{"numero_id": "bm-bmtnaau-1929-01-01", "volume": "bmtnaau_1929-01_01", "ocr_sha256": "4caae8f987d4af3e932add1936b0871a4a407a83ff7439a2e16b1abd63a6126f", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1929/01_01/bmtnaau_1929-01_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1929/01_01/bmtnaau_1929-01_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01", "articles": [{"article_id": "bm-bmtnaau-1929-01-01-c002", "article_bluemountain": "bmtnaau_1929-01_01#c002", "volume": "bmtnaau_1929-01_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=bmtnaau192901-01.2.2", "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=bmtnaau192901-01.1.1", "debut_caractere": 479, "fin_caractere_exclue": 1065, "texte": "NEWS OF THE •< MACBETH *• PRO.\nDUCTION, WITH DESIGNS FOR\nSCENES BY GORDON CRAIG, at theKnickboc.\nker Theatre, New York.\nMORE TECHNICAL SECRETS OF 16TH\nCENTURY SCENOGRAPHY from the\nBook of Nicola Sabbattini.\nON SOME ACTRESSES* MEMOIRS,\nLOVE AFFAIRS. AND ON LOVE,\nObservations and Considerations by J. B.\nA FAMOUS CLOWN, ROBERT BRAD-\nBURY by R. J. Broadbent.\nOLD VENETIAN THEATRES, SOME\nHISTORICAL NOTES,\nTWO LETTERS FROM GORDON CRAIG\non the Lighting of \" Macbeth \" and the part\nof Lady Macbeth.\nNEWS OF THE ELLEN TERRY MEMO-\nRIAL, WALDTEUFEL'S WALTZES,\nNEW BOOKS, and many other matters."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c003", "article_bluemountain": "bmtnaau_1929-01_01#c003", "volume": "bmtnaau_1929-01_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=bmtnaau192901-01.2.3", "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=bmtnaau192901-01.1.1", "debut_caractere": 1067, "fin_caractere_exclue": 1340, "texte": "ILLUSTRATIONS\nSIX LARGE SECTIONS COMPLETING A MAGNIFICENT PLAN OF\nVENICE 1500\nOF WHICH THE SIX PRECEDING PLATES APPEARED LAST QUARTER.\nA STAGE MODEL, 1913 BY GORDON CRAIG. BRADBURY THE FAMOUS\nCLOWN. A VIEW OF SMALL HYTHE PLACE. DIAGRAMS OF SIXