs. The stage held a setting, if the report\nbe correct, forty meters square. Yet since\nBouiller the scenographer was complimented\nfor being able to fit the plaza of the Barber\nof Seville into so small a space, it may\nhave been smaller. And, not to be forgotten,\nsouth-east of the theatre, is the Villa Benazet\nin the orangerie of which private performances\nwere given by amateurs.\n18 5 8.\nBEFORE the season had really opened in\nfull splendor, on the 23-25 May a choral\nfestival took place. All the singing societies\nof the duchy, comprising about 2,000 members,\nmet at Baden. Welcomed to town by the\nfiremen's band, the military bands of Carlsruhe\nand Rastadt, and the municipal band, the\nguests were given button-hole insignia at the\nrailroad station, and marched by societies to\nthe Conversationhaus, where a song was sung\nand they disbanded to their lodgings. At 3\nin the afternoon the singers rehearsed in the\ntemporary concert hall built behind the Stepha-\nnie baths, between the Oos and the Lichtenthal"}, {"page_pdf": 20, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.20", "texte": "road. On the 24 they rehearsed again at 8\nin the morning; at 11 all the societies as-\nsembled with insignia and banners and mar-\nched through town; at I a concert was given.\nJoseph M. Strauss (1827-1870), son of\nJohann, and leader at the grand ducal chapel,\nconducted. The next day the prizes were\ndistributed. The first, a banner offered by\nthe ladies of Baden, went to the Mannheim\nLiedertafel; the second, a silver cup offered\nby the Baden Eintracht, went to the Carlsruhe\nLiederhalle; and the third, also a silver cup,\noffered by the festival committee, to the\nHeidelberg Liederkranz. After banquets,\nexcursions and a ball the tired singers left\nfor home.\nAnd now the increasing stream of visitors\npoured in. Ladies in crinolines, gentlemen\nin whiskers and tall beavers, promenaded in\nthe Trinkhalle where, from a red marble\ncolumn, jetted the thermal waters. Or they\nrested on divans amid flowers under glass\nand a permanent picture exhibition. From a\ngallery the mountains might be viewed. When\nthe weather permitted they strolled before the\nConversationshaus, listening to the band under\nthe direction of Eychler. Its musicians were\nalmost all from the Strasbourg theatre:\nRucquoy the flutist, Wuille the virtuoso on\nthe clarinette, who also performed on the\nsaxophone (he was the first to do so in\nGermany, says our paper), Arban the popular\ncornetist, Grodvoile the violinist, Oudshoorn\nthe 'cellist, and Stennebruggen and Guzman,\nhorn players.\nOn Saturday 23 June was given the first\nsubscription ball. These occurred thenceforth\nalmost every Monday, Wednesday and Friday\nin the Salon des Fleurs. Thursday 1 July\nthere was a musical evening in the Nouveaux\nSalons, of which one was the Salon Louis XIV.\nPerhaps there were communicating rooms that\nmight be used singly or in suite, one for\ndressing quarters, one for a stage, and one\nfor an auditorium. The programme was given\nby Wieniawski who made his violin laugh\nlike Venetian maskers at carnival, by Coss-\nniann the 'cellist, De Bulow the pianist,\nMile. A. Litschner the singer, and Grim-\nminger a tenor from Carlsruhe. A week\nlater the same artists again were to perform,\nbut at the desire of the princess of Prussia\nthe event was advanced to Tuesday 6 July.\nAt the end of June the Wollschlaeger\ncircus came from Carlsruhe and took up\nquarters in the temporary concert hall. In\nthe ring girls on horseback played a Tournoi\nde la Rose, charging and intermingling to\ncapture a rose that one carried on her\nshoulder. The clowns, one reads, made\narms and legs ache, just to see.\nM. Amable Mutee, the manager of pro-\nductions, on Thursday 15 July revealed in the\nSalon Louis XIV, a new two-act operetta le\nMoulin du Roi, laid at Newcastle in 1660\nand founded upon an incident in the life of\nCharles 11. The piece was by De Leuven\nand Adrien Boieldieu; the decor by Bouiller\nof Paris, who had the season before contrived\nthe mechanical wonders of les Amours du\nDiable, the only outstanding success at the\nStrasbourg theatre. Mme. Miolan-Carvalho\n(wife of the director of the Theatre Lyrique)\nplayed Sarah, a milleress, who turned out to\nbe the Duchess of Norfolk in disguise; Mme.\nMeillet played Toby, a young schoolmaster;\nMile. Faivre, Helene, daughter of Jacobson;\nM. Montjauze, Richard a brewer, who turned\nout to be the masquerading king; and M.\nMeillet, Jacobson, a miller and sheriff. The\nplot of disguises, treasure hidden in a castle,\npatriotism, and true love thwarted almost\nuntil the final curtain, made agreeable summer\nentertainment.\nOn Thursday 22 July a new comedy in\ntwo acts by Amedee Achard, les Campagnes\ndu marquis d'O, was presented with Bressant\nand Delphine Fix of the Theatre Frangais\nplaying the marquis d'O, a colonel, and\nGenevieve, a draper, with Mme. Bellecour-\nLagrange of the Vaudeville as the marquise\nd'O, and Lagrange of the Gymnase as the\nvicomte de Morsan. The play was set at\nParis in the time of Louis XV.\nOn Thursday 29 le Moulin du Roi was\nrepeated. The next day a grand ball took\nplace in the Nouveaux Salons. On Saturday\na matinee recital on the Tyrolean citharn\nwas given by Mile. Melanie Etterlin in the\nSalon des Fleurs.\nThursday 5 August was to see les Cam-\npagnes du marquis d'O and le Moulin du Roi\nbothgrepeated on one programme; but the\nchanges of scenery proving too much for the\nbackstage space, only the latter was played.\nSaint-Germain of the Theatre Frangais\nhad been engaged to play Figaro in le Bar-\nbier de Seville (the Beaumarchais comedy,"}, {"page_pdf": 21, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.21", "texte": "CONVERSATIONSHAUS, BADEN.\n\nTEMPORARY CONCERT HALL, BADEN.\nPlate 2.\n\nTHE MASK\n1928"}, {"page_pdf": 23, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.23", "texte": "MLLE. DELPHINE FIX\nas Rosine in Beaumarchais' \"Barbier de Seville\".\nPlate 3.\n\nTHE MASK\n1928"}, {"page_pdf": 25, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.25", "texte": "I\n\n2\n\n3\n\n4\nPlate 4.\n\nTHREE CARICATURES AND A PORTRAIT.\nIllustrating \"Theatre and Music, Baden-Baden\".\n1. J. D. Arban, Cometist. Caricature by Et. Carjat. of Paris.\n2. Joseph P. A. Mery, Author. » » » »\n3. Eugene Ketterer, Pianist. » » » »\n4. Joseph Strass (1827-1870).\n\nTHE MASK\n1928"}, {"page_pdf": 27, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.27", "texte": "THEATRE DU LUXEMBOURG. PARIS.\n\nSITUATED at the angle of Rue de Fleurus and Rue de Ma-\ndame. arrondissement. Quartier Luxembourg.\nActually No. 39 Rue Madame, this theatre was opened\nin 1816. Frequently called Bobino after its founder, it\nwas demolished about 1880. (Lecomte).\nThis was the students* Theatre for many a year. Who,\nindeed, was there, among those at that time studying in\nParis as unknown students who came in later years to\ncount as a personality, who was not in this playhouse as a\nyoung man ?\nBobino was the stage name of M. Saix, and he began\nhis direction of this Theatre with parades, pantomimes and\ndances sur le corde.\nLater it came under the direction of the vaudevillist M.\nClairville, actor and author.\nIf you look at La Tour's \"Plan de Paris\" 1786 you\nwill find that this theatre of 1816 came to be built on\nthe same spot where stood the Nouvelle Foire St. Ger-\nmain thirty years earlier.\nThe older Foire St. Germain as shown in the 44 Plan\nde Paris\" known as 44 Plan de Turgot \" (See 44 The\nMask\" Vol. XI No. 3. for reproduction of the entire\nplan in forty full page plates) is in a position somewhat\nnearer to the Seine between Rue du Petit Bourbon and\nthe Rue du Four.\nThe same Foire was in the same place in 1808.\n\n„ THE MASK\n/l 9 2 8\n\nPlate 5."}, {"page_pdf": 29, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.29", "texte": "not the opera) but at the last minute Empis,\nthe director of his theatre, would not permit\nhim to leave Paris. Mile. Fix and Bressant\nadded their signatures to that of Benazet,\nentreating his release. But Empis remained\nfirm. So Mutee had to go to Paris, where\nhe finally secured Thiron of the Odeon for\nthe part. On Saturday 7 August le Barbier\nwas given with Bressant as the comte Alma-\nviva, Saint-Leon as the doctor Bartholo,\nBrasseur as Don Bazile and Delphine Fix\nas Rosine. On Thursday 12 it was repeated.\nOn Saturday 14 P. T. Barnum came to\nBaden with General Tom Thumb, heralded\nby an article with three portraits of the\nmidget in our paper, and an eleven-line\nadvertisement (the headline in shaded type).\nIn the morning the General appeared on the\npromenade in his carriage drawn by ponies.\nIn the afternoon at 3 he might have been seen in\nthe Nouveaux Salons, best seats two florins,\nothers one, and children half-price, where he\ndoubtless gave his impersonations of Napo-\nleon, Uncle Sam, Samson and a gladiator,\ndanced a reel in his highlander costume, and\nbowed in the court costume in which he\nhad been presented to the British and French\nroyal families, bantering the while with anyone\nwho addressed him in English. The next day,\nSunday, he gave seances at 3 and 8. Barnum\nwas as strict a Sabbath-keeper as the others\nat Baden, who never resorted to amusements\non that day. Tom Thumb was not an amuse-\nment, but rather a curious little person\nwhom it was delightful to meet.\nAt 8 Saturday evening there had been\na grand concert with a Bach prelude arranged\nby Gounod. MM. Billet, Ketterer and Si-\nvori played and Mmes. Meillet and Miolan-\nCarvalho sang.\nOn Tuesday 17 a Bearnaise double quar-\ntette sang in the Salon des Fleurs. The next\nevening a grand ball took place and then\nthere was a lull.\nThe long-awaited grand festival concert,\ndirected by Hector Berlioz, for the benefit\nof the Baden hospitals, came on Friday 27\nAugust. Reserved seats were 20 francs,\nadmission was 10. The orchestra and cho-\nruses were recruited from Baden, Carlsruhe\nand Strasbourg, and the music was a little\n-more pretentious than that generally heard at\na watering place. For the first time Berlioz\nperformed his symphony with choruses (the\nwords by Emile Des champs), Romeo et Ju-\nliette, the introduction, andante-allegro, adagio\nand scherzo, and his ballad for three cho-\nruses, Sara la Baigrteuse. Litolff (born in\nLondon 1820, his father French) the virtuoso\non the piano, played the first three movements\nof his fourth concerto. Vivier executed a\nhorn solo of his own composition. Airs\nfrom Rossini, Weber and Mozart were sung\nby M. Roger and Mme. Charton-Demeure.\nBeethoven's Lenore and Weber's Euryanthe\novertures closed the programme and opened it,\nThe village of Waldorf had burned and\nthere were many sufferers. For their benefit\na performance was organized on Tuesday 31\nAugust in the Salon Louis XIV. Mme.\nKalergis, enthusiastic amateur, played a duet\nfor two pianos with Wieniawski. Mme.\nRumbold sang, accompanied by Ketterer.\nThen was given a comedy by Mery, la Co-\nquette, written in 48 hours, in which he\nhimself acted, assisted by Mme. de Valmont\nand MM. Ernest and Edmond Duclos. The\nhall was filled—we learn it held just 300\nand 6,000 francs were realized. Mery also\ncontributed a long rhymed prologue.\nThursday 9 September the birthday of\nthe grand duke Frederick of Baden was ce-\nlebrated by bells and ordnance, decorations\nand illuminations. At 8 in the evening\nfireworks were shot off from the Conversa-\ntionshaus lawn by M. Lips of Strasbourg.\nAgainst the sombre forest background the\neffect was reported to be marvelous. After-\nwards there was a ball. The receipts from\nit and the sale of reserved seats for the fire-\nworks were given the Baden hospitals.\nAt the concert of Saturday 11 Arban\nplayed the Miserere from il Trovatore on his\ncornet, and Edmond Weber executed a fan-\ntasy for clarinet. Postponed from Thursday,\non Monday 13 Professor Grisier, assisted by\nhis nephew, gave a fencing match at the\nrequest of his numerous pupils assembled at\nBaden. It may have taken place in the Salon\nLouis XIII, a small room seldom mentioned.\nOn Thursday 16 September a new ope-\nretta in one act by Eugene Cormon and\nAdolphe Vogel, le Nid de Cicogne, was\nseen in the Salon Louis XIV. It was laid\nat the border of Holland, toward 1760.\nConrad (barytone) and Fritz (tenor) were\nplayed by MM. Crosti and Ponchard of the\nOpera Comique. Rosa (soprano) was played"}, {"page_pdf": 30, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.30", "texte": "by Mile. Marie Saint-Urbaine of the Theatre\nItalien, and Charlotte (Dugazon) by Mile.\nMarie Mira. The piece was produced in\ntranslation next season at the Theatre Royal,\nStuttgart.\nThe next evening, Friday, a private\nconcert was held in the orangerie of the\nVilla Benazet. Sivori, Ketterer and Mme.\nCambardi entertained.\nThursday 23 /e Nid de Cicogne was\nrepeated. Friday there was a concert with\nErnesta Grisi, Mile. Saint-Urbain, Hermann\nand Ketterer. Saturday there was another,\nat which was performed the overture of the\nopera la Nuit torn les Chats sont Gris, by\nFrangois Schwab, music critic of our paper.\nThe artists included Mile. Caussemille, Mme.\nCambardi, Dreyfus, Sivori, Seligmann and\nKetterer.\nWednesday 6 October a one act ope-\nretta by Salvator, VEsprit dxi Foyer, with a\nprologue by Mery, was performed, the composer\nconducting from the piano. There were only\ntwo roles: Mme. Caveaux-Sabatier played\nMathilde, and Jules Lefort, Henry. A con-\ncert of chamber music preceded the operetta,\nJael piano, Rene Douay and Franco-Mendez,\n'cello. Philip de Cuvillon, violin, Desargus, a\nStrasbourg professor, harp, and Mile. Jose-\nphine Martin, voice.\nv The season was long since over. The\nraces had been run 5, 8 and 12 September.\nOnly shooting remained as a Baden attraction.\nBut Tuesday 12 October the final play of\nthe year was given in the orangerie at Villa\nBenazet. It was the three-act farce, la Joie\nde la Maison, with a prologue by Leon Ber-\ntrand, played by amateurs.\n18 5 9.\nTHE Strasbourg theatre had always been\nconnected with the entertainments at\nBaden,\" sending its musicians and singers\nthere when it closed for the summer. Since\nHalanzier had been director in 1852, with\nthe exception of Chabrillat, all those who\nsucceeded him, Jourdain, Doligny, and Dai-\nglement, mismanaged and, as a result, Stras-\nbourg was often confronted by a closed\ntheatre. The municipality decided to put\nan end to this irregularity, and in May 1859\nappointed M. Amable Mutee, who had been\na successful director there in 1844-5, to the\npost for a term of three years. He was\nempowered to give three year contracts, and\nso was enabled to start building a permanent\ncompany. His attention required at Stras-\nbourg, he was not able to resume his mana-\ngerial duties in Baden until that autumn, if\nindeed he did so then. Immediately after\nhis appointment he brushed a few plays into\nshape for the agricultural fair at Strasbourg,\nobtaining Lessuer of the Gymnase for comedy,\nand Brasseur (who had played Don Basile\nat Baden the year before) of the Palais\nRoyal for low comedy. Mile. Scrivaneck\nof the Varietes was also engaged.\nAt Baden, starting Wednesday 7 June,\nthe regular daily band concerts began, on\nfair days under an awning on the promenade,\nuntil the new band stand could be completed.\nEychler was replaced as conductor by Mi-\nloslav Koennemann, who in 1858 had some-\ntimes alternated with him and who, it was\nfelt, played dance music with more fire, for\nhe was Hungarian. To the musicians of the\nyear before were added Mayerhoffer, violin,\nFritschi, oboe, Haupt, cornet, Sauret and\nBref, trombones, and Hanemann, percussion.\nOn Monday 5 July the new fyosque de mu'\nsique was ready, and three contrebasses were\nadded, too few, however, to carry well in\nthe open. The bandstand was on a stone ,\nfoundation with iron pillars and a wooden\ncanopy skirted by treillage, all painted green\nand gold, and shipped in pieces from Paris,\nready to be assembled. The engraving of\nit given by our paper shows that it contrived\nin every way to interfere with acoustics.\nOn Monday 27 June, in the Salon des\nFleurs, took place the first subsciption ball,\nto be followed through the season by others\non Wednesdays and Fridays as well.\nThe first musical evening was Thursday\n30 June; each Thursday for two months\nthereafter was given over to similar enter-\ntainment. Marie Marimon and Marie Battu,\neach 19 according to their biographies printed\nin the paper, sang on this occasion. Mile.\nBattu was sister to Leon Battu, who had\ndied shortly after his operetta written in col-\nlaboration with Halevy and Victor Masse,\nle Cousin Marioaux, was with success first\nproduced at Baden in 1857. Mile. Marimon\nwas from the Theatre Lyrique. Henri-\nVieuxtemps, violin, Ernest Nathan, 'cello,\nand Alfred Jael, piano, relieved by Ketterer,"}, {"page_pdf": 31, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.31", "texte": "played pieces not too heavy, such as Gode-\nfroid's Danse des Sylphes and popular arias\nfrom Lucia, The Salon Louis XIV was the\n\" - concert hall.\nOn 7 July the same group performed.\nOn 14 Piatti substituted for Nathan. On\nr2l Hermann and Seeling, pianists, and Mme.\nde la Morliere, singer, joined the ensemble,\nremaining for 28 July. On 4 August Roger\nof the Opera, who had sung in the Berlioz\nfestival concert the year before, was to appear.\nBut shortly before this date, in a hunting\naccident his arm was so severely injured that\nit had to be amputated; his career was at\nan end. However, Batta the 'cellist appeared,\nwith Mme. Dreyfus the organist, Mme. Cam-\nbar di, Bussini and Balanque. The two latter\nwere to have appeared with Mme. Barbot\nin costumed scenes that Roger had prepared\nbefore his accident. Sivori, who was also\nbooked, was indisposed and Hermann took\nhis place, along with Ketterer, at the piano.\nOn 11 August Mile. Rosa Kastner,\npianist, and Accursi, violinist, were new\nperformers. They attempted a Beethoven\n*> trio with one of the others as a first piece,\nu and the critic of the paper thought they\nwould have done better not to mutilate it.\nOn 18 August they repeated it, however.\nCossman, Mme. Accursi, Balanque, Bussino\nand Mme. Nissen-Soloman were companion\nartists.\nA cyclone had struck the little village of\nOffenbourg on 30 July. A benefit concert\nwas organized for the sufferers on 20 August,\nwhen Vieuxtemps and Servais played and\nBalanque and Caroline Barbot sang. Men-\ndelssohn's Hebredes overture was one of the\nnumbers. There were realized 2,500 francs.\nAnd now for a week rehearsals had been\ngoing on both at Carlsruhe and Baden for\nanother grand festival concert for the benefit\nof the hospitals, to be conducted by Berlioz.\n< On Monday 29 August the Salon Louis XIV\nwas filled to its capacity of 6.000 francs.\nBerlioz again played parts of his Romeo et\nJuliette, as well as a scene from Act I of\nhis new opera les Troyens, to which he had\nwritten words and music. This was for the\n\"first time. Mme. P. Viardot and J. Lefort\nsang a recitative and duo of Cassandre and\nChorebe. Engel, professor at the Conserva-\ntory of London, played the organ in a\nMeyerbeer overture, and solo in an unnamed\nnumber. Ritter played his own music to.\nParadis Perdu. And Francois Schwab, our\nmusic critic, had his Fantasie brilliante pour\nla clarinette executed by M. Vuille.\nOn Thursday 18 and Monday 22 August\nMme. de Marenholz had lectured, developing\nFroebel's theory of regeneration for society by\neducation, starting with the kindergarten.\nOn Thursday 1 September occurred the\nfirst play of the season. It was le Favori de\nla Favorite, a two act comedy by Villemot\nand Sirandin, set at the court of Louis XV\nin 1769. Bressant, \" prince of roues\",\nplayed the Chevalier de Lansac, Regnier,\n\" most amusing of untitled vicomtes\", the\nVicomte de Chanteloup, Ricquier the Baron\nd'Antignac, and Mile. Fix, \" goddess of\nprose\", Sabine, his niece. The piece was\nrepeated Saturday 3.\nAfter the Friday ball that week Ketterer,\nGrodvolle and Vivier had obliged by playing\nimpromptu.\nOn Friday 9 September the grand duke's\nbirthday was again celebrated by fireworks,\nafter which-was presented the one act ope-\nretta, le Manage de Leandre, by Clement\nCaraguel and Ernest Boulanger. The Pa-\nrisian actors were supplemented by some\nfrom Strasbourg. MM. Sainte-Foy and Berry\nplayed Leandre and Antoine, the gardener,\nMile. Poussez the young widow, and Mme.\nAmable-Mutee, whose name would recom-\nmend her to those to whom her talents were\nunknown, the old Isabelle.\nOn Saturday 10 Regnier played the phi-\nlosopher in scenes from Moliere's Manage\nForce; and in Marivaux's Jeu de I'Amour et\ndu Hasard, an old favourite, Bressant played\nDorante; Sainte Foy, Pasquin; Mile.- Fix,\nSylvia; and Mile. Duvard from the Stras-\nbourg theatre, Lisette.\nFor the benefit of the Offenbourg storm\nvictims on Monday 12 Mery got up a little\ncomedy of his, Apres deux Ans, laid at\nAvray in 1858. Mme. Kahn played the\nDuchesse de Valbreuse, Mme. de Kalergis\n(at whose house Mery improvised the prologue\nshortly before the performance) played Anna,\nand M. Makeiwitz, the Compte de Moranges.\nThe play was preceded by a concert in\nwhich the coroptesse de Kalergis, MM. Cos-\nmann, Grodvolle and Jules Lefort, and Mile.\nBido performed.\nThursday 15 le Mariage de Ldandre was"}, {"page_pdf": 32, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.32", "texte": "played again, and Saturday 17,\nl' Amour et du Hasard. Thursday 22 the\nformer was given for the third time, and also,\nits premier, Qui Femme Guerre by\nMile. Augustine Brohan of the Comedie\nThis little piece, repeated Saturday\n24, was played that winter at Mile. Brohan's\ntheatre. Here it was followed by a concert\nwith Sighicelli and Sainte Foy. Tuesday 27\nanother concert was given with them and\njacquard, Goria and Mme. Cambardi. On\nI October the concert lacked only Sainte\nFoy of these.\nOn 29 September the winter season of\nthe Strasbourg theatre had opened, let us\nhope to prosper, and the professional company\nhad gone there or back to Paris. But the\nVilla Benazet on 5 October still bustled\nwith amateurs' play producing. After an\noverture from the Dame Blanche led by\nKoennemann, la Caprice by De Musset was\nput on in the orangerie; then came a musical\npot-pourri, and finally la Veuve aux Corne-\nlias, probably some outrageous and side-\nsplitting parody that the public columns of\nour paper see not fit to comment upon.\nAnd what of Vlllustration de Bade, the\nforty numhers of which have now been\ncombed of their news of theatre and music?\nThe publish ers had high hopes for it. They\nwished to make it an all-year periodical,\nconfined not just to Baden-Baden, but to the\nwhole valley of the Rhine and the Black\nForest, from Basel to Mayence! Did their\nplans materialize, did the paper become\nsome fat and colourless gazette? Or did it,\nlike the frog that wished to puff itself up as\nbig as the ox, explode?\n\nBIOGRAPHICAL NOTES\nBY PAUL McPHARLIN.\n\nETIENNE CAR J AT, CARICATURIST.\nGAIETY and wit achieved a high water mark in\nFrance, they say, during the second empire. Carjat\nwas one of many portrait-caricaturists who then flourished.\nHis thrusts at his sitters were mostly gentle, and sometimes\neven complimentary; one feels that the literary and artistic\npeople he drew were in his circle of friends. Some of his\nsketches were lithographed for le Boulevard. He knew\nLemercier de Neuville the puppeteer, and for his shows\npainted an articulated figure-portrait of him on thin wooden\nboard, as Gustave Dor£ painted one of Dimmer. Both figures\nare shown in Ernest Maindron's Marionnettes et Gulgnols,\nParis [l9oo].\n\nJOSEPH P. A. MERY (1798-1866).\nSATIRIST, romantic novelist (sketches of his called les\nNuits de Bade appeared in Y Illustration de Bade)\nand playwright, as well as improviser. With Gerard de\nNerval he made adaptations from Shakespeare and wrote\nother plays. He assembled groups of terminal rhymes\nthat Dumas the elder invited all the poets of France to\nfit verses to. Three hundred and fifty responded, and\ntheir solutions to the bouts rimes were published as a vo-\nlume in 1865.\n\nA BIOGRAPHICAL SKETCH OF\nDELPHINE (ÉLÉONORE) FIX, 1832-1864.\nBY HERSELF.\nDELPHINE FIX.\nTHE Editor of Illustration de Bade.\nMonsieur,\nYou ask me for details to be able to make a biography.\nThe details are not very interesting. I was born in a\nvillage of Lorraine, called Tellancourt. I won't tell you\nthe date, altho 1 am still of the age when it can be con-\nfessed. Your paper is one of those that is saved, and\nI'm taking precautions for the future. I arrived in Paris\nat the age of 7, and 1 entered a boarding-school ; 1 never\nknew actors and no one is an actor in my family. It's\ntherefore a quite natural vocation. I recited poerns and\nI recited them passably, according to my taste. My father\nhas always been opposed to my taking up the theatre, but\nas I was not rich and as I wished to be independent, I\nentered the Conservatory; I was received immediately.\nSix months after I was a pensionraire and at my first\ncompetitive examination I obtained honorable mention (0\nin tragedy, alas! and a second prize in comedy; the\nyear after, a first prize in comedy and a second in\ntragedy. I made my debut at the Theatre Fransais with\na little success, and 1 was engaged. My roles of debut\nwere: Abigail in le Vcrre d'eau; Henriette, in les Fem-\nmes SaVantes ; Isabelle, in VEcole des Maris.\nThe principal roles I have created: Bataille de Dames;\nle Bonhomme jadis; la Joie fait Peur; la Czarine ; Feu\nLionel; le Fruit defendu ; Peril en la Demeure, etc.\nI have taken all the line of business of Anais, and I\nplay all the young leads and girls in love of the old re-\npertory; I am a soci&aire and the small future that i\nhave has been predicted for me by Balzac, who came to\nsee me play in the banlieues where I tried out.\nThat's all, and it's little as you see.\nAu revoir, Monsieur, and a thousand regards.\n(i) That is, next best to first prize."}, {"page_pdf": 33, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.33", "texte": "SCENOGRAPHIC\nWILL-Ò-THE WISPS.\n\nIT seems rather hard upon the public that\nthe designs for mise-en-scene by Mr. de\nCourville, Mr. Morris Gest, Professor Rein-\nhardt and Mr. Cochran have never yet been\nexhibited. And it seems so unnecessary to\nhide them since we are told that they exist.\n\" I have seen scenes by Mr. de Cour-\nville and Mr. Cochran where a vast black\nor grey curtain played an important part \"\nwrote Mr. Hubert Griffith in the \" Evening\nStandard \" on April Bth 1927.\nWell, if he has seen the scenes we want\nto see the designs. For scenes cannot exist\nwithout some sort of design : and, if the de-\nsigns are by Mr. de Courville or Mr. C. B.\nCochran, these artists should assuredly get\nfair praise or full blame for the work: but,\nif the designs are by someone else employed\nby Mr. de Courville or Mr. Cochran, Mr.\nGriffith should not have been so careless in\nhis use of words, and he should have refer-\nred to \" the scenes by C. & C. \".\nIn a list of Dramatic Revivals for 1901 -\n1926 of English pieces, compiled by one of\nour foremost English dramatic critics, we read\nabout Reinhardt's designs : the entry runs :\n\" Hamlet: Martin with new set-\ntingfrom designs by Max , King's\nTheatre, Glasgow, April 5,1913 \", which is\nexplicit enough, yet we have never seen one\ndesign by Professor Reinhardt nor have we\nseen one reproduced in any book about him.\nThis latter fact is strange, to say the least\nof it, in view of the above statement. And\nit is also strange that, although we wrote to\nthe aforesaid critic, asking him kindly to en-\nlighten us respecting these designs for \" Ham-\nlet \", he has, though promising to secure and\nsend us data as soon as possible, never, in\nthe many intervening months, supplied the\ninformation sought.\nMr. Morris Gest is entered in \" Who's\nWho in the Theatre \" as a \" Manager \".\nYet in the same entry we find the following\nstatement: \" Produced 'Adam and Eva \",\n\" Chu-Chin-Chow \", \" Aphrodite \" etc. etc.\nand \" The Miracle \".\nThis is puzzling, for we always had sup-\nposed that our own Mr. Oscar Asche, as-\nsisted by his producers, was the \" producer \"\nof \" Chu-Chin-Chow \", and, we understand,\nthe author too; and that Reinhardt, assisted\nby his producers, was the producer of \" The\nMiracle\nGest should perhaps be recorded as ha-\nving \"presented \" things. It is still much to\nhave done. Mr. Charles Frohman was far\nmore particular, and prouder: he never claim-\ned more than that he \" presented \" what\nother men produced.\nThe entry in \" Who's Who in the Thea-\ntre \" proceeds: \" Mr. Gest's firm introduced\nthe Russian Ballet etc That's better : but\nif he only introduced the Ballet, then surely\nhe only introduced \" The Miracle\nMr. Diajaliev is another of the Impresa-\nrios whose work we should like to see—if\nfor no other reason than this —we have never\nseen it.\nWe have seen the excellent work of the\nassistants of some of these men, but when\nare we to see more positive proof of their\nown work ?\nI daresay it does not form such a volu-\nminous collection that a fair-sized hall could\nnot contain it: the Albert Hall would seem\nto be an ideal place for such an exhibition.\nThe admirers of the theatrical agent,\nMorris Gest, were asking only recently why\nno examples of his wonderful work were to\nbe seen in the immense collection which was\nbrought together last year in Magdeburg.\nDo not tell me that these great \" produ-\ncers \", these great \" artists \", are nothing else\nbut theatrical agents ; for remember, Mr. Hu-\nbert Griffith has \" seen scenes by \" two of\nthem, and no less an authority than Chris-\ntopher St. John has dubbed Diajaliev \" artist\nThey must be keeping some of their\nlight hidden under their bushels ; and that in\nitself—how artistic it is : so unusual, too, in\nthese past masters of the art of reclame.\nWe call, and shall continue to clamour,\nfor a sight of these works of art or works of\nskill or works of patience and labour: but\nfor a sight—one glimpse, of them.\nProfessor Reinhardt, Mr. Cochran, Mr. de\nCourville, Mr. Morris Gest and Comrade\nDiajaliev, you are surely not going to play\nthe bashful ? If you have the goods you will\nproduce them surely:—if you haven't, as\nyou would disdain getting someone to fake\na few sketches for you and palm them off"}, {"page_pdf": 34, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.34", "texte": "as yours, though it might be quite legitimate\nin a showman, you will tell us, in statements\nas far-reaching as your admirable reclame,\nthat those who credit you with such designs\nare really talking through their hats.\nBut, joking apart, there is an opportunity\nopen to all five of these gentlemen to show\ntheir designs, sketches and the rest at the\nInternational Bi-ennial Art Exhibition in Ve-\nnezia this year, as a theatrical section is for\nthe first time to be introduced. We look\nforward to seeing them there, if Venezia sees fit.\nWe have, indeed, alreadv heard that the\nT 7 *\nReinhardt 1 heatre and the Diajaliev Ballet\nare to be represented at the Exhibition : but\nwhat we are really looking out for is a dis-\nplay of designs, nay, even but one design,\nboldly autographed by Professor Reinhardt, or\nwithth e authentic legend ego Dicjaliev feci.\nAnd there is one more serious aspect to\nthis matter.\nThis loose way of announcing and report-\ning might lead in a very short time to er-\nrors of considerable magnitude.\nFor instance, how about this : \"St Joan\nby Mr. Cochran will be given at the Albert\nHall next Saturday. His acting, music and\nscenes are surprisingly beautiful \".— Where\ndoes Mr. Shaw come in ?\nOr this :—\" Mr. Gest's ' Merchant of\nVenice ' produced last night with his usual\ndelicacy and attention to detail was a triumph\nfor this great artist \". Where does William\nShakespeare coire in ?\nIhe notion in some of these showmen's\nheads is that, since they help so materially to\npopularize a play or an opera, they are ac-\ntually the makers of the thing. \" Why, my\nboy, I made it—it was a rank failure and 1\nmade it a success And of course this is a\nvery clever thing for the showman to have\ndone ; but it no more makes him the parent\nof it than a like cleverness in the sale of a\nRaphael makes Sir Joseph Duveen or Mr.\nWalter Dowdeswell the parent of Raphael's\npaintings.\nAs neither Mr. Dowdeswell nor Sir Jo-\nseph Duveen ever dreamed of such presump-\ntion, the least the theatrical impresarios can\ndo is to follow the excellent example set by\nthe first class picture-dealers.\nBut if this is the least thing they can do\nit is undoubtedly the best.\n\nJ. S.\n\nARTISTS, IDEALISTS, AND\nSTEELE MACKAYE.\n\n(')\nHpHE American Theatre should experiment\n1 for admittedly it is the special privilege\nof any youngish man or land to experiment;\nto fail or, after blundering, to succeed.\nBut if to experiment independently is ac-\nting boldly, to pose as experimenting while\ndepending on an elder hand is of course\nreally not experimenting at all.\nSteele MacKaye steered a middle course\nbetween these two extremes. He assu-\nredly possessed the spirit of experiment: he\nwas not content to roll along with imitators\nof the great Barnum, but was a sincere dis-\nciple of the great Edwin Booth, an actor of\ngenius. Booth is the representative of Ame-\nrican acting, and that acting will presumably\nsome day develope such strongly marked fea-\ntures of its own that we shall find it as strange\nand new as today we find the acting of China\nthe most ancient acting and a far off place.\nAt present we do not find it has yet\nreached that point of development, it is\nfar too like European acting. The Ameri-\ncan performer, be he actor, singer, dancer,\ndoes the European thing and sometimes we\ncan say that he really does it better than the\nEnglishman, Frenchman, Italian or Russian :\nbut always is it a European trick, done ac-\ncording to one of our recipes.\nTo cockatoo it, is not of much account,\nbut to respect one of the European recipes\nand to add an original pinch or two to bet-\nter it, that is a good deal to do ; and I will\nnot claim for Steele MacKaye more than that,\nlest the Fates cry \" Elold bard there \" and\nplay his memory one of their tricks.\nThis 1 think is the best spirit in the Ame-\nrican Theatre today—tomorrow something may\ncome of it.\nMacKaye wanted the moon. That is\nalways the right spirit in which to start an\nadventure : he wanted it not all for himself\nbut because he knew that if he got the\nmoon. .. the rest would follow: he would\nthen have enough to share it around.\nSo far as I know that has always been\nheld to be a very proper desire—man for\nmoon, moth for star: it is for example a dis-\n\n(i) EPOCH ; Ike Life of Steele Aiackaye by Petcy Aiackaye\n2 volumes. Puh New York, Price 10 dollars."}, {"page_pdf": 35, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.35", "texte": "tinct cut above the desire of the bear for the\nbun or the longing in jimmy to borrow.\nPoets who are without any desire for the moon\nhave more money, but we have no love for\nthem: who ever loved a man who could\nmake you pay him—you don't even consider\nsuch a man—you merely dislike him.\nAnd may-be MacKaye wanted to be\npaid hke everyone else and that of course\nwould tell against him. It is not sufficient\nmerely to be paid like everyone else: you\nmust have a distinct veneration, a certain awe\nof cash, and this possibly is what MacKaye\nlacked, A failing of his and we must chalk\nit up to his credit.\nThose who stand in awe of money, or\nperhaps more truly in awe of being without\nit, carry weight with them. Oppressed by\nit, they look it. It is one of the steadying\nballasts the artist, or let us say the idealist,\n• should ship into his composite nature as soon\nas he feels like soaring. He should do this\nas much in complement to the earth as any-\nthing else, for he is to show off there and\nnot in the air.\nAnd if the idealist be a theatrical being,\nhow doubly important not to forget this when\nbooking his passage.\n1 had almost slipped a moment ago, and\nwritten artist when 1 meant idzalist. i\nweighed anchor in time. An artist is an\nartist and, alas, absolutely nothing more.\nSuch a gentleman such an angel—such\nan organizer—such a brute—such an idiot—\nsuch a muddler. I have even in my short\ncareer of eight years as a book reviewer\nheard the artist spoken of in these terms.\nFor my part, and I mean not to offend him,\nhe is nothing at all but an artist. A man\nwho is practical to the core on Wednesday\nand a muddler on Thursday can be only\none thing—neither muddier nor practical man\nbut, unfortunately, an artist.\nYou cannot possibly put it to the artist\nto stand in awe of money for he does. You\ncannot tell the artist that he should really become\nreligious before it is too late, for he always\nhas been religious. To wish him to be\npunctual is useless; he was born with the\nsense fully developed: to say he should be\nmore sober is futile, so terribly sober he can he.\nThe quaint thing about this race of people,\n- the artists, is that they all of them are every-\nthing and more than anyone else.\nAs a rule they do not develope more\nthan one stratum of their natures —and it is\nthat stratum which they unfortunately believe\nwill give the other fellows the most pleasure.\nSometimes like Orlando di Lasso or like\nBlake or Gainsborough, they will develope\ntwo of their gifts. And we can pause an\ninstant to note that all of these have been\ndubbed idealists and yet were really no such thing.\nSometimes an artist will had that his\nsecond siring is not so easily mastered as he\nsupposed: Gainsborourgh as musician is not a\nhappy spectacle: but on the other hand Blake\nthe poet, drawing at his desk, assuredly is :\nail goes very easily there : as for Orlando,\nsuch a dazzling actor was he that even today\nMiss Winifred Smith in her admirable \" The\nCommedia dell'Arte \" refers to him as \" ano-\nther professional musician \" thereby quite\nforgetting for the moment that he was the\ngreatest master or music of his age.\nNo. The artist and the idealist are two\nsuch separate things, and I think we are\nbound to admit that if Mackaye was not\nquite artist he was most assuredly an idealist.\nIn him we recognize the real soirit of\nendeavour, carrying on the heavy load of\nideals—almost too many ideals. Yet can an\nidealist have too many? is it not just what he\nsuppose himself born to carry—and doesn't\nhe carry, them well?\nIf towards the Moon, then to the moon:\nif towards the Bank .... but there's no landing\nstage there for the genuine idealist. I am\nnot an idealist myself. lam a friend of\nbankers: I have reviewed in my time two\nbooks on the higher finance. I know of these\nthings. 1 know that MacKaye was dreaming\nanother dream, and not quite so vast a dream as the\ntrue banker indulges in to our material benefit.\nIf in finance there were no artists —no men\nin Banks fired by precise vision, we should\nall of us starve. This has never yet been\nproperly explained to those of us who earn\nour £3to £8 a week—and earn it pretty\npainfully; and so we nurse a certain grudge\nagainst the rich banker.\nWell, there are some ....and some others\ntoo. But the great banker is a man of as\npowerful a vision as a Shakespeare.\nMacKaye had no such powerful vision.\nHe had a vague vision—he was idealist, not\nartist.\n\nc. g. s."}, {"page_pdf": 36, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.36", "texte": "MONSIEUR BOMBET AND EDWARD LEAR.\nBY GORDON CRAIG.\nWilliam the Conqueror.... Ten sixty-six.\nWilliam Rufus....Ten eighty-seven,\nand so forth.\nI.\n#|T 1833-1848 is a between time, if only for ;\nthe fact that no one was attending to what\nwas going on. \"What were revolutions after '\nThe Revolution, what could \"be Kings and Em-\nperors after the Emperor, what poets after\nthe poet, and what was anything after eve-\nrything ? everything was gone— what was left\nover ?\n\" There was a young person of Smyrna...\nYes, she was indeed about the only\nthing that was left over,\nThe elect of France and England was\nlicking its chops'; these ferrous cliques of the\ntwo nations had just distinguished themselves\nby each betraying one man apiece, Napoleon\nand Byron, or perhaps one should say with\nStendhal, one monster apiece.\nThis between time, this intermediate pause\nwhich separates Byron from our poet of today,\nand Napoleon from Mussolini, this silent\nhour when the cliques were sleeping off the\neffects of their sheep-like rage about nothing,\nfound one or two men awake.\nTwo of these men were M. Bombet and\nMr. Edward Lear.\nIn the year 1826, M. Bombet was forty-\nthree years old, and Mr. Lear was but\nfourteen. 1 he good Bombet was already\nwalking tip-toe and peering around; M. Bom-\nbet was doing then what Edward Lear did\na while later, he was looking at places.\nFor why should he look at people.... any\nmore people.\nM. Bombet had known the Emperor:\nmore than this, he had known Lord Byron.\nHe had listened to \" le celebre Monti \"\nreciting nearly the whole of the first canto of\nhis Mascheroniana at the table of the char-\nming Marquis de Breme in Milano, and he\nhad talked with Haydn in his little room in\nthe house near the Barrier Maria Hielf, on\none edge of Vienna. He had attended\nperformances of the \" Matrimonio Segreto \"\nin Naples —he had indeed attended, and\nhe noted down at the time that \" music was\na monarchy' the air reigned supreme ; the\naccompaniments were only subjects\nWho then was this M. Bombet who\nseems to have known everyone worth knowing\nas the centuries were turning over a new\nleaf that the world might enjoy the peace and\nquiet of a blank page ? are you,\nM. Bombet? time is passing, we have\nreached 1830, and yet you let no one know\nwho you are; you are forty-seven years\nof age and yet you have done nothing but\nlook around cities, and frequent the opeia\nand the ballet. If you did not strike me at\nonce as rubicond and entirely easy I should\nsuspect- you of being an invalid : 1 should\ntell myself and my more innocent readers\nwho are so curious to know who you are,\nthat you are slowly recovering from the rea-\nlization that the world has gone out. It is\nsix years since your Lord Byron has died\nand because he wrote to you that you were\n\" one of thore for whose good opinion he Was\n\"really ambitious\", is that so entirely to\novercome you that you cannot do something\nto show us what he meant, to testify with\nthe others that this immense Englishman was\none of the few men of discernment of the\nage. It is even longer since your Emperor\npassed away, not merely to Saint Helena, but\nto rest—it is nine whole years. All this\nhas left you desolate, you are not yourself,\npoor M. Bombet. In fact you are dying,\nyou die this very year, Sir, you destroy\nyourself; you pottered around until you pot-\ntered to death ; never has there been a\nbetter potterer, because, with the poet and\nthe Emperor as it were in the limelight and\nalso in the pocket where you carried your\nsnuff-box, you felt that the only thing a man\nof merit could do as these two strode along\nwas to potter after.\nYou went incessantly to the theatres,\n: pretending that theatres were the whole\ni world; you listened to music as though it\ni alone was the law: you peeped into cities\nand recorded your visits and your pleasant\ndays because you were glad, so immensely"}, {"page_pdf": 37, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.37", "texte": "happy, in those days to be one of a crowd,\na nobody: and, my dear old Bombet, that's\nexactly what you were, a perfect nobody.\nBut when long after these two great men\nhad died, time had unrolled before your eyes a\ntedious parade of very little men to see, then\nyour love for those two friends moved in you,\nand inspired you, and you wrote your great\nworks.\nHow is it, M. Bombet, that you yourself\nare practically forgotten; I regret you so\nmuch, although I admire your metamorphosis\nin 1831 still more.\nlam sorry to lose you! No longer is it\nyou, my old friend Bombet, with smiling\nalert little face planted in a big neck-tie, who\nnow comes forward dressed as yourself; you\ndropped him, your old chum Bombet and\nyou have emerged all Stendhal, sworn\nupholder of the spirit of man that had seemed\nto pass away but which you had called back\nfrom the grave or found wandering somewhere\ntwixt St. Cloud and Missolonghi.\nWith your two books Chartreuse and Rouge\net Noir, you pin a decoration on the breasts\nof each of your two friends; immortal as they\nmade themselves, you add the only touch they\nlacked, lacking any other friend splendid\nenough to conceive it.\nYou died after that, fully believing that\nin about sixty years time you would be read,\nbut not before then you thought. You would\nnot write for the living, for they were but\nlittle fleshly ghosts. You were very much\nalone in the world, you man of the world.\nII.\nWHO else was breathing and walking in\nthose days ? Flaubert, Dickens, Heine,\nWagner, Disraeli, but all very young ; all to\nbecome very fine and admirable artists, active\ncreatures, but few of them exactly men of the\nworld.\n\" Ce fut pendant l'automne de 1816, que\nje le rencontrai au theatre de la Scala, a\nMilan, dans la loge de M. Louis de Breme.\nJe fus frappe des yeux de Lord Byron au\nmoment oil il ecoutait un sestetto d'un opera\nde Mayr intitule Elena. Je n'ai vu de ma\nvie, rien de plus beau ni de plus expressif.\nEncore aujourd'hui, si je viens a penser a\nl'expression qu'un grand peintre devrait donner\nau genie, cette tete sublime reparait tout-a-\ncoup devant moi. J'eus un instant d'enthou-\nsiasme, et oubliant la juste repugnance que\ntout homme un peu fier doit avoir a se faire\npresenter a un pair d'Angleterre, je priai\nM. de Breme de m' introduire a Lord Byron,\nje me trouvai le lendemain a diner chez M.\nde Breme, avec lui, et le celebre Monti,\nl'immortel auteur de la Basvigliana. On\nparla poesie, on en vint a demander quels\netaient les douze plus beaux vers faits depuis\nun siecle, en en Italien, en Anglais.\nLes Italiens presens s'accorderent a designer\nles douze premiers vers de la Mascheroniana\nde Monti, comme ce que I'on avait fait de\nplus beau dans leur langue, depuis cent ans.\nMonti voulut bien nous les reciter. Je regardai\nLord Byron, il fut ravi. La nuance de hau-\nteur, ou plutot I'air d'un homme qui se trouve\na repousser une importuniie, qui deparait un\npeu sa belle figure, disparut tout-a-coup pour\nfaire a l'expression du bonheur. Le premier\nchant de la Mascheroniana, qui Monti recita\npresque en entier, vaincu par les acclamations\ndes auditeurs, causa la plus vive sensation a\nl'auieur de Childe Harold. Je n'oublierai\njamais l'expression divine de ses traits; c'etait\nI'air serein de la puissance et du genie, et\nsuivant moi, Lord Byron n'avait, en ce mo-\nment, aucune affectation a se procher.\nWell then.\nBut that was long ago —in 1816.\nNow it is 1831, which rolls over into\n'32, which rolls on and over into '33, and\nit was in these years that certain old persons,\nold men, old women and young ladies, no-\nbodies in fact, began to arise by the hundred\ninto an insignificant prominence.\nThat Old Man of Dundee, for example,\nthe Young Lady of Hull, The Old Person\nof Dutton, those Old Men of Melrose, of\nthe Wrekin, of Mold, and those of Leeds,\nof Hurst, of Ryde and of Tring, and that\nincipient old man in the casement.\nWhat was so remarkable about these\npeople was their fearlessness, their grief,\ntheir rapidity of motion, their amazement,\ntheir love of trees as a home, their excen-\ntricity, and their unabashed stupidity.\nThey were always doing something exag-\ngerated and it was nothing; they were always\nsaying something far-fetched, and it was all\nnonsense.\nBut they had one splendid trait; most of\nthem walked on the tip of their toes, danced"}, {"page_pdf": 38, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.38", "texte": "into and about Dutton, hopped with amaze-\nment and grieved too, as Taglioni must have\norieved, like true dancers.\nOver these the Old Widow ot 'Windsor\nwas fated to rule, and Edward Lear was.\nto chronicle this small beer.\nHe began to do this in 1832, the year\nthat Walter Scott and Goethe died and\nBombet vanished, and he kept at it until 1836;\nit was a gloomy duty he performed at home till,\nhaving got to the end of this nonsensical chroni-\ncle of English cities, he turned to foreign ones.\nThen he perceived that in the other\nislands, in Corfu, in Rhodes, in Jamaica, in\nMajorca, the people there were old persons,\nold men, young persons, and all as silly as\nin England; even in peninsulas he found\nthem ; perceived that in Apulia, in Spain, in\nMoldavia he found this held good, and so he\nventured to enquire into the still further and\nmuch larger places, and found that in Russia,\nKamslcatka, Calcutta, Peru, civilization had\nreached the same point of excellent excentricity\nwhich was then so highly valued in Europe.\nEveryone was heard saying \" Yes, there's\nno nonsense about him\" no matter who\nit was. And Edward too—they were bring-\ning him up.\nYoung Mr. Lear was put immediately on\nthe right path ; he was given ample opportu-\nnity to display his talent,— a talent not parti-\ncularly obvious —and he was set the task of\ndrawing the Family of the Psittacidae in the\nZoological Gardens.\nThe Earl of Derby then employed him,\nhe was persuaded to depict all the animals in\nthe Knowsley Menagerie.\nAnd, as he drew these day by day, he\nwould sing to himself of far off lands. For\nsome reason unknown to the quite placid he\nwanted to get away; 1834, 1835, 1836 and\n1837 dragged on; Edward still sits before\nthe stable door at Knowsley and with a fine\ncamel hair brush touches in the fetlocks of\nDerby's charger. 1838, 1839,... 1840.... and\nthank God that's over ....1847.\nIII.\n18 4 7\nWHERE wanders Edward Lear, so lonely\nand so funny?\nEdward Lear in his spectacles, in this\nyear 1847, has stolen away like Bombet on\nthe tip of his toes, from that dear damned\nold Knowsley to look at the scenery. Do\nnot suspect me of stagey matters, 1 mean\nbetter than that. Lear felt it as did M.\nBombet, that there had been a scene, a \" full\nset \" as it's called, behind the great men\nwhile they strode their hour upon their stage,\nand it is to get a glimpse of that that Edward\nLear goes south.\n\" Let me search \" he seems to say, \" for no\nmore persons since none remain—places now.\nHe may have hated the Emperor, may\nhave said so in a letter; I know he didn t,\nand Byron was ever in his heart. He was\ntoo young even to have seen or known them,\nbut he could actually have met that nonen-\ntity Bombet, for Lear was born in. 18 i 2, and\nwhen in 183! M. Bombet turned from a\nFrench chrysalis into a glorious Butterfly of\nwhich only one example was ever known,\nEdward Lear would have been in his nine-\nteenth year. Bombet dying in 1842, Lear\nhad ten whole years in which, by chance,\nto come across him in some cafe or a theatre\nand exchange a little greeting. But, 1842\nhaving sounded from all the bells, in all the\nsteeples, Bombet too went to rest and Lear\nsoon after began laughing to himself, singing\n•\" There was an Old Man who Said Hush.... \"\nkeeping it up and keeping it going, until\nafter giving some few drawing lessons to\nthe young Queen Victoria, off he ran to\nhvicl\nOn July 25th in 1847, Edward Lear\nstood on the coast of Messina and, looking\nacross the straits to the opposite shore, heard,\nor liked to think he heard, the large dogs\nbarking in Reggio Calabria, for so the guide\nbooks told him, \" you shall hear the great\ndogs barking across the straits, and see the\nlofty cloud-topped A.spromonte and the pearl-\npale cliffs of Bagnara\nOn June Ist 1927, I was fortunate enough\nto hold the first of Lear's \" Journals \" in\nmy hands and to be reading of this Landscape\npainter's travels on foot through Southern Ca-\nlabria, and a few days later I took up the second\n\" Journal \" of this same Landscape painter,\nmade while he travelled in Albania, and in\nthis second book it was I came once more\n\n(I) Journals of a Landscape Painter in Southern Cala-\nbria etc., by Edward Lear. Richard Bently, New Burlington\nStreet, Publisher in Ordinary to Her Majesty. 1852."}, {"page_pdf": 39, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.39", "texte": "across my Lord Byron, and the bell ringing\nbrought me a volume of Byron's \" Letters \"\nand there I came across M. Bombet mas-\nquerading for some unknown reason under the\nguise of a certain M. Henri Beyle-\nIf they had been all strangers to one\nanother and to me, what would it have mat-\ntered? but to meet them via Calabra and\nAlbania up at Genova (whence the poet\nwrote to Beyle) and to follow on into Vienna\n(for I followed Beyle at Byron's directions)\nuntil I came across Beyle Bombet again, ...to\nhave it all go thus was something that does\nnot always happen. So here they had all\ncome together, and here and now this word\nwhile still they are together, and indeed the\nmore they are together the happier I'll be.\nIV.\nThere was a young girl of Majorca\nWhose aunt was a very fast walker\nAND Lear was assuredly no mean pedestrian:\nHe must have walked considerably more\nthan seventy miles and leaped at least fifteen\nstiles, but for all that he returned in the\nevening to Anerly, which is, they say, a\nstone's throw from Adevoyle.\nWhen we travel with Lear, if the bells\nof his mule jingle to the slightly monotonous\ntune of \" the old man of Thermopylae \" it will\nnot matter, for it is all of a piece with some\nof the nonsense we shall get in the day's\nmarch: while around and afar off, are heights\nand gulfs, immense and peopled with a race\nof giants.\nThis spectacled Quixote in quest of\nlandscapes went for some purpose other than\nsketching peaks and dotting down horizons.\nAt least many of the giants amongst whom\nhe went thought so. To tell them \" I\nhave come to find the scenes in which my\ngreat friends once played their parts, to re-\ncapture a last glimpse of those settings to\nthe great opera now played no more \" would\nnot have astonished them more than what he\ndid say, which was that he left Reggio to\nsee Gioiosa and Bagnara. \" But are you\nmad?\" they asked him, \" you leave the glo-\nrious and civilized city of Reggio which we\nall are longing some day to see again, to come\nto these hideous forlorn places, Perche? \"\n1 have talked enough, and would like you\nto read some of Edward Lear's descriptions,\nespecially one of the gentleman of Calabria,\nwho, no matter what he did or said asked\nhim \"why?\".\nV.\nLEAR had with him his friend P.; also a\ngreat Calabrian fellow, a guide and\nservant found in Reggio whom he calls\n\" Dighi-Doghi-Da, but by name Ciccio.\nThis Ciccio would end most of his conver-\nsations with the refrain \" Di'ghi doghi da or\ndfghi doghi si, sometimes reducing it to two or\nthree syllables—to ddghi da or even to the\ndecisive da.\nThe three of them walked the whole way,\nstopping when possible either at a bit of an\ninn or at some castle or palace to the owner\nof which they had introductions from the\nConsigliere da Nava, a man of influence in\nReggio and known to all the Calabresi; fifteen\nsuch introductions he gave thern, and on\nthese they could nearly always count to\nprocure a good (or bad) bed and a famous\nor infamous meal.\nAll that and the wonderful walk itself\nyou must go and find in the Lear volumes; all\n1 can put before you are some scraps—some\nthing perhaps better than nothing.\n\n(i) First although it was the second to appear.\n\nAT THE CASA SCAGLIONE\nBY EDWARD LEAR\n||]f A gust 11 1847. At twelve we dined at\nJi the Casa Scaglione. This is a very well-\nbred and agreeable family in essentials,\nalthough there are certain Calabrian modes\nand usages less refined than those of the\nnorthern provinces among families of a similar\nclass.\nDonna Peppina Scaglione, the eldest bro-\nther's wife, is very pretty and lady-like in\nappearance, and with, agreeable manners.\nThen there are the brothers, Don Nicola\nand Don Gaetano, the Canonico, and Don\nAbennate, a priest of Stilo, staying in the\nhouse as a guest, and little Don Cicile, the\nheir, of five or six years old, a quaint little\nCalabrian, full of joy and fun. f heir family\ndinner consisted of soup, iisii, boiled and\nfried meat, and potatoes, all plain and ex-\ncellent."}, {"page_pdf": 40, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.40", "texte": "After dinner, the last act of which was\nto imbibe sundry glasses of an old wine,\nmuch esteemed by the Calabresi, and called\nGreco, we adjourned to the great show-room,\nor salone, of the Palazzo, the view from\nwhich eastward is most splendid. Here Don\nPasquale showed us a large collection of\nLocrian, Syracusan, Roman and other coins\nfound in the neighbourhood, after which our\ngood host victimised us fearfully by reading\naloud chapter after chapter of a work which he\nis writing on Locris—an \" opus magnum ,\nv/hich, however learned, was vastly dull. All\nhints about repose were vain; so when P\nfell fast asleep, and I was nearly following\nhis example, I was about to beg we might\nretire, when the author himself yawned, and\npaused, and fell into the arms of the drowsy\ngod, whereupon the committee of literature\nwas broken up nem. con.\"\nVI.\nA DINNER AT STIGNANO.\nAugust 15th .... But it must be\nconfessed that life at Stignano is opressive.\nThe famiglia Caristo would never leave us\nalone; when they do not catechise, they\nstand in a row and stare at us with all their\nmight; and the grand paternal Caristo is a\nthoroughly scrutinising and insatiable bore.\nAt dinner, also, there was a most confused\nassemblage of large dogs under the table\nwho fought for casual crumbs and bones, and\nwhen they did not accidentally bite one's ex-\ntremities, rushed, wildly barking, all about\nthe little room.\nBut the most remarkable accident during\nour stay was caused by a small juvenile\nCaristo who, during the midday meal, clim-\nbed abruptly on to the table, and before\nhe could be rescued, performed a series\nof struggles among the dishes, which ended\nby the little pickle's losing his balance\nand colapsing suddenly in a sitting posture\ninto the very middle of the maccaroni dish,\nfrom which P . . and I rejoiced to think we\nhad been previously helped. One sees in\nValentines Cupids on beds of roses, or on\nbird's nests; but a slightly-clothed Calabrese\ninfant sitting in the midst of a hot dish of\nmaccaroni appears to me a perfectly novel\nidea.\nAT S T I L O .\n4JT August 16th 1847. There is, however,\nbut little to note in the house or house\nhold of Don Ettore Marzano, except that\nall was perfectly orderly and agreeable.\nThe only trait which was so uncommon as\nto be at all worth recording, was that a\ndomestic stood at meal-time close to the\ntable and in order to dissipate the flys, which\nat this season are a legion, flapped a long\nflapper of feathers, Laputa-wise, close to our\nfaces. No sooner did we begin to speak\nthan whizz-flick down came the flapper, so\nas to render conversation a rather difficult\neffort.\nVII.\nCASTEL VETORE\nill August 18.- 1847. Long before sunrise.\nOnce more upon the road.- .... All na-\nture was deep grey and brown - no rock lit up\nby the yet hidden sun—as we descended the\nvalley of the Stillaro, and retraced our steps\nas far as Stignano, the home of the queru-\nlous Caristo family, and the scene of the\nmaccaronithroned infant. Leaving the town\non our left, we plunged into a deep vale between\nolive-clothed slopes, and, climbing up the\nopposite side, were soon in Motta Placanica,\none of the mo3t truly characteristic of Cala-\nbrian towns\n.... Motta Placanica seems constructed\nto be a wonder to passers-by. Long we\nlingered to draw this most singular place;\nand, leaving it by a steep descent, we came\nto the valley of the Paganiti, crossing it and\nwinding up the height on its farther side,\nwhence the rock of Motta Placanica appeared\nlike a giant king of nine-pins, as seen edge-\nways against the sky—no one of its buildings\nbut the crowning castle being visible. Hence\nalso, the eye ranged beyond the river Alaro,\nwhich we Had crossed on our way to Rocella,\nthe high hill and walls of Castel Vetere\n(representative of the ancient Caulon (I)), a\ntown built on one of those isolated hills which,\n\n(i) Caulon. antiquaries agree in placing at or near Castel\nVetere. Pacichelli speaks of its splendid and regular fortress,\nand its palace belonging to the Caralfa Family. The Asciutti\nare named by him as an old family. The modern town\nstands between the rivers Alaro and Musa, but from earth-\nquakes or other causes, is now in a very ruinous condition\nexcepting a new quarter of the town which is in process of\nbuilding."}, {"page_pdf": 41, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.41", "texte": "to antiquarians, at once proclaim an ancient\nsite. By the aid of the placid Ciccio and\nhis horse, we crossed the swollen river, and,\nascending wearily to the town, found it, though\nmean in appearance from below, full of\nhouses of a large size and indicating wealth\nand prosperity.\nTo that of Don llario Asciutti we went,\nnarrowly escaping the mid-day autumn thun-\nder-storm, and found a large mansion; with a\nhall and staircase, ante-room, and drawing-\nroom very surprising as to dimensions and\nfurniture; the walls were papered, and hung\nwith mirrors, prints, etc., cheffoniers, tables,\nand a book-case adorned the sides of the\nrooms, and there were footstools with other\nunwonted objects of trans-Calabrian luxury.\nThe famiglia Asciutti were polite and most\nfriendly; there were two smart sons, just come\nfrom college at Naples; a serene and silent\nfather; and last, not least, an energetic and\nastute grandsire, before whose presence all\nthe rest were as nothing. The Nonno (l)\nAsciutti was as voluble as Conte Garrolo;\nbut with more connected ideas and sentences,\nand with an overpowering voice; an expres-\nsion of \" L'etat c'est moi \" in all he said\nand did. The old gentleman surprised us\nnot a little by his information on the subjects\non which (apropos de bottes) he held forth—\nthe game laws of England, and Magna Charta,\nthe Reformation, the Revolution of 1688,\nIreland, and the Reform Bill. He was beco-\nming diffuse on European politics, having\nalready discussed America and the Canadas,\nand glanced slightly at slavery, the East and\nthe West Indies and the sugar trade, when\nto our great satisfaction, all this learning, so\nwonderful in the heart of Magna-Grecia was\nput a stop to by the announcement of dinner.\nThe silent son, and the two gay grandsons,\nlisten to their elder relative's discourse, but\ntook no part therein; and we, however su-\nperior the matter of the oration might be,\ngreatly longed to exchange the orator for\ndear, little fussy Conte Garrolo.\nIn the large dining-room were assembled\nmany female and juvenile Asciutti, all very\nugly; hitherto we are not struck by Calabria\nfemale beauty in the higher orders, though\nmany of the peasant girls are pretty. The\nladies spoke nothing during dinner, and the\nwhole weight of the oral entertainment fell\non the erudite grandfather, who harangued\nloftily from his place at the end of the table.\nIt was Wednesday, and there was no meat,\nas is usual on that day in South Italian fa-\nmilies. \"It would be better,\" said the au-\nthoritive elder, \"If there were no such a\nthing as meat—nobody ought to eat any meat.\nThe Creator never intended meat, that is the\nflesh of quadrupeds, to be eaten. No good\nChristian ought to eat flesh—and why? The\nquadruped works for man while alive, and it\nis a shame to devour him when dead. The\nsheep gives wool, the ox ploughs, the cow\ngives milk, the goat cheese,\".—\" Cosa fanno\nper noi i jepri? \" (I)—whispered one of the\ngrandsons- \" Statevi zitt'!\" (2) shouted the\norator. \" But fish,\" continued he—\" what do\nthey do for us? Does a mullet plough? Can\na prawn give milk? Has a tunny any wool?\nNo. Fish and birds also were therefore created\nto be eaten.\" A wearisome old man was\nthe Asciutti Nonno! but the alarming point\nof his character was yet to be made known\nto us. No sooner, dinner being over, did\nwe make known our intention of proceeding\nto sleep at Gioiosa on account of our limited\ntime, then we repented having visited Castel\nVetere at all. \"O cielo! o rabbia! o che\nmai sento? o chi sono? o chi siete? \" (3)\nscreamed the Nonno, in a paroxysm of rage.\n\" What have I done that you will not stay?\nHow can I bear such an insult! Since Ca-\nlabria was Calabria, no such affront has ever\nbeen offered to a Calabrian! Go why\nshould you go?\" In vain we tried to as-\nsuage the grand-sire's fury. We had stayed\nthree days in Gerace, three in Reggio, two\nin Bova and in Stilo, and not one in Castel\nVetere! The silent father looked mournful,\nthe grandsons implored; but the wrathful old\ngentleman, having considerably endangered\nthe furniture by kicks and thumps, finally\nrushed down stairs in a frenzy, greatly to our\ndiscomfiture.\nThe rest of the family were distressed\nseriously at this incident, and on my sending\na message to beg that he would show us a\nnew palazzo he was constructing (himself the\narchitect), for the increased accomodation of\n\n(i) Grandfather.\n(1) What do the hares do for us?\n(2) Hold your tongue !\n(3) Oh heavens ! Oh rage ! Oh what do I hear ! Oh\nwho am I ? Oh who are you ?"}, {"page_pdf": 42, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.42", "texte": "the family Asciutti, he relented so far as to\nreturn, and after listening favourably to our\nencomiastic remarks, bade us a final farewell\nwith a less perturbed countenance and\nspirit\nPERCHE.\n€J . . . . By taking a route parallel to the\ncoast, as far as the Fiume Romano, which\nwe ascended for an hour, till we arrived\nat Gioiosa apparently a large and well-built\ntown, on the banks of a narrow part of the\nstream. The house of the Baron Rivettini,\nto whom we had letters, was large and impo-\nsing, but the Baron was not within, and the\nservants, with none of that stranger-helping\nalacrity of hospitality, so remarkable in more\nnorthern provinces of the Regno di Napoli,\nappeared too much amazed at the sudden\narrival of \" due forestieri,\" (I) to do anything\nbut contemplate us; and, to speak truth,\nneither our appearence, considering we had\ntoiled through some rain and much dirt all\nthe afternoon, nor our suite, consisting of a\nman and a horse, were very indicative of\nbeing \" comme il faut.\" With difficulty we\nobtained leave to rest in a sort of ante-office,\nhalf stable, half kitchen, while a messenger\ncarried our letter of introduction to the Baron\nRivettini. When he returned, quoth he, \"The\nBaron is playing at cards, and cannot be in-\nterrupted; but, as there is no locanda in the\ntown, you may sleep where you are.\" Un-\nwashed, hungry, and tired as we were, as\nseeing that there was nothing but an old rug\nbyway of furniture in this part of the Baron's\npremises, we did not feel particularly gratified\nby this permission, the more that P. was\nrather unwell, and I feared he might have\nan attack of fever; neither did the dome-\nstics offer us caffe, or any other mitigation of\nour wayfaring condition.\n\"Is there no Caffe? \" \" Non c' e \" (2)\n\"No wine? \" \" Non ch \" \"No light ? \"\n\" Non c' e \" It was all \" Non c' e\". So\nsaid I, \" Show me the way to the house\nwhere the Baron is playing at cards.\" But\nthe proposal was met with a blank silence,\nwholly unpropitious to our hopes of a night's\nlodging; and it was not until after I had\nrepeated my request several times, that a man\ncould be persuaded to accompany me to a\nlarge Palazzo at no great distance, the well\nlighted lower story of which exhibited offices,\nbarrels, sacks, mules, etc., all indicative of\nthe thriving merchant. In a spacious salone\non the first floor sate a party playing at cards,\nand one of them a minute gentleman, with a\nform more resembling that of a sphere than\nany person I ever remember to have seen,\nwas pointed out to me as the Baron by the\nshrinking domestic who had thus tar piloted\nme. But excepting by a single glance at me,\nthe assembled company did not appear aware\nof my entrance, nor, when I addressed the\nBaron by his name, did he break off the\nthread of his employment, otherwise than by\nsaying, \" Uno, due, tre,—signore, si—quattro,\ncinque,—servo suo, fanno quindici.\" (1)\n\" Has your Excellency received an intro-\nductionary letter from the Cavalier de Nava? \"\nsaid I.\n\" Cinque, sei,—si, signore, fanno un-\ndid, \" (2) said the Baron, timidly. This\nthought I, is highly mysterious.\n\" Can I and my travelling companion\nlodge in your house, Signor Baron, until to-\nmorrow ?\"\n\"Tree sei fanno nove, \" (3) pursued the\nBaron, with renewed attention to the game.\n\" Ma perche, (4) signore?\"\n\" Perche, {5) there is no inn in this town;\nand, perche, I have brought you a letter of\nintroduction,\" rejoined I.\n\" Ah, si si si, signore, pray favour me\nby remaining at my house.—Two and seven\nare nine—eight and eleven are nineteen.\"\nAnd again the party went on with the\nGiuoco.\nThere was an expression of doubt and\nmystery on the faces of all the party, which,\nhowever, did not escape my observation,\nand I felt sure, as I left the room, that\nsomething was wrong; though like King\nCoal's prophet of traditional celebrity, \" I\nknew not what that something could be.\"\nWhen I returned to the Palazzo Rivettini,\nall the scene was changed. Coffee was brought\nto us, and a large room was assigned for our\nuse. While all the natural impulse of Cala-\n\n(1) Two strangers.\n(2) There is none.\n(1) One, two, three, —yes, sir,—four, five,—your servant\nsir,—make fifteen.\n(2) Five. Six,-yes, sir,—make eleven.\n(3) Three and six are nine.\n(4) But why, Sir f\n(5) Here pcvchb is also used in the second sense \" be-\ncause"}, {"page_pdf": 43, "page_imprimee": "31", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.43", "texte": "brese hospitality seemed, for a time at least,\nto have overpowered the mysterious spell which,\nfrom some unknown cause, appeared to oppress\nthose inhabitants of Gioiosa with whom we\nwere brought in contact. But the magic\natmosphere of doubt and astonishment returned\nin full force as other persons of the town came\ninto the evening conversation. Few words\nwerfe said but those of half-suppressed curio-\nsity as to where we came from; and the\nglobose little Baron himself gradually confined\nhis observations to the single interrogative,\n\"Perche?\" which he used in a breathless\nmanner, on the slightest possible provocation.\nSupper followed, every part of the entertain-\nment arrayed with the greatest attention to\nplenty and comfort; but the whole circle\nseemed ill at ease, and regarded our looks\nand movements with unabated watchfulness,\nas if we might explode, or e:cape through\nthe ceiling at any unexpected moment; so\nthat both hosts and guests seemed but too\nwell pleased when we returned to our room\nand the incessant \" Perche? perche? perche?\"\nwas for this evening, at least, silenced.\nBy all this mystery—so very unusual to\nthe straightforward and cordial manners of\nthese mountaineers there was left on my\nmind a distinct impression of some supposed\nor anticipated evil. \" Coming events cast\ntheir shadows before.\"\nAugust 19. As usual, we rose before\nsunrise. \"O Dio! perche?\" said the dimi-\nnutive Baron Rivettini, who was waiting\noutside the door lest perhaps we might have\nattempted to pass through the keyhole. A\nsuite of large drawingrooms was thrown open,\nand thither caffe was brought with the most\npunctilious ceremony. My suspicions of last\nnight were confirmed by the great precision\nwith which our passports were examined, and\nby the minute manner in which every parti-\ncular relating to our eyes, noses, and chins,\nwas written down; nor was it until after\nendless interrogatories and more \" perches \"\nthan are imaginable, that we were released.\nBut our usual practice of taking a small piece\nof bread with our coffee renewed the universal\nsurprise and distrust of our hosts.\n\" Pane! \" said the Baron, \" perche pane?\nO cielo! \"\n\" I never take sugar,\" said P..., as some\nwas offered to him.\n\" Sant* Antonio, non prendete zucchero ?\nPerche? O Dio! perche mai non prendete\nzucchero? \" (l)\nWe want to make a drawing of your\npretty little town,\" said I; and, in spite of a\nperfect hurricane of \" pe out we rushed,\nfollowed by the globular Baron, in the most\nlively state of alarm, down the streets, across\nthe river on stepping-stones, and up the op-\nposite bank, from the steep cliffs of which,\nover hung with oak foliage, there is a beau-\ntiful view of Gioiosa on its rock.\n\" O per carita! o cielo! o san Pietro!\ncosa mai volete fare?\" said the Baron, as I\nprepared to sit down.\n\" I am going to draw for half-an-hour,\"\nsaid 1.\n\" Ma—-perche? \"\n\" And now I sat working hard for nearly\nan hour, during all which time the perplexed\nBaron walked round and round me, occasionally\nuttering a melancholy.—\n\" O signore, ma perche ? \"\n\" Signore Barone,\" said I, when I had\ndone my sketch, \" We have no towns in our\ncountry so beautifully situated as Gioiosa! \"\n\" Ma perche? \" quoth he.\nI walked a little way and paused to ob-\nserve the bee-eaters (2) which were flittering\nthrough the air above me, and under the\nspreading oak branches.\n\"Per l'amor del cielo, cosa guardate ?\ncosa mai osservate?\" <3) said the Baron.\n\" I am looking at those beautiful blue\nbirds.\"\n\" Perche?perche? perche?\"\n\" Because they are so very pretty, and\nbecause we have none like them in England.\"\n\" Ma perche? perche? \"\nIt was evident that do or say what I\nwould, some mystery was connected with\neach action and word so that, in spite of the\nwhimsical absurdity of these eternal what\nfors and whys, it was painful to see that,\nalthough our good little host strove to give\nscope to his hospitable nature, our stay caused\nmore anxiety than pleasure. Besides, his\nwhole demeanour so strongly reminded one\nof Croaker—\" do you forsee anything, child?\nyou look as if you did. I think if anything\nwas to be forseen, I have as sharp a look out\n\n(1) Do you not take sugar? etc,\n(2) Merops Apiaster.\n(3) For the love of heaven, what are you looking at?\nwhat have you seen."}, {"page_pdf": 44, "page_imprimee": "32", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.44", "texte": "as another,\"—that it was no easy task to pre-\nserve a proper degree of gravity.\nHis curiosity, however, was to be tried\nstill further; for, having heard that Gioiosa\nwas famous for the manifacture of sugarplums\nor confetti, we had resolved to take some\nhence to Gerace, to give little Cicillo and\nMaria Scaglione; but when we asked where\nconfetti could be purchased, the poor Baron\nbecame half breathless with astonishment and\nsuspense, and could only utter, from time to\ntime, \" Non e possibile! Non e possibile!\nO gran cielo! Confetti? confetti? Perche\nconfetti? Non e possibile,\" (l) We proved,\nhowever that sugarplums we were determined\nto have, and forthwith got the direction to a\nconfectioner's, whither we went and bought\nan immense quantity, the mystified Baron,\nfollowing us to the shop, saying continually\n\" Perche, perche Confetti? O Cielo! perche? \"\nWe then made all ready to start with the\nfaithful Ciccio, and, not unwillingly, took\nleave of the Palazzo Rivettini, the anxious\nBaron thrusting his head from a window, and\ncalling out, \" Ma fermatevi, perche? Perche\nandatevi? statevi a pranzo, perche no? Per-\nche uceili? Perche disegni? Perche confetti?\nPerche perche? perche? till the\nlast \" perche\" was lost in the distance as\nwe passed once more round the rock, and\ncrossed the river Romano.\nLear and the guide tramped on for another\nfourteen doys covering mile upon mile until\nthe date September 2nd.\nIP7 September 2 ... . At the hour of one\nin the night we reached Reggio, and\nhere the secret divulged itself at once.\nHow strange was that scene! All the\nquiet town was brilliantly lighted up; and\nevery house illuminated; no women or chil-\ndren were visible, but troops of men, by\ntwentys and thirtys, all armed, and preceded\nby bands of music and banners inscribed,\n\" Viva Pio IX; \" or \" Viva la costituzione,\"\nwere parading the high street from end\nto end.\nCo x'e stata, (3- Ciccio ? \" said I.\nO non vedete,\" said the unhappy mu-\nleteer with a suppressed groan. \" O non\nvedete? e uno rivoluzione! Dighi, doghi, da!\"\nNo one took the least notice of us as we\npassed along, and we soon arrived at Gior-\ndano's Hotel. The doors were barred, nor\ncould I readily gain admittance; at length the\nwaiter appeared, but he was uproariously\ndrunk.\n\"Is signor P.... arrived by the boat\nfrom Messina? \" said I.\n\" O che barca! O che Messina! O che\nbella rivoluzione! Ai! ao! Orra birra burra-\nba! \" was the reply.\n\" Fetch me the keys of my room,\" said\nI; \"I want to get at my roba\n\" O che chiavi! O che camera! O che\nroba! ai, ai,! \"\n\" But where are the keys?\" I repeated.\n\"Non ci sono piu chiavi, \" screamed\nthe excited cameriere; \" non ci sono piu\npassaporti; non ci sono piu Re, piu legge—\npiu giudici—piu niente—non x'e altro che\nI'amore la liberta—l'amicizia, e' la costitu-\nzione—eccovi la chiave—ai! o-o-o-o-orra\nbirra ba!! \" (l)\nAND these are one or two of the pages\nfrom the Journals of the lonely Lear—\nwho wrote the ballad which begins:\nThe Owl and the pussy Cat went to sea\nIn a beautiful pea-green boat.\nHe wrote it for Janet daughter of Mr. and\nMrs. J. A. S.\nI do not know a more lonely man than\nLear as he set forth on his last sketching\ntour into Corsica: that was in 1868. You\nwill read that book of his last.\ndon't forget that I brought it to\nyour notice.\nThese astonishingly good volumes were\nnever brought to my notice by anyone / know.\nThe first 1 heard of them was when looking\ninto an Italian guide to Calabria 1 found\nLear quoted therein by the Italian author.\nIn no work by an English author have I come\nacross one reference to Lear's three books,\nthough probably some have referred to him.\nshouldn t look for word about him in\nEnglish guides, but I think I ought long ago\nto have come across this book in \"The\n\n(i) It is not possible! It is not possible! Oh great\nHeavens! sugarplums sugarplums etc.\ndo you go? stay to dinner; why not?\nwhy birds ? why drawings ? why sugarplums, etc.\n(3) What has happened ?\n(i) lheie ate no more keys there are no more pass-\nports- no more Kings, no more laws, no more nothings!\nNothing but love and liber(y, friendship and constitution!\nhere s the key!"}, {"page_pdf": 45, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.45", "texte": "Everyman Series\" or in some Routledge\nreprint; but no one except John Ruskin\nseems to have pointed out to us this specta-\ncled writer as a writer of exceptional books\nworthy to be read and re-read, since to read\nonce is perforce to read over and over again.\nAs for his drawings, they show us the\nplaces he stopped in for six or eight hours;\nto me they will be ever delightful, but possibly\nyou will have to pass the middle of life to\nfind them enchanting.\nI had much more to say; —if I have not\nwritten it, it was because I felt that in Lear\nand in Bombet there talks a whole life, and,\nwhen you read Bombet and Lear, you will\nunderstand and may be almost as inarticulate\nas I am here.\n\nA LETTER FROM DENMARK\nON THE THEATRE.\nEbbe de Neergaard.\nDENMARK is not very different from the rest of\nEurope, and* neither is Denmark's theatre. Some\npeople say that our land is a little sleepy but other\npeople tell us that is only gentleness. And some people\nsay, we are a little off the beaten high-way of the great\nworld. Still I don't think we are really very much dif-\nferent from the rest of the world, and if somebody says\nM there is something rotten in the State of Denmark *\\\nmaybe he is right, too; we may take Denmark as a type.\nWe have got a society here, called Skiteespillerforbundet\n(The Actors Union). About May Ist it held a meeting to\ndiscuss \" The Modern Theatre\", and a middle-aged and\nfresh-minded actor and manager, Axel Garde, gave a brief\nsketch of how he wanted to start and run a popular theatre\nfor modern art.\nThe people present, actors (the very leading ones were\nmissing) and critics (some of them) and some authors, said\nsome pleasant things, but rather sceptical in tone. Only\none old poet, a writer of children's poems, said that he\nthought it would be easy to get together some twenty\nyoung and younger actors, willing to sacrifice their time\nand strength in an experimental theatre, and on sharing\nterms. Then up started the chairman and said, that both\nin this union (which is really nothing but a regular trade\nunion, concerned with little but economical questions) and\nin the dramatists* union too, he was sure they would see\nto it that the utmost care should be taken to guarantee that\nall actors and authors should have their fixed and regular\npay, and he thought that it would be an extremely dif-\nficult task to find any actors willing to take any economical\nrisk whatever. The economical side of the question must be\nmade secure before a new theatre could be started : though\nof course the Art is the most important, he wound up,\nand a large majority cheered and clapped their hands fran-\ntically. Meanwhile the spirit of idealistic sacrifice groan-\ned and shivered outside in the dark wet streets.\nAnother example. A young actor, Borge MuncKPe-\ntersen, recently wanted to start an experimental stage. His\nnotion was to perform the Cochu Magnifique on one eve-\nning, to be followed on the next evening by three small\nplays, Synge's 44 Riders to the Sea \", Stravinsky's 44 Story\nof a Soldierand a wild farce by a very clever young\nDane, Sven Clausen. He also planned to present small\nplays, of the length of a cinema-performance, inside an\nenclosure of planks, between two huge naked gables at the\nend of a cul-de-sac in the middle of the city of Co-\npenhagen. Again, with the aid of an architect, he would\nconstruct a car in which to travel about the country and\nin five minutes adapt it into a little stage on which he\nproposed to give small performances, etc.\nHe got together some money, somehow ; he got hold\nof a celler and a modern P. H. lamp and began rehear-\nsals with a small groups of young actors, who seemed to\nbe quite enthusiastic. But before long they began to miss\nrehearsals ; one young actress simply must go to that dinner-\nparty, another young actor had to appear at a certain\ndance. Then there was a bourgeois charity-performance\nat a fine hotel and a number of actors and actresses must\npositively attend because all society would be there: a\nwhile later there were some Greek Recitals, too, which they\nabsolutely could not miss.\nSome clever people had been at the rehearsals of these\nyoung people, and they thought it all very fresh and promi-\nsing. But Mitnch-Petersen had to give it a/1 up, because\nhis young people were not serious enough about it. Oh,\nthere were so many other things to attend to, you see.\nAdded to this they got no immediate pay: besides, you\nnever knew, perhaps the bougeois-public would not like\nthe plays or give them their applause, immediately, and\nthese young actors could not possibly wait and hope and\nwork on and see it through... it is all given up now.\nMaybe that white-haired optimistic children's poet who\nspoke at the meeting of the Actor's Union was quite\nwrong: for they would not come, that dozen or so of young\nactors and actresses. And so the slow tram of Thalia\nrolls on, along the old beaten track.\nThe event of the Copenhagen season is the return of\nAnna Pavlova after nineteen years. And of course that was\nsplendid and all that, but is that the new movement ? Hardly.\nBut maybe it is only in the State of Denmark?s Thea-\ntre, that there is something rotten. Or is it so abroad,\ntoo ? Tell me, please !\nOr is it really the Theatre, which is rotten ? The Thea-\ntre itself. I mean, haven't we got a mass of fine things\nto act and haven't the actors got an excellent tecnique.\nWell then ?\nNo: there is something in the actor's mind which is\nrotten, a tiny spot timid and philistine, afraid of risking a\nsafe income in order to risk a little, or a lot, for the\nchance of great and fresh new Art of our Time.\nThe duty of actors is to express their time through an\nold medium (Shakespeare, for instance) or a modern one.\nBut 1 am afraid they have realized the truth, that it is more\nsafe (economically, not artistically) to express the time of,\nsay, Ibsen, that time of old dead naturalism.\nShould the actors of our time jeopardize their present\nsafe trade-union wages, (which after long struggling they\nhave secured at last and to which they have a good right,\nof course) ? should they hug their economical standard 0R..?\nWell, 44 To be or not to be, that is the question\".\nShould the actor 44 be \", or should the art be ? 1 just put\nthe question. I cannot find it in my mind to answer."}, {"page_pdf": 46, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.46", "texte": "CORRESPONDENCE.\n\nTHEATRICAL\nFanny Hepworth.\nSIR: —\nIt seems to me that until the Theatre has become un-\ntheatrical it will not be acceptable in England.\nThe English are kind people: there is very little they\nharden their hearts against; but one thing they will not\nand can not permit, and that is the Theatrical.\n1 remember during the war the headline of a leading\narticle in a famous daily :\n\" THE THEATRICAL KAISER \"\nThis was the knock-out blow. After having said that,\nthe wrath of the people of England reached a fury it ne-\nver would have attained to by merely calling him a murde-\nrer, an assassin or a Hell-hound.\nThe same journal favours Mussolini, so it says nothing\nabout his theatricality, but other organs of public opinion,\nseeking to belittle this great personality, refer to him as\n\" theatrical\nAs writers in your magazine have often pointed\nout, the unforgiveable thing about Shakespeare is that he\nis far too often theatrical ; that all his work was made for\na theatre is of no account; it may have been so, say the\nEnglish, but none the less it is highly reprehensible that it\nshould be so theatrical.\nIt is net Napoleon's politics, nor his wars, nor his\nmurders, which offend the English : it is his theatricality.\nThe success of any English playhouse is assured once\nwill ridicule the theatrical: this fact has contributed not\na iitle to the success of Mr. Nigil Playfair.\nLet but the Theatre deride its own essence, there is\nmoney in it.\nWhen a friendly critic discovers that a performance is\n\" artistic\" he does so very often so as to save the show\nfrom being damned as \"showy\". Critics are far kinder\nthan is supposed. A critic will uphold an actor for twenty-\nfive years by using the adjective \" gentlemanly \" in place\nof \" stagey \". \" He was very gentlemanly ...this decides\nthirty thousand people to see the performance who the\nday before, hearing that the actor was rather given to\nacting, had instantly purposed not, on any account, to men-\ntion his name, let alone go and see him.\nSo long as an actress is charming, intellectual, touching,\nher success is assured ; but dare once to say she acted as\nthough the devil were in her, and all is up in a\nmoment.\nThus we have travelled far from the days when Voltaire\ndemanded first of all of a young actress that she should\ndevelope •• le diable au corps\".\nAn instance occurs to me of something theatrical\nwhich affected a very large body of people.\nI was once at Eastbourne when the whole esplanade,\nstretching for over two miles, was densely packed with vi-\nsitors enjoying the mild weather. It was, I remember,\nsomething after eight o'clock.\nThe sea was calm, the band playing, there was not a\ncloud in the sky. Fisherfolk were hauling in their nets,\nchildren were being allowed to stay up half an hour lon-\nger because it was such a mild and lovely evening.\nBut suddenly, as though a panic had seized the throng,\neveryone was wrapping up; hats were banged on heads,\nparasols caught up, nurses called to take in the children\nimmediately; and in less than three minutes the esplanade\nwas deserted, and the blinds of all the hotels along the\nfront were down.\nI remained alone wondering what could have been the\ncause for this sudden rout, when, turning to look out to\nsea, the whole matter was explained in one instant.\nThe moon was rising.\n\nTHE SHAKESPEARE MEMORIAL FUND.\nA Journalist.\nStR,\nIn this matter of the Americans and the Shakespeare\nMemorial yours is the correct spirit and 44 The Mask\"\ndoes its duty to England by standing to the flag as it\ndoes.\nIt was of course not an officially authorized expedition\nwhich was sent to America to collect funds. His\nMajesty the King is the Patron of the Shakespeare Me-\nmorial Theatre (Incorporated by Royal Charter) and if\nMr. A. D. Flower of Stratford-upon-Avon and others went\nto America to gather funds for this theatre they went as\nindividuals and on their own responsability.\nIt is said that the American Committee of the Fund\ninvited him to go, and doubtless the Governors of the\nTheatre murmured 44 Not a bad idea....go, Flower, go, my\ndear chap It's a stunt, not an idea, and quite the\nslackest recorded in History.\nYet look at the other side of the case for a moment.\nThe sum of £ 250,000 was wanted for four\nobjects:\n1. To build a new Theatre.\n2. 1 o provide sceneries and costumes for a complete\ncycle of Shakespeare plays.\n3. To organize Companies of Players to do several\ntasks.\n4. To found a School of Dramatic Art.\nEngland in two years raised £ 50,000, iet one\nfifth of the sum needed. What was Mr. Flower to do,\nwhat could the Governors say but 44 Go, Flower, go, my\ndear boy, go to America by all means\nNow why was only £ 50,000 subscribed by Eng-\nland?\nSimply because the whole scheme was mismanaged.\nHad the Daily Mail taken it in hand, I, for one,\ndo not doubt but that half a million would have been\nraised within a year.\nFaithfully"}, {"page_pdf": 47, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.47", "texte": "AMERICAN HELP:—WHYNOT?\nI. Moser Lewis.\nSIR,\nI read in an American paper that\nPEOPLE OF MANY LANDS WILL HELP\nTO REBUILD THE BURNED\nTHEATRE THAT STOOD BESIDE\nTHE AVON AT STRATFORD.\nThe notion that we in England cannot rebuild our\nDramatist his Theatre without the dollars from America\nseems to be gaining ground.\nWhy shouldn't America \" show its gratitude\", why\nshould not others '• help'' and \" sit at the feet of so\ngreat a man\"? as they say: These and other like ques-\ntions are flung at those of us who once thought that we\ncould manage this and like little affairs by ourselves.\nYet I too have come to ask myself why should not\nAmericans help and show their gratitude if they wish to\nhelp and show gratitude.\nThe principal argument against it is that recently we\nhave been given a clear proof from America that in any\nsuch matter the Americans are out to get far more than\nthey give. It may not be in any way a gift of gratitude,\nbut a bargain.\nDoubtless in America there can be found many a man\nand woman to give solely to help and without dreaming\nof any return.\nBut, as the American Lawyer, Mr. Peabody, recently\npointed out in a letter to Congress, \" while the advances\nmade to Great Britain during the War were made to\nprovide for their own security and defence and were gifts\nnot loans to be repaid when the time had gone by, these\ngifts, this help, was made out to be a strictly business\naffair \".\nWe had to pay. We paid.\nIn ten or twenty years from now we and our sons may\nfind ourselves told to repay this gift from America, to\nrepay it one way or another.\nWe may have to hand over to America the entire\nacting, publishing and film rights of \" The Merchant of\nVenice\" because of a clause in the bond. It is quite\npossible, fantastic as it may sound.\nSincerely,\n\nGIVING THE WRONG IMPRESSION.\nEnglishman.\nCiR,\nlt seems to me extraordinary that by asking for money\nfrom foreign peoples we should advertise far and wide to\nevery one in the world that we are too poor to support,\nhouse and adequately produce the works of our National\nDramatist.\nWithout wishing to add to the labours of Mr.\nBaldwin, is it too late, I wonder, for our government to\nmove in this matter of the Shakespeare Memorial Theatre,\nbecause the spectacle of unauthorized little bodies of\npeople in Europe, Asia, America and Africa going\nround with the hat on Shakespeare's and England's behalf\nsomehow does not strike one as a spectacle warranted to\nencourage a right understanding of Great Britain's power,\nor resources.\nFaithfully,\n\nFOREIGN NOTES.\n\nNEWYORK.\nK.\nReinhardt* s Production of \" A Midsummer Night's\nDream \" at the Century Theatre.\nIT was quite a clever notion of Professor Reinhardt's to\nput this proposition to Professor Strnad his designer,\n•• Give me thirty different possibilities of entrance from air\nand earth in your scene and that's all I want \".\nIt's a typical Reinhardt order.\nWhat also is just as typical is his plunging the wood-\nland scenes in darkness.\nThe Midsummer Night's Dream must have no darkness\nin it.\nIf a producer plays with this easy notion of darkness\nin his early experiments he does no harm, but to abide\nby it past middle age is for the eventide to fall very fast\nindeed.\nReinhardt is well supported here. Not only by his\nspecial Public but by many of the critics. He is as\nusual exceptionally well supported by his assistants Strnad\nand a group of first class by Moissi, Solveg\nand the Thimig family and by Ernest de Weerth his\ncostumier in chief.\nMeantime this method of producing Shakespeare is\nnow twenty years old or even older: the method used of\nTairoff and Meyerhold in Russia was born old .... and I\nawait something new. That is to say, I await the ge-\nnuine way of doing this difficult task.\nThat it is difficult grows more obvious every time one\nsees the pains taken to avoid the genuine solution of the\nproblem.\nWere I ever prophetic I should be inclined to predict\nthat this solution must come from England."}, {"page_pdf": 48, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.48", "texte": "BOOK REVIEWS.\n\nTHE LETTERS OF RICHARD\nWAGNER. Selected and Edited by\nProf. Wilhelm Altmann. Translated\nby A/. M. Bozman. With illustra-\ntions and two facsimile letters. 2 Vo-\nlumes. J. M. Dent & Sons. Price\nJO/6 net each volume.\nTHE Fashion Richard Wagner lasted\nlong. He was not the Fashion\nduring his life, then he died and became\nthe craze.\nIt is of no importance at all whe-\nther a great artist becomes the Fashion\nor not, and Richard Wagner was in-\ndubitably a great artist..\nYou may be tired even of hearing his\nname today, but then Cimarosa s name\nbored you once. Monteverde's you\nmistake for Giuseppe Verdi s and In-\ngenieri has a name you can t pronounce\nif by chance you should have to be\nbored by any such attempt. You are\nbored because you are a bore; it\nis no reader of \"The Mask I am\naddressing as * you *; it s that unfor-\ntunate curse, the up-to-date person who\nbelieves that he decides the fate of all\nthe arts, and that he settles all questions\nof religion, and, indeed, of all life. He\nwas, he is and she will be, but for all\nthis I would beseech our readers to do\nsomething to rid us all of him and her.\nAnd so, as he took up Wagner, so\nhe or his like have put down Wag-\nner. He is taking up someone else\ntoday and his like will put him down.\nBut that you, Gentle Reader, should\never be influenced by his decisicns, his\ntakings up and his puttings down, grieves\nme. Still, you should be grateful to\nhim for having put Wagner down be-\ncause that makes possible now for you\nto come near Wagner.\nIt is to be understood of course that\nin this selection of Letters you do not\ncome very near him, ...only in his music\nare you with a great composer.\nBut you come a little nearer the man\nin his correspondence, and 'there you\ndiscover what I said above; that du-\nring his life he never became the fashion.\nTo the end it was a fight to establish\nhis work as he felt he wanted it estab-\nlished. People were always saying\nthat 44 he was not to be helped he\nmentions the fact and writes of \" the\nstatement of so many of my friends\nthat 4 I was not to be helped * ' and\nit is interesting to note how untrue that\nstatement was. He refers to the heads\nof the theatre who are so antipathetic\nto him that they even treat the artists\nhe recommends so badly, they cannot\nstay in the theatre. They hate no-\nthing so much as a \"Wagnerian : \" keep\ncut the Wagnerian conductors : Lord\npreserve us they say, \"We should\nget a man who wants endless rehear-\nsals, particularly when things are not\ngoing well ...no thank you 1 let us get\non as well as we can with servile bun-\nglers but let us get on\nThey say the same thing today of\nall artists. \" Let us get on \". They\ndon't get on today and they did not\nget on in those days: all they did\nwas to slip back and back, and then the\ncatastrophe. They can't get on even\na little without the artists: and\nwithout the great artists they are lost\nentirely.\nThe letters are not brilliant, the weigh-\nty Wagner who was such a practical\nman often stands out clearer than the\ninspired Wagner; but the books are\nvery interesting and show us the usual\ngrievous spectacle of a great artist and\nan only too serious man being dis-\ngracefully badgered for some fifty years.\nHumanity let us for the moment\ncall human cattle by that title can-\nnot therefore be felicitated by those\nof us who hold that fine art is a bles-\nsing and genius, or even a touch of it,\na thing which should never be harras-\nsed in the way it is and always has\nbeen harrassed.\nWagner ultimately won the day\nand Humanity lost it.\nBut then, thank God, that's not\nHumanity.\nPresumably Humanity is a fine thin\nstreak of something blessed which runs\nthrough everything and not through\nmany people. If it did the whole\nworld would be very happy.\n\nUN TEATRO DE ARTE EN\nESPANA Edicione de la Esfinge.\n\"Estrella Sociedad Anonima Editorial,\nMadrid. Madera 11.\n\nTWO years have gone by s:nce thss\nbook appeared, and in two years\nI do not doubt that the talented group\nwhich forms the subject of this swagger\nvolume have progressed.\nAnd yet, as you look at the photo-\ngraphs of the actors reproduced so\nbeautifully in the volume, you find\nyourself saying \" in theatre there is no\nsuch thing as progress—what was good\nremains good and will so remain\nHere are the same devices as of\nold, the same tricks of gesture, and of\nrepose; the same expressions and the\nsame groupings. And suddenly one\ncomes across something new some\nstrange touch which makes all the\ndifference, but it has nothing to do\nwith progress.\nThe strange touches I came across\nin this book were not in any sceneries\nand not in the groups, but in individuals.\nWhat this touch is which delights *\nso, we have all tried to define. And\nyet we define nothing—and I for one\nam not surprised, for there is nothing\ndefinable in it. Define a wind, raise\nup a breeze in a garden-—it is net\npossible. Recognize it —yes, that is\npossible. And I am a great admirer\nof this book, Un TcatTO dc Arte en\nEspana, for I at least have recognized\nin it the signs of art or genius or\nwhatever that thing is which is not to\nbe defined in Spain from a distance.\nThe book itself is to be explained a\nlittle. It is not a book of sceneries and\nyet there are some forty-nine sceneries\nreproduced in colour and reproduced\nwith great care, good taste, and mounted\nwith originality.\nOriginality which is not at the ser-\nvice of good taste or powerful expression\nor genius or some sort of overlord is\na worthless thing—and it is because\nwe generally mean something odd by\noriginality that we are generally pro-\nnouncing the word in a meaningless way.\nOriginality to this Spanish book pub-\nlisher is an open door .... left open.\nHe will reproduce one design in one\nway and mount it on a specially pre-\npared page of white paper with a pale\nyellow background to the picture stam-\nped on the white page. But he will\ngive us his next picture mounted on\nanother white paper on which is a\nbackground of another tone of yellow\nstamped on its white surface.\nIn short, white paper and yellow\nbackground are not two things, they\nare twenty. That's a touch of origi-\nnality. Old as the hills and yet as\nnew.\nSeveral processes are used in the\nreproductions, not one. Wonder of\nwonders, someone has been thinking.\nThat is essentially original.\nPortraits of authors and of performers\nor caricatures of them mix in with the\ndesigns for scenes, for posters or pro-\ngrammes.\nNow and again, as is becoming to"}, {"page_pdf": 49, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.49", "texte": "certain theatrical things, the reproduction\nfavours the old nineteenth century co-\nloured chocolate box.\nOiie of an actress especially pleases\nme, so apt it is; but of the same\nactress we get five or six really good\nphotographs and five or six charming\ndrawings, the most charming of all\nbeing one by Barradas on page 63.\nIt shows us Catalina Barcena, the\nprincipal actress of the troupe whom\nall Europe has heard of—all except I.\nThis troupe has been brought toge-\nther by Signor G. Martinez-Sierra\nwho needs no introduction, but who,\nstrangely enough, is introduced in this\nbook as being \" the Spanish Lugn&-\nPoe\n1 am now quite at sea as to Sig.\nSierra if that in any way describes him.\nTo strengthen this troupe of perfor-\nmers, Sig. Sierra added the designers\nFontanals, Barradas and Burmann, all\nof them talented and in no way in-\nfluenced by Northern fads : only now\nand again does Fontanals descend to\ndrink from a fountain at whose edge some\nof the Italians, such as Brunelleschi,\nand a few Frenchmen, are to be seen.\nI don't know what is the source of\nthis fountain, although a faint reflection\nof Beardsley is discernible in its glossy\nsurface. But it is very faint.\nI cannot say that I have found\nanything by the designers which, as\nsceneries, strike me as remarkable.\nI should say that they need to go a\nlittle slower—to be a bit less cock-sure.\nI always look at a design to see what\nit is the artist has done to help the\ndramatist and especially the actor. You\nmust allow for the moment even if not\nquite correct that the actor is a man of\ncommonsense and will avail himself of a\ncleverly disposed scene. I grant that\nninety nine out of a hundred actors don't\ngive a damn for the scene-man even\nwhen he has devised a scene which\nhelps enormously to break up the dul-\nness of the hour or to unite the too easily\nscattered notions of the dramatist. But\none actor out of a hundred will un-\nderstand. And it is with an eye to\nthis actor that I look with my other\neye at the designs of these new sce-\nnographers.\nAs I went through the book, looking\nonly at the designs, it seemed to me\nthat Signor Biirmann in his design for\nE! grillo del Hogar \" had done\nextremely well—and so when I disco-\nvered that he was a disciple of Rein-\nhard t and a collaborator of Stern I\nwas quite amused. I had drawn a\nlucky number. Signor Biirmann seems\nto dispose his scene so as to help the\nactor.\nBut how good are Fontanals and\nBarradas when they like and when\ntime permits. How they attack and\nalso get out of the difficulties. They\nmust have drawn all Madrid to see\nthese spectacles.\nBut there are others who do well\ntoo ; Signori Benedito, Zamora, and\nPons, Periquet and Mignoni are full\nof talent.\nThe book represents the work of\none theatre between the years 1917\nand 1925,—nine years work, and I\nhave not seen a finer volume of the kind\nproduced by any company even after\nnineteen years work.\nIt is essential to any theatrical li-\nbrary : because, in European or Ame-\nrican books dealing with the new work\nof all the Theatres, Spain is far too\noften omitted altogether.\nI think it more than likely that\nMadrid, and even the new designers\nthemselves, have felt the inability of\ndoing better than Mauricco Vilomara\ndid in a scenic way; and that they\nalso remember Jose Planella Coromina,\nwhile others cannot forget Olegario\nJunyent.\n\" But that's all old stuff \" you say.\nDon't say so quite so loudly, lest\nthe Editor of \" The Mask \" have his\nsleeping suspicions aroused and I be\nput to the torture. But even then I\nshould, between my shrieks, grind out\nthese words: \" I swear by the younger\nmen—I swear I swear by them, but\nwe all love and loved the best of the\nolder men for they too were young\nmen and their work is still young \".\nBut I shall not suffer the rack—I\nknow that; I will but once more\nthreaten to retire: for if I were to\nleave \" The Mask \" where would\n44 The Mask \" be?... Yes, but where\nwould I be ?\nI hope this Spanish Tealro de Arte\nwill all stand firmly together and win\nthrough to even greater victories.\nAnd perhaps some day I may see their\nwork and meet some of these artists.\nThat would indeed be delightful.\n\nGordon Craig.\n\n7HE POETRY AND PROSE OF\nWILLIAM BLAKE. Edited by Geo/-\nfrey Keynes; Complete in one volume.\nThe Nonesuch Press. Price / 2/6 net.\nMR. Keynes and the Nonesuch\nPress have done a piece of per-\nfect work. To edit and print Blake in\na single volume is not easily done : the\nchief difficulty lies in avoiding all those\nthings which tend to fluster the reader.\nThis has been done, and done mag-\nnificently.\nNo more do you feel a little alarm-\ned as you open a book by Blake.\nAll sails clearly on. No notes jerk us\nup; no unnecessarily large head lines\nstartle us. The names LOS, URI-\nZEN, TIRIEL, THEL go easily here.\nEven EUROPE and JERUSALEM,\ntwo of the mildest names of the most\ncivilized places, do not howl at us or\ngibber as other publishers cause them\nto do when doing the work for Blake.\nHere Europe is the Europe and Jeru-\nsalem is\" the Jerusalem we all know so\nwell nothing more.\nI am, and you will be, charmed by\nthe work of the type-setters of this book;\nnothing more discreet has issued from\na London press for ages, ....I mean\nnothing so immensely worth while.\nIf I were, (as I hope shortly to be)\nMinister of Fine Arts, I would place\nthe Editor or Director of the None-\nsuch Press in control of all the printers\nof England. He is so sensible.\nAnd you have to be astonishingly\nsensible to rid a book of Blake's works\nof all that is startling.\nI could show you thirty or forty of\nthe points in this book which make\nhis work so sensible, but I can't write\nthem out here : one needs to see the\nbook, and then, if through sheer quiet-\nness they elude one, one must have\nthem pointed out.\nAs a matter of fact, you won't see\nthem : you'll see merely a most ordi-\nnary book, ...but exquisite: as you\ntouch it you at once become conscious\nof a sense of perfection.\nIndia paper has been used so that\nthough containing close upon 1200 pa-\nges ft is as light as a feather ; bound\nin buckram and bevel-edged boards,\nfor 12/6.\nIt is a gift to England.\nRather a dangerous one being a\nhundred years too late.\n\nPLAYS AND MASQUES AT\nCOURT DURING THE REIGNS\nOF ELIZABETH, JAMES AND\nCHARLES, by M. S. Steele Ph. D.\nHumphrey Milford. Oxford Univer-\nsity Press. Price 18/- net.\nCOLLEGE PLAYS by G. C, Moore\nSmith. Cambridge University Press.\nPrice 6/- net.\nEARLY in the Preface the author of\nthis valuable work on Plays and\nMasques makes reference to Fleay ;\nwhose work has always pleased me\nbecause it condensed rather than ela-\nborated the facts about the Elizabe-\nthan stage. Anyone may be right or\nall may be wrong, but the least that\nthe scholar owes us is to make his work"}, {"page_pdf": 50, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.50", "texte": "as brief, as true and as entertaining as\nhe can.\nFor if not, in a hundred years time\nwe shall possess some five hundred\nmore bulky works all prattling on about\na subject which could be and should\nbe covered by ten volumes at the very\nmost if hard facts were the gold\nnuggets they were destined to contain.\nAlready we possess dozens too many\nfull of dross.\nI do not know any other chronolo-\ngical list of all the Plays and Masques\nwhich were given at the English Court\nfrom January 6th 1559 until March\n12th 1642, but, should none exist, this\none certainly supplies us with all we\nwant.\nWhat 1 would suggest is that no\nother such list of Masques at Court be\never made, but that this one be re-\nvised and revised every ten years as\nfresh discoveries are made.\nMr. G. C. Moore Smith's book on\nCambridge College Plays has the per-\nfections I so much appreciate and to\nwhich I have just referred.\nIt is brief, it is small, it is all we\nneed, and by Jove, it is unpretentious.\nThe author gives us gold and doesn't wrap\nit up in a woollen stocking of his own\nknitting.\nNothing unclear about Mr. Moore\nSmith, and everything done to make us\nrealize when he has stopped speaking\nabout the Dress of the Actors and when\nhe is beginning about the Music and\nwhen he is passing on to the Lighting.\nHis book consists of 110 pages, but\nis in fact a booklet.\nI cannot do better than copy the\nContents Page :\nCAMBRIDGE PLAYS\n(I) Outlines of the History\n(II) Manner of Production of\nCollege Plays.\nCHRONOLOGICAL TABLE OF PER-\nFORMANCES OF COLLEGE PLAYS\nAT CAMBRIDGE\nACTORS LISTS\nBIBLIOGRAPHICAL NOTES\nIt is a book you can read which\nis an important point to consider when\nwriting a book: it is one you can un-\nderstand ; and this too is helpful.\nMore of such small books, that is my\nprayer as 1 close it and place it side\nby side with the four volumes by\nSir E. K. Chambers on The Eliza-\nbethan Stage. A Marvel, a Monu-\nment, but not an example to follow.\nWhy ? and why am I so ? Why\nam I not on my knees with the others\nwho worship the monumental ? Because\nthe main thing in all historical re-\nsearch is to bring to life again. You\ncan only do that at all successfully if you\ndo little and make that little awaken our\nimaginations and revive our remembrance.\nThe long, exhaustive, marvellously\nscholarly world-shaking works simply\nwon't do.\nThey crush us while they leave us\nin a state of uncertainty all the time\nwith their hundred doubts. A histo-\nrical work should not contain the words\n4 perhaps * or * probably ', and these\nmighty monumental world-shaking works\nare riddled with holes made by these\ntwo destructive worms of words.\n\nABOUT ENGLAND by M. V.\nHughes. Dent & Sons. Price 5/ net.\nSOMETHING needs a little revision—\nsomeone a little more vision—at\nNo. 10 Bedford Street, Strand. For,\nwhile I do not like this book about\nEngland because its opinions are cheap\nand hastily tumbled out and because it\nattempts to do England in 359 brief\npages, the failure is after all not to be\nwondered at, and the attempt is any\nway made light-heartedly, which is\nsomething.\nBut I do wonder at the publishers.\nFirst I wonder, as I note what\nexcellent paper is used. But my spi-\nrits rise only to be utterly dashed again\nat almost everything else about what\nis, 1 believe, called the make-up of\nthe bock.\nTo begin with, there are many do-\nzens of large and small illustrations.\nInstead of being by one man they are\nby many men. The styles mix up and\nclash abominably. Is there no autho-\nrity in No. 10 Bedford Street that can\nprevent a blunder like that ? If ever\nHerbert Railton and Joseph Pennell\nillustrated a book together the thing\nwould have had some rhythm, some\nharmony; all would have been of a\npiece ; and of course you can set five\nor ten men to illustrate the same book\nIF you know how to order the designs\nto avoid a clash.\nBut here all through this volume 1\nsee the work of several well-known\nmen (whose names are not acknow-\nledged in the introduction or anywhere\nelse) : Brock, Herbert Cole, Gordon\nHome, .... and Railton. These are\njumbled together, chased into the pages\nlike frightened animals fleeing before a\nPampas fire; and, with these designs\nmade some twenty-five years ago, are\nmixed some imitations of the more mo-\ndern schools—ridiculous imitations; and\nthe fault does not lie with the young\nartists (who I am sure could do real\ngood stuff) but with the man who gave\nthe orders.\nImitations of John Nash are perhaps\nthe most fortunate; those of Lovat\nFraser are perhaps next best : but what\nis the matter with the publishers ?\nLook at page 29; pass on to page 33\nand then turn to 34, after which 39.\nThe design on page 39 is dated 1909\nand is a pretty thing by Mr. Cole, but\nfor all this it's close on twenty years\nlate.\nThe design on page 11 will do—as\nan attempt to imitate a modern effect—-\nbut what is any established publisher\ndoing, with laurels to lose if not to\ngain, what is he dreaming about, that\nhe doesn't know that imitation modern\nstuff won't do because really good mo-\ndern stuff is available ?\nThere are a hundred to two hundred\nexcellent young artists out of work, or\nwi h not half enough work to do, and\nwilling to work on a book like this if\npaid decently.\nBut a publisher may not want good\nmodern work\nAll right; but let him not attempt\nto palm off on the public wretched or\neven well attempted imitations of the\nmodern school. And let him never\nmix up his styles. Look at the design\non page 192 and that on page 248\nwith its attempt to be Nash-like.\nAnd, now that I have said what I\nthink of this bad direction at Dent's,\nlet me turn to a book of their's which\nis really excellent and all of a piece in\nthe way it has been produced.\n\nMODES AND MANNERS OF\nTHE NINETEENTH CENTURY,\nTranslated from the German of Dr.\nFischel and Max von Boehn;\nWith two additional chapters by Grace\n7 hompson. 4 volumes. Dent & Sons.\nPrice £2 2.0.\nHERE it doesn't matter that the il-\nlustrations are from different hands\nfor the essence of mode is in its change.\nBut even then the selection of the\ndesigns and their arrangement could\nhave easily been blundered. As it is\nthe whole thing is excellently well done.\nThe work appeared in 1909 in\nthree volumes and lacking a number\nof delicious plates. Now it is com-\nplete, and for the first time you get\nthe 19th century modes and manners\nin a practical and luxurious set of books,\nand I think that you will not get a\nmore likeable four volumes on this\nsubject for many a year.\nOnly a hundred years are covered\nin tnese four books. T his is a gua-"}, {"page_pdf": 51, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.51", "texte": "rantee that the thing has been dealt\nwith seriously, though you need have\nno fear that an excess of gravity in the\nwriting and pictures will send you to\nsleep. Max von Boehn has written it\nwell, and Dr. Fischel has selected the\ndesigns with apparently no other mo-\ntive than to please us, for page after\npage is a fresh delight; but as a matter\nof fact you get instruction thrown in\nextra ;—if you have this book you can\nbe sure of your facts, dates and all.\nAnd it is so much to be helped to\nknow which year it was they wore the\ncape you are looking at, and in which\nland ; and to learn who made the\ndesign. Each design has these three\nindications. The text is the easiest rea-\nding possible and is a mass of precise\ninformation at the same time.\nLet me specially recommend these\nfour volumes to every Little Theatre in\nEurope (1 won't waste my time attemp-\nting to recommend them to any English\nTheatre, for it is already for twenty\nyears now that they have proved that\nwhat they prefer is to obstinately refuse\nto listen to anything they are told\nabout).\nBut by one of the quick intelligences\nin each Little Theatre in Europe the\nvalue of this work will be caught up\nat once. They will know how to\napply the knowledge to be gleaned\nfrom it, and how to avoid blundering.\nHere are photographs of Offenbach,\nhands in pockets, eyeglass in eye, whiskers\npinned on and in plus-fours; of Bis-\nmarck and Pauline Lucca in 1865;\nof Ludwig II and Kainz; of Edward\nPrince of Wales : colour plates of pain-\ntings by Viktor Paul Mohn, by Feuer-\nbach, by Von Schwind, by Zorn which\nI will wager you've never yet seen;\nother colour plates of engravings or\ndrawings by Dev£ria, Danhauser, Beau-\nmont, Bruno Paul and dozens more;\nsome hundred and forty reproductions\nin colour of fashion plates from 1800\nto 1900 (and the authors give full\nmeasure and start before 1800 and\ncarry on beyond 1900) ; these plates\nby themselves are a banquet ; and\nbesides those you have the 860 black\nand white reproductions in half tone.\nWhy do I linger on the quantity ?\nbecause it is books which are full like\nthese that we need nowadays from\npublishers. Fair and square books not\nswindles.\nWhy this delight in the work of\nVon Boehn and Fischel ? because it is\nmen who refuse to bore us that we\nneed nowadays ; and, if these two told\nus of Germany in the 19th century\nand nothing but Germany we might\nbe bored ; but they have drawn from\nEngland, Germany, France and Den-\nmark, from America, Spain and Russia\nfor their information and designs, and\nmy only regret is that they have not\navailed themselves sufficiently of the\ninteresting material which Italy from\n1800 to 1900 had to yield them.\nMilano in 1800 was a place of inte-\nrest ; Torino too ; Napoli and Roma.\nBut then the work would have run\ninto five volumes; and besides, the\nauthors do not forget Italy altogether.\n\nSHERIDAN TO ROBERTSON by\nErnest Bradlee Watson. Humphrey\nMilford. Oxford University Press.\nPrice 25/.-\nMR. Watson continues what Mr.\nAI win Thaler well began with his\n44 Shakespeare to Sheridan\" in 1922.\nIt must be admitted that Mr. Tha-\nler had a more difficult task, but one\nwith more brilliant possibilities. And\nMr. Thaler illustrated his volume bet-\nter ; it had thirty-nine of the most in-\nteresting illustrations I have come across,\nmost of them new to us, and selected\nfrom the astonishingly good collection\nin the Harvard College Library.\nBut Mr. Walson has one clinking\npicture for us.\nHe starts his book by a frontispiece\nshowing the scales, knife and bond\nused by Edmund Kean in the 44 Mer-\nchant of Venice \".\nHow did these treasures come to\nleave England ?\nPerhaps I have not searched this\nbook carefully enough, but I cannot\ndiscover in it any reference to these\nscales, knife and bond. And as they\nare featured as a frontispiece I am\neager to know.\nBut if I want to know a number of\nother facts about the London theatre\nof the nineteenth century I can get the\ninformation here, so 1 am well pleased\nwith the book.\nI regret to find no reference made\nto Dr. Stahl's 44 Das Englische Theater\nim 19 Jahrhundert\", a book publish-\ned by R. Oldenbourg in 1914 and\nworthy of considerable attention ; and\nalso to find Mr. Saxe Wyndham refer-\nred to as Saxe, H.\nAnd I cannot but again regret, that\nso many of our modern scholars and\nstudents-of the Drama and the Theatre\nwill write such long books (this\none is 445 pages) and cover such\nlong periods as this one covers.\nIt is not of sufficient use to us:\nwhat we want (I shall ever repeat it)\ni 3 a small book, on a far smaller theme\nand a theme no one else has approached.\nNo one man can write the History\nof a hundred years of the English stage.\nA small book apiece by many scho-\nlars each on one item in that hundred\nyears would, I feel, be a hundred times\nmore valuable.\nRead that small book written by\nTalma's gardener Louette on the great\nactor. Louette is the vivid historian\nfor me. Or, if you wish for another,\nthe small book by Count Algarotti\n44 Essay on the Opera\" ; or De Ruber-\ntiss 62 page \"II Teatro Nazionale \"\nreviewed in these pages *n 1926; or\nG. C. Moore Smith s \" College Plays \"\nreviewed in this number.\nI want a small book about the Thea-\ntre at Trausnitz, another on the old\nOpera House at Bayreuth ; a third on\nSancta Stella the singer, a fourth on\nVerona the Scene-painter, a fifth on\nThe Lighting in the Vicenza Theatre ;\na sixth on the Seghizzi system ; a se-\nventh on the architect Selva ; an eighth\non the theatres of architect Ferdinando\nMorozzi. I want a history of that\nBook on Theatres by Dumont and one\non the collected theatre scenes of Lancia.\nNone of these books exists, and none\nexists on five hundred of such unknown\nmatters ; whereas over and over again\nwe are made to listen to the same old sto-\nries about \" The Theatre of the 18th\ncentury \", \" The Art of the Dramatist \",\n44 The Stage from Garrick to Robson *'\nand 44 The Tragic Acting of Mrs. Sid-\ndons \" and the eternal 44 Elizabethan\nStage.\nThe Historians need to make a new\nstart I should say,\nUse the old car if you must, but\nput in a new motor and steer along a\nnew road.\nIf we don't do something like this\nin Europe.,., and I wish it could be\nEngland to do it. .. some one in China\nor in Massachusetts will.\n\nLONDON by G. H. Cunningham.\nDevt & Sons. Price 21 /-.\nSTREET by street, in alphabetical\norder, London is laid down in\nthis book.\nThere are 806 pages and 70 pa-\nges of index. There are no illustrations\nand there are no plans.\nThe notion of the author is this\nto tell us about each celebrated house\nand who made it so either by buil-\nding it or by living in it. But we\ndo not get every house and every\ncelebrity.\nWe do however get about two thirds\nof the complete list in these closely prin-\nted 606 pages; the remaining third"}, {"page_pdf": 52, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.52", "texte": "you can fill in for yourself on the\nample margins.\nThe work deserved better of the publi-\nsher. It deserved a second editor who\nwould add to the list the missing third;\nit deserved to be in two volumes for\nit costs a guinea : it deserved at least\ntwo large plans of London and better\npaper and a less cheap-looking cover.\nA few theatric omissions I will men-\ntion, since the theatrical entries are\nwhat you will get the book for.\nTo begin with, Arthur Roberts lived\nnear Sir A. W. Pinero ; yet while A.\nW. P. is entered Roberts is omitted.\nGeorge Robey's house is entered: again\nI ask why not the as celebrated\nRoberts' ? I see no entry under the\nBoltons of either W. S. Gilbert or the\ntwo Irving brothers.\nCannonbury Tower, - we should\nhave learned that Weedon Grossmith\nand Tom Hesiewood once lived there.\nIn Church Row, Hampstead, H. G.\nWells is entered ; why not William\nRothenstein and George Du Maurier ?\nIf in Devonshire Street, Theobald s\nRoad the author of \" Illustrations of\nPasses of the Alps\" deserves mention\nas hanging out at No. 29, why not\nHarold Monro and his Poetry Book-\nshop ? In Gower Street is a certain\nRoyal College of Dramatic Art: it\ndoes its best, yet it is excluded.\nSir Christopher Wren lived at Hamp-\nton Court and you may not omit him\nyet mention that Michael Farady lived\nthere.\nEllen Terry lived for many years\nin the King's Road, Chelsea ; the fact\nshould have been entered; she also\nlived in Longridge Road for some years\nbut this is not to be discovered here.\nSir George and Lady Lewis dwelt\nin Portland Place was it not No. 88\nanyhow they are not in the list.\nAnd how is it there is nothing about\nLord Barrymore's remarkahle Theatre\nbuilt in Savile Row ? where do we\nfind a word about Squib's Auction\nRoom in the same street, in fact on\nthe same site ?\nSir Henry Irving lived at No. 17\nStratton Street, Piccadilly, but the fact\nis not noted here.\nTbe White House, Tite Street, Chel-\nsea is entered as having been built by\nWhistler •• the eccentric artist where-\nas it was built for him by E. W.\nGodwin: and it is some twenty-eight\nyears too late to go on calling Whis-\ntler M the eccentric artist *\\\nBut there are several hundred en-\ntries of theatrical interest, so you must\nnot suppose it fails us in that.\nThe author has given a good deal\ntoo much space to the dwellings of the\nheroes and heroines of fiction. \" Here\nBetsy Frump left by the 3.30 on Fri-\nday Jan. 14th 1809 in a Diligence to\nmeet Tom Crumpet. \" :\nWhich is all very well, but, as Gran-\nville Barker would say, I protest, oh!\nhow wrong.\n\nSAMPLERS, Selected and Described\nby Leigh Ash ton, 7he Medici So-\nciely. Price !7j6 net.\nTHIS delightful picture book will\nplease all students of design, and\nall ladies who have still retained an\nappreciation of the delicacies and intri-\ncacies of needle-craft,\n\" Samplers *\\ are rich in interest,\nboth historically and artistically, and in\nMr. Leigh Ashton's book there is re-\nproduced, in six colour plates and se-\nventy-two monochrome illustrations a\ncomplete series of English Samplers\nfrom the earliest times, with special\nreference to the older specimens. ...many\nfrom the Victoria and Albert Museum\nwith which Mr. Ashton is associated\nofficially, (in the Department of Tex-\ntiles) and also a representative collection\nof Foreign samplers, including the Ame-\nrican types.\nA study of these plates, with their\ninfinite variety of design and of stitches,\ncertainly leaves us with a respectful\nwonder at the capacities of those who\nwrought them, and so patiently stitched\nthese pious mottoes, and flowers and\nfruits and animals and birds and lords\nand . ladies, into squares of linen to\nthe glory of God and the delectation\nof their descendants for generations to\ncome.\nThe name of the seamstress is almost\nalways given, and so you too may find\na sampler worked by your great grand-\nmother here if you are curious and if\nyou get the book.\n\nTHE COURT MASQUE, A Study\nin the Relationship between Poetry\nand the Revels by Enid Welsford.\nCambridge University Price 25/-net.\nTHE author of this 407 page book\nwith an excellent 26 page index\ndisclaims the idea that it is intended\nto be \" an exhaustive treatise on the\nmasque\" and tells us that her chief\naim has been to interpret and to coor-\ndinate and that she has not tried \" to\nadd to the great wealth of detailed\ninformation and this I consider ra-\nther a pity.\nPersonally I enjoy hearing anyone\ninterpret for me a difficult subject: I\nshall always feel grateful to a lady in\nFlorence who used to lecture upon\nDante, for she gave me the only vi-\nvid notion I ever was able to get of\nthat immense artist Not reading Ita-\nlian sufficiently to enjoy the original,\nI tried to wade painfully through the\nhorrible translations—only horrible be-\ncause as no one can translate Dante\nthe effort to do so sticks in our throats\nas we read, breaks our simple sense\nof any rhythm we may have in us,\nand leaves us prostrate.\nThat is horrible.\nBut this lady made it all so clear:\nJ attended only one lecture because\nwhat I received in that brief three-\nquarters of an hour was so much 1\nfelt I could do with no more.\nEver since my thoughts, when tur-\nned towards Dante, have been sane.\nPreviously 1 heard of, and even saw,\nshelves which bent under some five\nhundred volumes all of which purpo-\nsed to coordinate and interpret this\nso-easily understood Dante ; — easily\nunderstood provided one was fairly\nmodest in one's mental appetite. To\nstuff food at the dining table is no\nstupider than to stuff at the literary table.\nI value Miss Welford's interpreta-\ntion and of course am ungrateful. I\nwanted to be informed of certain\nfacts, for which I am fast becoming a\nglutton.\nI wanted to know about Nicholas\nLani&re and I found but one entry\nwhich refers to him and there an end.\nWhat a number of excellent short\nhistorical booklets could be prepared\nby able students like Miss Welsfora ;\nand the number of these students is\non the increase, yet the booklets do\nnot appear,\nWere I an influence in Oxford or\nCambridge (this book comes from Cam-\nbridge) 1 would counsel young men\nand women always to avoid attempting\na big work on a subject covering seve-\nral nations, thousands of persons and\na couple of centuries. I would sug-\ngest that to take the life's work of a\nLani&re or a family like the Parigi or\na group like the Gelosi was quite suffi-\nciently difficult, and really valuable to their\nfellow-students and even to the wisest\nprofessors. 1 feel that students who\nhave learned so much from these big\nmen should dedicate a year or two of\ntheir time to at least one small work\non one small subjest such as I have\nindicated, as a return for all the things\nreceived from these masters.\n1 would suggest that a student\nshould attempt to do less and so per-\nhaps achieve more.\nI like so much that old and reliable"}, {"page_pdf": 53, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.53", "texte": "DESIGN FOR A SCENE FOR AN OPERA (Circa 1690).\nEngraved by Arnold Van Westerhout (1666-1728).\nPlate 6.\n\nI have been unable to discover in any books in my own\nLibrary whether Van Westerhout was a scenographer, for\nwhat operas he designed scenes, or for what opera this and\nthe other scene (Plate 7) were destined.\nMy prints are proof sheets pulled for the engraver and\nnot included in the book. But the designs were used in a\nsmall book measuring about 13 x K. 9, for I have one of the\nplates in duplicate folded up to that size.\nThe Theatrical books seem to ignore Westerhout entirely ;\n110 word of him in Professor Nicoll's '4 Development of\nthe »rama Bapst's 44 Essai \"or Ferrari's 44 Scenografia\nIn both these scenes the Scenographer is concerned with\n\" praticables \".\nIn the first soldiers raise their shields on their spears,\nand on these shields which form steps two heroes escape.\nEven today such a theatric trick could only be achieved with\nimmense difficulty.\nIn the second we see a practicable bridge over which a\nsinger on horseback passes. It is claimed that De Louther-\nbourg made the first practicable( bridge for Garrick's Richard III.\nBut this is early and the bridge in 4< Ercole in Tebe 1661,\nis still earlier.\n\nC.\n\nTHE MASK\n1928"}, {"page_pdf": 55, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.55", "texte": "DESIGN FOR A SCENE FOR AN OPERA (Circa 1690).\nEngraved by Arnold Van Westerhout (1666-1728).\nPlate 7.\n\nTHE MASK\ni 9 2 S"}, {"page_pdf": 57, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.57", "texte": "style which announced some excellent\nlittle brochure as a contribution to-\nwards the study of such and such a\nsubject; and 1 rather dislike a tendency,\nwhich today increases, of coming out\nwith a book proposing to be a final\ninterpretation of a vast subject which\nno amount of talk can exactly explain.\nSome student will surely be pop-\nping up shortly with a book called\n•• The Ocean : an interpretation \".\nOne shell of the Ocean is what I\nshould suggest as sufficiently difficult\nand more fitting to a student were I\nan authority at Oxford or Cambridge.\nBut 1 am always saying this: 1\nwonder if anyone is listening.\n\nANTON TCHEKHOV by S. 5.\nIfotcliansfzy. George Routledge &\nSons. Price 12/6 net.\n0 THE GENTLE ART. o\nIN a country like ours which has no\ntime to lose if it ever intends to\nget on towards a new Theatre, (and\nby that I mean a theatre peculiar to\nitself, and that again means a rare lot\nof systematical experimenting) are we\nnot making a very big mistake to gush\nabout those two extremes, the Russian\nBallet and the Russian Tchekhov ?\n1 almost think 1 have touched on\nthis before ; but as you haven't heed-\ned, let me go on again. To be eter-\nnally showing a gushing joy over the\nproduce of another people, neither\nmore stupid than we are, nor I be-\nlieve, cleverer, will not bring us the\ngood will of our own men to whom\nwe look for Ballets and Plays and\nOperas and the rest.\nWe clear Arcos out of England;\nduring the same week we insipidly en-\ncourage the Russian Ballet to land at\nDover, and we publish more and more\nbooks on Tchekhov and by Tchekhov,\nPersonally 1 delight in the Russian\nBallet and I enjoy Tchekhov ; and\nthough I'm never quite sure which of\nthe two leaves me the more depressed,\n1 would not have missed either.\nBut though Russian artists and Rus-\nsian pei formers interest me, though I\nam always freshened when I come\nacross something different in a Thea-\ntre, be it in Berlin, Milano or Ame-\nrica, 1 have enough common-sense left\nalways to remember England, to re-\nmind myself that our business is the\ncreation or reestablishment of the En-\nglish stage. And by that I mean a stage\nfreed at last from the old purposes ; not\nto make money, not to flash into publi-\ncity, not to intrigue and generally to\nruin the profession and the art, but\nto fix new purposes; to recover its\nvigour, and then to make this particu-\nlarly barren corner of our English gar-\nden blaze again with the red, the blue\nand the white of our old English plants.\nIt is because Russian Ballets, Rus-\nsian Tchekhovs, Russian producers, set-\ntled in London and Paris, together\nwith the rest of the Russians, are dis-\ntracting the attention of a certain sec-\ntion of the English public from the\ntruth, which is that we English can do\nsomething quite as good for our own peo-\nple, that I have set my face against the\nForeigner and his pretty Foreign goods.\nI won't find fault with this book\nby M. Koteliansky because it's every\nbit as good as some of the books\nwhich are now flooding the English\nmarket on William Blake. Kotelians-\nky's book on Tchekhov is only twenty\nyears late ; the books on Blake are a\nhundred and twenty years late.\nBut I suppose that too is all right,\nsince it is considered right to starve\ndown English artists, without conside-\nration whether it is economic to do so,\nor particularly brave. Should you sup-\npose I am exaggerating, please be mo-\nderate enough to realize that it is pos-\nsible 1 understate the case.\nThis book on this Russian writer\nis one of the very best. It's section\nentitled M Theatrical \" written by Thea-\ntre people makes out Tchekhov to be\nrather unpractical. Theatre people too\noften try to convey this impression of\nothers, believing that they alone are\nreally practical,\nThe essay by Stanislawsky I dislike.\nIt is a weakness of this fine actor and\nexcellent stage manager to pretend off\nthe stage as much as did the old actors\nwhom he rather despises, His parti-\ncular role off the stage is to show\nsurprise when a man of intellect like\nTchekhov utters an illuminating com-\nment on the workings of a play,\nStanislawsky would rob the words\nand the wisdom of all their light by\nthis sudden show of dogged, open-\nminded, earnest surprise—puzzlement,\n\" 1 felt myself a little man in the\npresence of a celebrity. 1 wanted to\nbe better and wiser than I was made\nby God \" he writes, and we can add\n\" Fudge \", for he follows up the pre-\ntence by a show of surprise: he is scep-\ntical of everything this Tchekhov says.\nHere we have the ingrained insin-\ncerity of the stage asserting itself under\na mask of innocent wonder and doubt-\ning the very Gods.\nNo, no, no,— the theatre all over\nthe earth has to revise its rules, and\nthe sooner it stops pretending off the\nstage the less vain it will appear and\nthe more real it will become,\n\nnRUDY\\ An Intimate portrait of\nRUDOLPH VALENTINO. By\nNatacha Rambova (his wife). Pub-\nlished by Hutchinson & Co. Price 10 6\nNet.\nTHIS is one of the astonishing re-\ncords ; it ranks with Casanova's\nMemoirs for its astounding qualities,\nalthough in no way resembling those\nmemoirs.\nIn fact it is exactly the opposite of\nall that is Casanova.\nIt is badly written, while Casanova's\nwriting is admirable.\nIt is about an Italian of to-day, and\nis all rush: Casanova, an Italian of\nother days, was all speed.\nIt is about the after life : Casanova\nvery much about the life on earth.\nIt deals with Theosophy and Casa-\nnova's doesn't. Casanova wasn't pretty\n.... Valentino was pretty.\nBut it shocks us as Casanova did.\nIn this, this resembles that .... in this\nalone. We are shocked for we be-\nlieve the whole thing to be a tarriddle,\njust as we once believed and probably\nstill believe Casanova's prattle to be all\ninvention.\nBut why should we so believe, why\nall this scepticism? for Valentino's mes-\nsages (some 78 pages long) sent from\nthe other world may be quite real\nthings. If you don't think so, some do.\nDo I, you ask me ; I am not here\nto talk Theosophy and the after-life\nwith you—l am here to review a\nbook.\nBe fair, accept this book as all truth.\nWhy should you not—for assuredly if\nyou go for it, and laugh at it, you will\ndo wrong.\nWhy you will be wrong I cannot\nsay, but so it is.\nAre you then to believe it ? you are\nfirst to read the book, reading with the\nconviction that its true, every word,\nand then, according to your tempera-\nment, having paid your money take\nyour choice.\nIt's nothing of a story; compared with\nthe life of Chaplin for example,—his\n• Life 'to come, when that does come\nto be written, it will not show up well.\nFor presumably we shall hear all about\nChaplin's spirit; by that I mean his\nway of work, about his firm persuasions\ntoo, about himself.\nHis collars, furniture, written of;\nwhere he went and when he left, and\nif he travelled in three coupees cr in\nthe luggage van, these things dont\ninterest us; we want the spirit of the\nman. It's that, isn't it ?\nAlas, all we get of Valentinos' spirit\nis a ghost of a man. That's not for"}, {"page_pdf": 58, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.58", "texte": "us I take it, though it will add per-\nhaps to our astonishment.\nYet, may be 1 am unfair, and what\nis more, irreverent; may be this ghost\nis a spirited thing, vivid, all that's good.\nI'd say it was with more conviction,\nwere I more convinced.\nI am not convinced by this book.\nI should call the book a libel and yet\nI didn't know poor Valentino. It's a\nwretched book as a book.\nCharles Lamb was a writer, and\nwhen he wrote of Roast Pig or Mun-\nden the actor, or such-like trifles, he\nwrote ever so well, but he was wise\nenough not to write about the after\nlife, or upon Heaven or Hell.\nThese he left to William Blake,\nwhose capacity was greater and who,\nwith these as theme, wrote them down\neven as well as Lamb wrote down pig.\nAnd Shakespeare touched upon spirits,\nwhite and grey, and armed from head\nto foot.\nHad we seen what he and Blake\ncould see, it would have much amazed\nus .... very likely .... very likely .... But\nwithout seeing we feel this—that these\nmen, these writers, were able to get it\nover, and still are able so to do. We\nthrill, by jove, how we thrill.\nWhat is art ? What on earth is\nart ? What in Heavens name is art ?\nI will explain precisely.\nIt is precisely not what this book\non poor Valentino is, not what it\nmight lead you to suppose, and will\nlead 8,000,000, people to suppose it\nto be.\nTouching these said eight million,\nthey are good people as you know :\nsee .... they pay for their art; Half a\ndoller or four lire or more, as much\nas ever they can afford they will give\nit in exchange for some art. Valen-\ntino's, Negri's, Pickford's and the ever\ndelightful Douglas Fairbanks' art.\nThey are good people these 8,000,000,\nI daresay they know more about art\nthan anyone who will read this review.\nDo remember they pay for their art:\nand they enjoy their art, they know\nwhat they like, and they more than\nlike this art, they love it; do recall how\nthey love it.\n1 have heard the Cinema spoken of\nas being still in its infancy. So what\nthey love is a sort of baby art.\nRather pretty of such a big crowd\nto be so attracted by such a little tot\nof a spirit, for it's the spirit of this art\nI lake it, which is baby still, not its\ncorpus, which admittedly is a bit too\nbig to be at all baby.\nOne can believe in baby after all\nafter a11... \" by heavens he echoes me\".\nWhen age and all has sickened us,\n(why it should do so I have not yet\ndiscovered and never expect to), when\nexperience, talk, arts, science and the\nrest of the wisdom and of the doings\nof man and woman has rendered us\nutterly sceptical, it is a big happiness\nto have a baby art of our own,. .\nall our very own which we can\nlove.\nA place we can take our dear friends\nto without fear of embittering them, a\nreally innocent place, where all those\nwho travail and are heavy laden, can\nfind rest.\nThat place is the Cinema.\nEvidently it is the Cinema. Once\nupon a time we went to a church to\nfind peace and rest and balm for hurt\nminds and then, (so I am told and its\nthe Cinema tells me so) the Church\nbecame a hard deadly parade, a lec-\nturing place, cruel to the outcast. I\nwonder if the Cinema is quite right\nthere.\nIt can't be very wrong in itself if it\nattracts and warms eight or may be eighty\nmillions of people yearly.\nThere must be something in the Ci-\nnema, \" yes—eighty millions you\nreply, and you add A vision of ci-\nvilization's end \".\nBut that will hardly wash; Civiliza-\ntion will also go on, militarization too.\nWhat may perhaps come on is life.\nThats a point anyhow, it may. *Go\non ' you say ; ! repeat * come on\nAnd through the Cinema ?\nI pause at my own question to ask\nyou what do you think ?\nRead this book on Valentino, and\nyou will probably decide one way or\nanother.\n\n7HE \" PHILOSOPHE \" IN THE\nFRENCH DRAMA OF THE 18 TH\nCENTURY\" by Ira O. Wade.\nPrinceton University Press. U, S. A.\nMr. Humphrey Milford, London\nPrice 7/-. net.\nof the Elliot Monographs, this\nbook of 143 pages in its paper\nwrapper deals with a subject not so\nvery often treated with such tho-\nroughness as that which Mr. Wade\nreveals.\nA careful bibliography completes a\nvery scholarly volume, and we actually\nbegin to have a certain interest in the\nPhilosophe as he was known to those\nwho lived with him in the 18th cen-\ntury.\nThen he fades out, and our interest,\nwith some gratitude added to it, is\ntendered instead to Mr. Wade.\n\nEUGENE O'NEILL by Barrett H.\nClark. Macßride & Co. Neu) York•\n(Price not given).\nO'NEILL is the son of James O'Neill\nthe actor-manager. James was'\nalso a maker of plays.\nEugene. has been an actor. He has\nalso been two years at sea and\nwas in business. His health broke\ndown, and, while getting better, the\nnotion of writing plays came to him.\nHe is forty years of age.\nAt the age of thirty-five he had\nfound that \" happiness is a word \",\nand believed that he perceived it\nhidden somewhere in tragedy.\nAnd so we may note that O'Neill\nhas put himself a most difficult task\nthe most difficult in this remarkably\nfalse age.\nTo smash up the world hardly seems\nto me to be as necessary as Moscow\nis reported to believe ; but to smash\nup that barred door which is guarded\nby prejudice against all arts and all\nthe artists is something that has to be\ndone to balance things a bit better.\nAnd it won't hurt anyone : it will\ndo the reverse.\nI hope O'Neill will be writing when\nthe door is down.\n\nMILANO VECCHIA by Otto Cima.\nFratelli Treves; with 50 illustrations.\nPrice 32 lire.\nMILANO VECCHIA or Old Milan\nis one of the most delightful of\ncities in Europe not so much for its\ngreat age or the doings and people of\nits earliest times, as for its life during\nthe early part of the 19th century.\nAnd I seem to find this, the Na-\npoleonic part of the old place, always\ngay and lively on revisiting it afresh.\nAt that time the Teatro della Scala\nwas but young, the building having\nbeen begun under the architect Pier-\nmarini in 1776, and inaugurated in\n1778 on August 3rd.\nIt cost 1,000,000 lire and was the\npride of the Milanese, rich and poor\nalike, who numbered at that time about *\ntwelve to thirteen thousand citizens.\nNot bad, that sum of a - million lire\nthen ; for nowadays, out of many\nmillion people, we can rarely collect\nfrom the very richest of them as much\nas that, and it takes three times as\nmuch to build a reasonable sized\nplayhouse.\nLa Scala was unreasonably big and\nbuilt to suit the tastes of the best\ntheatre-goers of the age. It was the\nlargest theatre in Italy, and that meant"}, {"page_pdf": 59, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.59", "texte": "in the world. It is assuredly still one\nof the very largest and yet cost under\n£50,000 to build.\nIn Old Milano as in Old London,\nhow many good things of that kind\nwere possible that seem to be now no\nlonger possible.\nWhy do we grow less and less\nable to do even the possible ?\nIt is quite stupid and therefore quite\ncharacteristic of the human mind, that\nthe good things of any time should\never be allowed to decrease. We\nshould preserve the old while estab-\nlishing the new good things. Although\nthis is acknowledged to be the most\nsound way to proceed, it is acknow-\nledged when too late. Thus we build\na new city in the very heart of an\nold one ; a most ridiculous proceeding,\nwhen we could easily preserve the old\none intact and let it remain the heart\nof the new one.\nMilano in no way likes to be dif-\nferent from her confreres ; and if they\nmust and will be stupid well, says\nshe, I will be stupid too.\nThat, after all, is how we get the\n1800 Milano of which I am so very\nfond: but it wouldn't have done any\nharm to have kept the 1700 city as\nit was and spread a wing during 1800,\nand be spreading another wing this\ncentury.\nThis is what you will be apt to\nfeel on reading Signor Cima's excel-\nlent, well illustrated record of the city\nwhich John Evelyn called 44 a sweet\nplace \" and which Stendhal adored.\n\nSPENSER by Emile Legouis. J. M.\nDent & Sons. Price 61.\nTHIS book on our most noble drea-\nmer and poet Mr. Edmund Spen-\nser, follows close upon the heels of\nProfessor W. L. Ren wick's fine book\n44 Edmund Spenser, An Essay on Re-\nnaissance Poetry but was written\nbefore the Professor's book appeared ;\nso it follows it so far and no more.\nHow strange at any time (it some-\ntimes seems) for anyone to write a\nbook about one who wrote books and\nsang songs. For the songs of Spenser\nhave barely reached our ears. Have\nyou a Spenser in the house ?\nWhere is someone who will sing\nthese songs to us again ? for if no one\ncomes to do that, I doubt very much\nwhether the world will ever hear them.\nNo one acts Shakespeare well,\nhardly anyone; for to say that Shake-\nspeare is acted is to say that all\nEngland knows his songs, his sayings,\nand has caught his way, ...which would\nbe utterly untrue.\nAnd since no one sings Shakespeare's\nsongs no one is going to bother about\nSpenser.\nNow ...admit it ...you can't quote\nten consecutive lines Spenser ever wrote.\nSuppose we have a volume in the\nhouse ; we pick it up, we open it,\nwe read, and we see before us troops\nof lines drawn up at attention not\nvery attentive are we, for ail we hear\nis know been show misween\nseen sphere unseen heart\nappear. Not a ghost of a fault any-\nwhere ; all veiy trim and a quan-\ntity of fairies occasionally a real\nperson.\n44 Dan Chaucer, 7v ell of English undefyled\nOn Fame's eternal beadroll worthy to be\n[fyled\"\n44 Thissay M. Legouis, 44 was\nnot idle praise \" ; but he does not as-\nsure us that it was not bad poetry.\nAny of the Sitwells can beat it\nhollow, it seems to me. And Spenser\nloved Chaucer passionately and was,\nas the author and everyone else tells\nus, enamoured of old English verse.\nWell, this passion for E. W. Spen-\nser is, I'm thinking, but wishy-washy\nstuff.\nWhen in Eclogue VI,BI he apostro-\nphises his great master Chaucer, he\nsimply fails to touch us. He fails,\nI should say, to touch me. Whereas\n44 Come away come away Death \"\nfive words of Shakespeare's singing,\nand the dart is in us.\nSpenser winds up his two verses to\nChaucer\nm\n441 soon would learn these words to wail\n[my woe\nAnd teach the trees, their trickling tears\n[to shed *'\n44 Wailing woe \" and 44 trickling\ntears \" ! Why not 44 griping grief \" and\n44 doleful dumps\" at once and have\ndone with it ?\nAnd again,\n'4 Who wilt not mercie unto others show\nHow can he mercie ever hope to have \" ;\nWhy even 1, who cannot write a line\nof veise, know enough to have taken\nEdmund aside and said to him, 44 Boy\n4 hope to have ' simply will not do\nSpenser seems to have said some\nordinary polite things wi hout any feel-\ning, and in rather an ungainly fa-\nshion : and as he was so ungainly,\nthe Ervines of the day said 44 Come\nlet us praise him he's poor but\n'twill save us from being forced to\nspeak the truth which is that,\nname him not is the better poet \".\nBut I am sorry for Spenser. He\nwas a great fool and relied on Pa-\ntrons. They let him down. I hate\nto use such a phrase as let him down\nabout a so well plastered poet but it's\ngood enough for the Patrons.\nAgain, how far wiser Shakespeare.\nGoes in for some public theatricals\ngets shares or half shares cr some-\nthing in time remains independent\nof these Patrons of the Arts.\nM. Legouis tells us that Spenser in\nthe Fairy Qneen 44 merely followed in\nAriosto s footsteps\" but this is not\nquite exact; 44 he fell into one of\nAriosto s footsteps \" would have been\nmore correct.\n\nEVER YMAN LIBRAR Y (Dent) <0\nand THE WORLD'S CLASSICS\n(Oxford University Press).\nThe Life and Letters of John Keats\nby Lord Houghton. Dent. Prieet Ij-net.\nThe Brothers Karamazov by Theodor\nKikhailovitch Dent. 2\nVols. 21-net each volume.\nLesser English Comedies of the 18th\nCentury. Oxford University Press.\nPrice 2/- net.\nThe Adventures of Captain Single-\nton. Defoe. Oxford University Press\nPrice 2 - net.\nIwas sorry to hear, from an unim-\npeachable source, that this Everyman\nLibrary does not pay. The profit is\nvery small, I was told.\n1 gather too that book publishing\non the whole does not pay,\nI can sympathise with those who\nfabricate and distribute these things of\npaper, ink, etcetera, because I have\nwritten a few books (perhaps you\nknow them) and it's true they have\nnot sold at all well.\nPerhaps you know my books by\nname. 44 Sixpenny Humming Birds \"\nis perhaps my best: in that work I\nshow how any really genuine Bird with\na Hum can be limed for less than a\nshilling, 44 Pop goes the Weasle \" is\nanother, and in this, still dwelling on\nmatters of finance, I discourse on how\nthe money goes,\nBut these books have never paid\nme any profit. I gave more than a\nyear to writing each, and they have\nbrought me in £97 and £ll6 re-\nspectively. One can't call that making\nit pay and one cannot live upon £ 1 16\na year in any land of hope and g!ory.\nPerhaps there are too many books\n\n(1) twiner recently issuea volumes m\nthe Everyman series are Renan's 44 Life\nof Jesus Harrison Ainswonh's 44 Admi-\nrable Crichton \" and a funny 44 Book of\nNousense \" by several authors."}, {"page_pdf": 60, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.60", "texte": "produced by the publishers nowadays.\n1 am sure that there are too many\nindifferently produced.\nThe Everyman Series is wonderful\nin several ways, but it is not up to\nthe Tauchnitz mark; yet both of these\neditions pay no authors' fees and so\neach has a fair margin to expend on\npaper, printing, binding and the like.\nThe Tauchnitz books are paper\ncovered, and, so far as 1 have\nheard, no one objects to buy them\non that score. Most book buyers\nprefer an ordinary little book with\npaper covers.\nIf Everyman ....I mean the one who\nneeded a guide ....had not been such\na guffin, he too would have had his\nLibrary bound in paper covers. He\ncould then have afforded to use a\nbetter paper for the text instead of\nthe paper which is used and which\nis disagreable. It is a paper one as-\nsociates with cheap editions of the\n44 Decamerone \" or the other forbidden\nbooks of the Victorian era, when\nnothing first-class could be afforded by\nthose publishers.\nThe binding is gay and neatly done.\nBut after being critically examined it\nmust be admitted to be one of the\nfamous the most famous perhaps\nseries of reprints. It shares the palm\nwith the World's Classics of the Oxford\nUniversity Press, which has only issued\n350 volumes whereas Everyman can\nboast over 800.\nBut the Oxford Press uses a much\nfiner paper: and yet there I am\ntoo quick. In their volume of 18th\ncentury Plays the paper is excellent,\nbut in its 44 Captain Singleton\n(Defoe) it's paper is almost as bad as\nthe Everyman paper.\nThe Everyman is evidently managed\nbetter; there is an orderliness about\nthe whole series which I admire. Bad\nor good, they are consistently so ;\nwhereas the series of the Oxford\nUniversity Press has an uncouth way of\nchanging its mind. The paper, title-\npages, cover design, publishers' mark,\nall hop about as though the publishers\nhad never quite come to a decision as\nto what qualities the volumes were to\nhave and to hold.\nOf the contents of these popular\nlibraries there can be no two opinions,\nfor each contains more or less what\nthe other contains, and both fail to\nissue some of the most enchanting\nbooks ever written.\nYet no obstacle stands in their way.\nThe copyright is lost to the authors.\n1 have three books in mind which\nwould help very considerably to in-\ncrease the profits of both series .... or\nto be more sincere, which I would\nlike to get for 2/-.\n1 suppose \" The Brothers Karama-\nzov \" by Dostoevsky (Everyman) will\nprofit Dents far more than the five\n18th century comedies will profit the\nOxford Press. And I suppose Lord\nHoughton's Life and Letters of Keats\nwill sell quite reasonably well.\nFor my own part 1 find both the\nLife and the Letters dull, and the\nwork by Dostoevsky, though not dull,\nis intolerably long: it is over 800\npages, and by Jove, how gloomy.\nThe 18th century plays are quite\nentertaining, but the book of books,\nin short a real book, is 44 Captain\nSingleton\". It is not because of\nOxford but solely because of Defoe.\nHe utterly chases Dostoevsky off the\nfield. It is a world and many lives\nwe discover through Defoe; we only\ndiscover a rather dusty corner of a\nprovince in Dostoevsky.\nThe Oxford Press might have done\nsomething more for this Englishman\nthan merely reprint his text and insert\nan awful portrait of him as frontispiece\nin brown and green ink. It is an utter\nwaste of money which could have been\nspent far better on a map showing us the\nwanderings of the Captain and William\nthe immortal William. Mr. Watts\nDunton writes a Preface in which he\nsays that Mr. Ryder Haggard's *4 King\nSolomon's Mines \" is 44 more poetically\nif not more picturesquely, told \".\nKing Solomon's Mines is all right\nbut not as we say the rain is right,\nand Defoe is as right as rain.\n\nTHE HOUSE OF SATAN by\nG. /. Nathan. Knopff.\nLONG ago should this book have\nbeen reviewed for it is two years\nsince it reached me.\nHad I a reason for delaying ? Yes\nassuredly I had a reason, and it was\nto see if it would keep. It keeps\nright enough.\nI suppose all the other bottles were\nsold long ago, but you should make\nsure before you lose a late chance or\nbefore it becomes too late. For this\nis full of good things, this bottle of\nNathan.\nNathan is one of those terrible\npeople who attack the American\nTheatre until it be attacked by the\nEnglish, when he ups with their heels\nand he smothers their squeals and the\nAmerican Theatre is made shining\nand splendid by the only stirring\nchampionship it ever gets, In short,\nNathan may attack the American\nTheatre, we may not.\nOr rather, those of us who hate\nand straightforwardly attack its imita-\ntion European Drama and methods\nare allowed to pass and go on with\nour talk ; it's those who under-handedly\npropagate the notion that all American\ndrama is vulgar without manners\nthese, and very rightly these, are the\nfellows Nathan goes for. He asserts\nthat \"the English have gone so shrewdly\n(kind word) about this underhand\nbusiness that they - have converted all\nthe American critics to their point of\n••\nview ,\nHe then shows that in the English\ndrama is just as much vulgarity, and\nthat the worst of manners are revealed\nby most of the characters.\n•• But Nathan is down on everything \"\nis what I hear said, and it's quite\nfalse. He is quite clearly for as many\nthings as he is against others.\nHe distinguishes between Stanislavsky\nand Danlshenko; while praising the\nformer he finds that \" Dantchenko is\na talented theatrical director but God\nis against him \".\nOf the theatre he writes: \"a\nTheatre must be a theatre even\nbefore its curtain goes up on drama\nDoesn't a sentence like that stamp this\ncritic as one of the very few dramatic\ncritics of sense living today in the\nworld? Can we hesitate to trust such\na man for a moment ?—7 he reply\nis \" 1 never heard of him\". So there\nwe are : shout a bit louder, Nathan.\nOne of the most admirable of Na-\nthan's essays is upon the performance\nof Hamlet in modern clothes, wherein\nhe speaks wise words of a work of\ndramatic literary art as compared with\na work of theatrical art.\nBut he speaks his wisdoms so vi-\nvidly, never letting the reader go to\nsleep; and this is such a blessing be-\ncause a whole book of wise theatre\ntalk can easily become a bore.\nBut if a whole book by Nathan is\nenjoyable, how very much more so\nmust be his regular columns which\nreach the New Yorkers regularly\nthrough the press. 4\nI am unaware if this critic writes in\nany other Journal than in the M Ame-\nrican Mercury \"t but for the sake of\nthe good health of the New Yorkers\n1 hope he does; and if any reader\nof 44 The Mask \" hasn't two or three\nof Nathan s books, the sooner he gets\nthem the better. It's quite easy now,\nfor his publisher Alfred Knopf has a\nLondon branch, (38 Bedford Place,\nLondon), and 1 advise you to make\nhaste and write for this 44 House of\nSatan \", and, unless you have it already,\nfor his 44 Land of Pilgrim's Pride \"."}, {"page_pdf": 61, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.61", "texte": "Yes, on second thoughts it is im-\nportant to say this, for, while we sup-\npose you to be a purchaser of books,\nwe often discover you are not. You\ntalk of Nathan and yet have\nnever read one word of him.\nWhy not do that ?\nYes, on third thoughts it's quite\nimportant to have said this.\n\nTHE MUSICAL QUARTERLY.\nVol. XIII. No. 2. April 1927. G.\nSchirrner, New York•\nTHE STORY OF MUSIC by Paul\nBekker- Dent & Sons. Price / 0/6.\nLUDWIG BEETHOVEN'S PI A-\nNOFORTE SONATAS. W. Beh-\nrend. Dent & Sons. Price 6/-.\nIT is strange to realize that before\nthis queer century can be brought\nto admit that a great artist is a great\nartist, it has to be flattered by being\ntold that he has a number of bad\nfaults.\nWhy the critic, a man of parts as a\nrule, troubles to leave the artist's side for\na moment to go over and chat confiden-\ntially with the people who don't un-\nderstand, don't want to understand, and\nwho deserve to be left without under-\nstanding, is not clear.\nWe rather enjoy seeing when one\nof the lesser toadies is in the posture of\nlicking the boots of Mayfair or the\ntyres of an automobile; but when the\nexcellent Edward J. Dent strolls across\nand is seen chatting amiably with the\nmugs it is a little disheartening but\nis worth consideration.\nWhy does he do it ? why do\nyou do it ? why do I do it ? We\nhave all time to think over the answer.\n1 for one cannot find a reply satisfactory\nenough.\nBut the fact remains that Mr. E. J.\nDent recently addressed himself to 44 a\nyounger generation \" and said that he\nadmitted that Beethoven wasn't all\nthis and all that that the man had\nquite a lot of faults...\nI won't attack Dent : he has a rea-\nson for feeling as he does. I haven't\nfound that he very often bothers about\nthe mugs; I don't attack any younger\ngeneration, for it remains yet to be de-\ncided what is a younger generation.\nIt would seem to be 44 a whole body\nof persons born about the same time \" ;\nand I suppose that by now we are\nquite clear as to the triviality of most\n44 bodies of persons \". If a whole body\nbe persuaded (without outside persua-\nsion) of the perfections of common sense\nwell and good ; but they never are.\nOnly a firm personal persuasion can\nhelp to 41 remove mountains and\n44bodies\" are unfortunately quite without\nthis 44 firm persuasion \" of their own.\nSo that Dent's reason for conside-\nring this whole body of persons and\nsaying that he agrees that Beethoven\nisn't this and wasn't that is puzzling.\nHis article appeared in the 1927\nApril number of 44 The Musical Quar-\nterly \", a number dovoted to the life\nand the works of Beethoven and well\nworth getting.\nAnother useful but not too well ar-\nranged work is the 44 Katalogue der\nInternationalen Ausstellung Music im\nLeben der Volker, Frankfurt am Main,\nby Dr. Kathi Meyer, with its 340\npages of text and its 59 plates.\nYou can get it by writing to the\nprinters, Hauserpresse Werner U. Win-\nter, G. M. B. H. Frankfurt A. M.\nLess useful is Paul Bekker's 44 The\nStory of Music \", whereas William\nBehrend's book on Beethoven is inte-\nresting because he does not fail to tell\nus a great deal about the man; small\nfacts, not surmises, as he tells us all\nhe can about the music he was writing\nwhile these things happened.\nThe facts have some connection\nwith his work, but exactly what, no one\ncan quite say. You are an artist; you\nare writing verse; your cook brings up\nthe coals ; you are not troubled by this;\nshe frowns or she doesn't; you have\neaten a poor breakfast; the coffee was\ncold ; or you have slept badly ; or it\nis raining. What do these small facts\nmatter ? They do matter, but do they\naffect your verse ? I will leave you to\nthink it over. It will take you some\ntwenty-five years to come to any de-\ncision... and then you will decide as\nI do.\nBeethoven. Let us listen when-\never we can to what he wrote and\nthank the stars for it and say nothing ;\nand get home and again thank the\nstars ; and so go listening on when the\nsounds have died out and be as grate-\nful as we can.\nBut never talk about Beethoven ;\nnever persuade the silly world about him.\nThere is a sensible world around\nus; let us always try to remain in it\nand with it: it is densely populated.\nThe silly world is, and always has been,\na monstrous fat clique. And the new\ngeneration will (unfortunately) see to it\nthat this clique is kept ever fresh and\nclaqu£.\n\nWILD HONEY by Frederick Ni-\nven. Dodd, Mead & Co. (No price\ngiven),\n44 W/ILD Honey\" is nothing theatri-\nVV cal, but is a tale of a tramp in\nBritish Columbia by men who had to\ntramp, not dilettanti. 41 There's no\nhurry—there's lots of time \" is the\nrefrain. 41 C'& piu tempo che vita \"\nas the Italian puts it.\nFrederick Niven is one of the tram-\npers, and two queer fellows, Hank\nand Slim, are his companions. They\nride in, on and under freight-trains,\nsleep where they can, and do not fall\nout. They carry a frying-pan ; they\nmeet all sorts of people, but they\nseem to prefer to be alone. They\nwalk on without introductions. A tra-\nveller de luxe, even though he tramp\nit, has those introductions, and enters\nin his 44 journal \" after a long day's\ntramp, 44 reached Val d'Elmo mca at 10\nat night : was glad of the hospitable\nbed and the good will offered me by\nthe Baron del Monte ; after I had had\na refreshing wash I descended to the\ndiningroom where a dish of eggs with\nartichokes and a salad with some cold\nfowl soon revived me;—a bottle of\ngood Bruciatto completed the feast\nNot so with Slim, Hank and\nNiven.\nAnd it is the utter absense of all\nhospitality which renders the book so\nwell worth reading. This first of all.\nAnd then there are some 4 pomes \\\n\" Sceptre and Crown must tumble down\nAnd in the dust \"\nand when Niven starts quoting one\nof these 4 pomes ' on the huge slope\nof a mountain and Hank implores for\nsome more and gets a few lines by\nheart and goes off to say them over\nto himself—and not a soul to be met\nwith for miles and no hospitality to\nbe met with for years, we get to a\nland, a people, not easily come to, not\noften seen. And there is much that\nis amusing in the book. Yet how it\ncan emerge from so much that is de-\nsolate is something I wonder at.\nWell, it's a tale of the fryingpan,\nsure enough, and of the very edge of\nthe fire.\n\nTHE GRASSHOPPER and other\nStories by Anton Chekhov. Price\n2/6 net 0).\nTHE BETROTHED by Alessandro\nManzoni. Price 2/6 net. Both is-\nsued by Stanley Paul & Co. The\nInternational Library Series.\nTHESE Russian stories are gloomy,\ntragic but gloomy ; and they are\ncomic but wistful; pathetic but misty;\nand so often interesting when you can\ndodge the gloom; well printed, well\n\n(i) See also The Mask, pag. 40, vol.\nXIII, 2927."}, {"page_pdf": 62, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.62", "texte": "bound, light to hold in format; but\ngloomy and grey is the way of telling\nthem. Not that all Russian things are\ngrey and sad,—witness Arcos and the\nother Russian Ballets.\nWe suggest to the publishers that\nthey bring out in this agreable edition a\nvolume of Pushkin's tales just to show\nus all how the Russian can write when\nhe likes, ....when he is not pining to-\nwards Revolution or spying on his\nhosts. For Pushkin is what is still called\nin English very much the gentleman.\nBut that 1 had seen 44 The Be-\ntrothed \" as a film I should have\nenjoyed it as a novel; as it is I stop-\nped after thirty pages of it. I could\nnot go on: for the Film has quite\nspoiled the book of the words for me,\nand I am not surprised that the cu-\ntest authors refuse permission to the\nCinematograph to popularize their plays,\nnovels and stories for it assuredly chea-\npens them. This 44 Betrothed \" is an\nexample of what I mean. I was\nhaunted by the film pictures and, it\nseems to me, I shall never be able to\nread any more of this masterpiece.\nAnd if witnessing a Romance like\n44 The Betrothed \" as a film can pre-\nvent others reading it as it prevented\nme, it roust prove in time very bad busi-\nness for the booksellers and authors.\nThe Film stamps its pictures into\nour brains; like jazz music it gets\nthere. And the Film picture and the\nauthor's picture are seldom the same\nthing. It is like reading our best\nbooks to the accompaniment of a\nnumber of illustrations: these illustra-\ntions, say what you will, are not liked\nby men who are good readers.\n\nMAGAZINES.\n\nQOME of the most interesting En-\nO glish magazines — those held to\nbe exceptionally good — do not reach\nus, for they contain very little about\ntheatrical things.\nBut there cannot be a very much\nbetter magazine published in London\nthan the \" Monthly Criterion 9\\ and\nthis seems to be increasing in strength\nwith every number — and I am told\nthat the sales are very good.\nIts January Dramatic Chronicle by\nF. S. Flint is excellent, and the \" Flo-\nrentine Journal \" by Arnold Bennett is\nespecially readable by those of us who\nhave known Florence, but, for those who\nstill live there, it can not be particularly\nlively.\nTo me it lost much of its freshness\nby coming to me fitfully, both from\nEngland and America. It was in the\n4* Monthly Criterion\" and in the A-\nmerican 44 Bookman \". 44 The Book-\nman, though it had to travel across\nthe Atlantic, would bring me Bennett's\n44 Journal\" about a week before the\nsame thing arrived from England, which\nnot only shows 44 The Bookman's\"\nwide-awakeness, but also Mr. Ben-\nnett's. For Ptlr. Bennett or his agents\nwould have to send to America, get-a\nreply, agree or disagree to terms, sign\na bond, and so on, before 44 Bookman \"\ncould start printing. And the 44 Month-\nly Criterion\" would perhaps have to\nwait for a signal which said 44 Go \".\nThen both would start off running\ntogether.\nTherefore that 44 Bookman \" should\nhave arrived first, and have issued in its\nDecember number what 44 Criterion \"\nissued in its January number, makes me\ngleeful and at the same time I don't\nlike it. As one of the Public I object.\nI don't see why this 44 Florentine\nJournal \" should have been printed in\ntwo different magazines. It's Business.\nGood. Mr. Bennett's writings are\nneeded in America as well as in En-\ngland. Good. All I would hold is\nthat if this be good and proper, the two\nmagazines should keep to their own\ncountries and not be exported.\nThe colour of the 44 Criterion's\ncover pleases me so lAuch, the good\npaper second, the type-setting third, and\nthe Dramatic notes most of all.\nThat a single note on English Dra-\nmatics can sound at all thrilling strikes\nme as a little wonderful but Mr. Flint\nmanages it.\nHis comments on some wierd ela-\nborate settings are admirable ; his objec-\ntion to those actors of London who\ncultivate middle-class respectability is\njust, yet what else have they to cultivate\nif they would escape an early death ?\nI like the 44 Criterion \" for its con-\nstancy to the artist ; for it would pay it\nfar better to disregard him : and the\n44 Criterion \", in not accepting what too\nmany journals accept the pay which\ngoes with the kick to the artist—is not\ndoing anything very exceptional, you\nthink.\nThere you err. It is acting as\nother famous journals would like to\nact and haven't the, pluck to.\n\nEDITORIAL NOTES.\nJANUARY: FEBRUARY: MARCH.\n\nSTRINDBERG, BARON\nPALMSTIERNA AND\nROBERT LORAINE.\nIN the recent and much advertised\nquarrel between the Swedish minis-\nter in London, Baron Palmstierna and\nRobert Loraine the English actor, we\nthink we discern the fine diplomatic hand\nof Mr. C. B. Cochran. We think that\nit must have been all Mr. Cochran's\ndoing so as to secure a rush for tickets.\nIf not we can find no reason whatever\nin the whole incident.\nWe see no reason for the Swedish\nminister to have bothered his head\nabout whether Loraine was going to\nmassacre Strindberg or no for if\nactors should chop him up in pieces\nStrindberg would not be destroyed.\nYou can't destroy Strindberg. Strind-\nberg would only vanish from England.\nWe sympathise with the Baron in\nhis wish to protect the work of a\nfellow countryman, but Strindberg can\nlook after himself.\nLoraine was rude; but Loraine was\nalso polite: he expressed his regrets\nfor having been 44 unnecessarily rude\nColonel Loraine is the right sort: but\nLoraine the actor is the wrong sort.\nHe thinks and writes that 44 it is better\nto cut a passage in a play than ap-\npear to be conveying an impression of\nobscure and awkward thought.\" Then\nhe defends his having left out whole\npages of Strindberg's dialogue.\nThat won't do. The thing actors\nhave to do whether English, Russian,\nSpanish, French cr Esquimaux, is to\ntake time and go to the pains of dis-\ncovering what is the thought of a\ndramatist, not to protest that a passage\nwhich they have not understood is\n44 obscure and awkward \" and cut\nit out.\nIn the course of five hours we\nhad translated only eleven pages \"\nwrites Mr. Loraine. What matter if\neven in ten hours you only manage to\nget but four pages done so long as\nthey are done properly. We find that"}, {"page_pdf": 63, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.63", "texte": "eleven pages in five hours is fairly\nquick work.\nBesides, why leave such an impor-\ntant work to the last moment ? A\ntranslation of a play by Strindberg\nshould be ready at least six months\nbefore rehearsals begin. The trans-\nlation of such a dramatist should\nhave been submitted to Mr. Bernard\nShaw, Mr. Robert Lynd, Mr. Des-\nmond McCarthy or any eminent\nEnglish critics who were on the spot\nwho understand Dramatics and who\nhave quick wits.\nAfter that, perhaps, a visit of cour-\ntesy to the Swedish Minister.\nBut to ask the Swedish Minister to\ndo our work for us is a little too\nmuch to ask: to fail to appreciate his\nservices, after having asked for them\ntoo, is exceeding all bounds,\n\nWHAT'S IT ALL ABOUT?\n£5,000,000 FOR THEATRES.\nMR. SZARVASY'S BIG SCHEME.\nALL \" BRITISH MONEY\".\nUNDER three headlines a London\nDaily announced the formation cf\na corporation for acquiring 44 a great\ngroup of kinematograph and other\ntheatres\" in England.\n(Not the Shakespeare Memorial\nTheatre, by the way).\nWhat it failed to announce was whe-\nther the Brains would be all British.\nNo amount of money, not fifty\nmillions even if all British, can be\nproperly administrated so long as the\nBritish artists are unemployed.\nBy British artists we mean the play-\nwrights, the actors, the stage directors,\nthe designers, the dancers, the singers\nard all. Great combines are all fluff\nand worthless until the Brains of the\nTheatre are combined.\nBut if you have £5,000,000 there\nis no longer any excuse if you fail to\ncombine all the talents in one group.\n\nCO VENT GARDEN THEATRE\no AGAIN. a\nCOVENT Garden Theatre has once\nmore awakened.\nTo realize what?\nThat Chaliapine and Foreign Operas\nare firstsclass things.\nWhy wake up to discover what\nwe all knew? Go to sleep again.\nCovent Garden, for you are a noodle.\nThe brilliant London Daily journals,\nbrilliant in twenty ways, but dull as\nditch water when considering the\ntheatre, allowed the Direction of this\nscheme to announce that it will be\n44 on the grandest scale\", that Covent\nGarden will give a ten weeks season\neach year for three years, 44 not as good\nas that in continental capitals but finer\nthan anywhere else in Europe \".\nAgain let us repeat, unless you have\nall the talents you cannot do as you say.\nUnless these talents can ripen under\nconditions which are lasting you cannot\nget them to combine. You seem to\nforget that artists in their work are\npractical men and never join silly\nschemes like this.\nAnd let us ask press and public to\nbe a little more serious.\n\nMILLIONS AND MILLIONAIRE\nPATRONS OF THE ART.\n44 ' | TIE Mask \" has for twenty years\nA now been telling the English\nintelligences the truth about the whole\nmatter of the Theatre and nothing is\ndone to make matters better. Only\nmore millions are spent.\nNew millionaires never heard of\ntill yesterday appear and fail as usual\nto do their duty or even to keep their\npromises.\nAnd think of James White too !\nWhat but harm to the Theatre is he?\nWhile we are prepared to champion\nany genuine patron of the Arts, we\nare equally determined to deride any\nweak failures of any wealthy men\nwho, being in a position to act as\ntrue patrons of the arts do no such\nthing, but go running after publicity\non the strength of having dribbled out\n£lO,OOO in many directions.\n\nSTRATFORD - UPON - AVON.\nSOME Americans pretend to be\namazed that the Britishers, Bernard\nShaw and Gordon Craig, can be found\nprotesting against Americans helping to\nbuild the Theatre for Shakespeare.\nThese Americans suppose Shaw and\nCraig to hate the interference of the\nYankees. They don't. What they\nhate is the situation in England which\nfor some unknown reason obliged the\nenthusiasts in Stratford-upon-Avon to\nbeg from America or to see the\nwhole project fail. The talk about\nShakespeare being the Universal Poet is\nall bunkum. So is Dante, yet Italy\ndoesn't muddle its affairs and allow\nprivate persons to annex the Poet and\nrun him from Ravenna where he died\nor Firenze where he was born.\nMr. Flower and the small Shake-\nspeare group in Stratford-upon-Avon\nshould never have been allowed to do\nas they have done.\nWhen Statues or Theatres\nare erected, France sees to it, not\nBoulogne-sur-Mer. When Goethe is\nhonoured the whole of Germany sees\nto it, not Mulhausen or Ebberfelt or\neven Weimar. And France, Italy\nand Germany do not invite Americans\nor any other nations to contribute but\nonly to share as guests in the festival.\n\nIF NOT SALVIATI... WHO ?\nONE or two experts in matters Histo-\nrical, Theatrical and Scenical,\nhave written us suggesting that the\ntwo designs which served as frontis-\npiece to our last issue are not, as at-\ntributed, by Francesco Salviati; may\nbe by some artist of a much later\ndate. They may be; but after all, the\nBritish Museum isn't exactly a place\nwhere incompetent men are given im-\nportant positions, and these two designs\nhave been long enough in the British\nMuseum for a correct decision to have\nbeen made as to who was their designer.\nIf it's incorrect, what the deuce is\nthe matter with our keepers and as-\nsistant keepers of our Drawing and\nPrint Department of the said British\nMuseum?\nIt may be the error of our agent\nwho procured the photographs and\ncopied out the information and the\nKeepers may have merely put 44 attri-\nbuted to Salviati \".\nInstead of 1550 the drawings cer-\ntainly look more like the work done\nin 1640 indeed, two scenes made\nby Giacomo Torelli dated 1644 and\n1645 and reproduced as Figures 267,\n268 in Professor Nicoll's 44 Develop-\nment of the Theatre \" and the scene\nfor 4411 Solimano \" 1620, Figure 96\nof the same book, are assuredly remi-\nniscent of these two so-called Salviati\ndesigns. But for our part we should be\nas willing to agree that Raphael had de-\nsigned these two scenes, and Raphael\nwas a good deal earlier than any of\nthem yet often looks a good deal later.\nRaphael dates from 1483 to 1520,\nyet his work is sometimes florid enough,\nor, say masterly enough, to look like\nwork at least a hundred years later.\nWe am not speaking like experts; we\nare merely going by how it strikes us.\nSo if it's only a matter of looking\nmuch later than Salviati's time, then\nthe British Museum Authorities may\nbe quite correct, and Salviati may\nwell be the designer after all.\nBut what a jolly find if they turned\nout to be by Raphael, who was oc-\ncasionally given to the designing of\nsceneries for the Pope."}, {"page_pdf": 64, "page_imprimee": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192801-01.1.64", "texte": "LAST WORDS.\n\nWHO IS E. 8., LONDON?\nA word in support of Mr. Leslie Fa-\nber the English actor who 44astoun-\nded \" the excellent E. B. who writes\n44 Theatre Notes \" on that important\ndocument issued regularly in London\n'4 The Official Theatre Guide or Pro-\ngramme for the Week \".\nPublished by T. B. Lawrence of Im-\nperial House, Kingsway, W. C. 2, Lon-\ndon, this sheet is issued to tell ns what\nis being performed in London, at which\ntheatre, and when. And E. B. likes to\nadd a few 44 Notes\nIn one of his Notes he says he was\n44 very astounded to read the remarks of\nMr. Le lie Faber regarding the infinite\nsuperiority of the American Stage over\nour own Pie then proceeds to say\nthat 44 Having been to the United States\nfor the last twenty years, my last visit\nbeing as recent as 1927, the impression\nobtained there was, from a point of view\nof acting, production, and of house or-\nganization, we had nothing to learn\nWe hate that: it leads nowhere but\nalong that old rut where E. B. loves to\nsquat with some of the West End Thea-\ntre Managers Ltd. who 44 supply the in-\nformation \" published by this excellent\n44 Official Theatre Guide\nWe support Leslie Faber's state-\nment not because we like all American\nmethods but because we hafee the me-\nthods ol those in love with squatting in\na rut. What Mr. Faber meant was this :\n'• America is going ahead ; why not go\nahead in England ? \"\nIs that a very wrong thing to say ?\nShould it astound anyone but mugwumps?\nHe is but a mugwump whoever he\nis who asserts that 44 we have nothing\nto learn \" ; for even when American\nmethods are preposterous, we have to\nlearn where not to follow them. »\nIt is E. B. and some of the West End\nTheatre Managers who seem bent on\nfollowing fhe worst American methods\nInstead of their best.\nMr. Faber was speaking on behalf\nof the best American methods.\nThe worst American method can be\ncondensed into a phrase, 44 Money at\nall costs \" ; and that is the method which\npossibly E. B. and some of the London\nManagers so dread to see imported.\nIt is not a little innocent, that dread.\nLet us recommend to our contempo-\nrary in America, 44 Theatre Arts Month-\nly this admirable weekly report pub-\nlished by Mr. Lawrence, and suggest\nthat if carefully read week by week it\nwill yield food for thought, offering,\nas it does, themes for the most enter-\ntaining articles on the backward (that\ndon't mean conservative) section of the\nEnglish Stage.\n\nON BEING LIKED.\nJ. B.\n44 Everybody in the world speaks well\nof him \". Sheridan.\nMR. P. G. Wodehouse, whose Lbridge\nand whose Psmith have given me\nhours of delight, whose books I buy\nand do not get sent 44 for review \", has,\nas most people know, recently had a\ngreat success with a play in London.\nWhether he has had other successes\non the stage I cannot say ; but a Lon-\ndon Daily has recently published a few\nof his wise words about the American\nstage and the prices paid to American\nperformers ; these he states to be 12 % of\nt he gross takings to the leading lady, 10 %\nof the gross takings to the leading actor.\nil As the theatre (Mr. Ziegfeld's) is\ntaking 50,000 a week it means that\nthe two of them are drawing jointly\nir,000 a week which is more than\n£ 200 \" said Mr. Wodehouse, adding\nthat a young English actor is quickly\nbecoming the favourite juvenile lead be-\ncause 44 everybody likes him\n\" And, do you know \" added Mr.\nWodehouse, 44 I believe that being liked\nis at least as important as genuine merit\nin every angle of the theatrical business\nnowadays Which strikes me as the\ntruth—the emphatic truth.\nAnd I am thinking what a good\nthing it is that Mrs. Siddons is dead,\nand Edmund Kean, Talma and Rachel\nand all that lot 44 safely stowed They\nwould have been liked by no one today.\nI doubt if even Irving and Bernhardt\nwould be liked tcday—liked in the sense\nthat the young juvenile in America is\nliked. And if I may continue thinking\naloud upon this matter I don't know that\nsome of our best rulers are liked—or the\nbest ones that are coming likely to be\nliked over much,\nMr. Calvin Coolidge is liked, I should\nsay—but who knows. I should not use\nthe word 44 likeable \" in regard to Si-\ngn or Mussolini,—it's just a little too small\na word for il Duce.\nAnd, in the trifling matter of the\ntheatre, who knows. Perhaps it's less\nlikeable people who are needed to bring\nthe American and the English stages to\nsomething more approaching their right\nform.... That phrase 4' everybody likes\nhim \" so well appreciated by our brilliant\nWodehouse is not really much recommen-\ndation for the young Englishman in New\nYork if our not less brilliant Sheridan\n(English playwright 1751-1816) is in any\nway to be trusted as an observer of human\nnature. Isn't this how the talk goes :\nSir Feter Teazle. Joseph is, indeed, what\na youth should be, everybody in the\nworld speaks well of him.\nOliver Surface. I am sorry to hear it ;\nhe has too good a character to be\nan honest fellow Everybody speaks\nwell of him ! Pshaw! then he has\nbowed as low to knaves and fools as\nto the honest dignity of genius and\nvirtue.\nNot for a moment will I admit that\nthis applies to our young Englishman in\nNew York ; but it is to be compared care-\nfully with Mr. Wodehouse's descrip-\ntion as to what is important in the Thea-\ntre business of today and pondered 011\n—a little.\n\nmmmtmmmmmmmwamammmmmmmmmmmmmmmmmmmmmmmmmKmmtmammmmmmmmmmamammmmmmammmmmm\nEVERYTHING I~K ITS PLACE'\n44 Rill \" Thompson, the mayor of\nI) Chicago, for some reason dees not\nlike the British to be in too much evi-\ndence in the same Chicago.\nWe have seen how in the last year\nor so he has done away with all the Bri-\ntish elements in that city which he could\ncontrol. And why, in the name of Ame-\nrica, not ?\nWhat harm will it do to England or\nAmerica if England be excluded from\nChicago? Wbat good would it do to\nAmerica or England if England should\never colonize Chicago ?\nAnd now apply the same argument\nto Stratford-upon-Avon.\nThat the English keep out of Chicago\nand the Yankees keep out of Stratford\nis the commonsense wish of every sens-\nible and disinterested American and En-\nglishman.\nWe can love each other quite as\nWell at a distance ; may be even better.\n\nLAST EDITORIAL.\nTHE DISCIPLES OF SALZBURG.\nJ. S.\nTT'he Times — its Literary Supplement—,\nhas invented this title, \"the disciples\nof Salzburg \" for some of the Englishmen\nwho yearly make a pilgrimage to that\ncharming old Austrian city where Mozart\nwas born, where Reinhardt now has\ntheatres and a large and hospitable palace\nwhere he entertains, and where other\nartistic activities flourish.\nThe Times is still young; it can -\ntouch the spot with precision; if it is\nold fashioned it was one of the fashions\nto touch the spot: nowadays amongst\nthe fashions we revere that of missing\nthe target by a mile. But who are the\nu disciples of Salzburg i} ?\nThere is Mr. Ashley Dukes, Dr.\nAllardyce Nicoll, Mr. Sheldon Cheney;\nwho else ? We are eager to learn. \"\nAnd, talking of learning, it is presumably\nto learn that Duke, Nicoll and Cheney\nvisit Salzburg. Would you have them\nvisit Genova which is not so far off?\nTo learn what do the disciples ol\nwhom visit Salzburg ?\nIf Reinhardt be a disciple of Craig\n— disciple is the most gracious word we\ncan find — why be a disciple of a dis-\nciple ? This is what Fleet Street was\nasking yesterday and the West End is\nasking today and Earl's Court will be\nasking next week.\nWe fully expect to hear that the\nColliers of Newcastle are off to Athens\nin a few weeks to look for coal there:\nand so we have wired to Signor Popo-\nloplipolis \" Newcastle sending coal ex-\nperts to your city—do not fail to despatch\na few Athenians to England — lots of\nowls have been located there.\"\nTO THE ILLUSTRIOUS MEMORY\nOF\nADOLPHE APPIA\nMARCH 1928.\nMASK.\n\nAll Rights reserved. A/arch 1928.\nDirettore responsabile Antonio Maraini.\nTlpografia Giuntina, Firenze."}]}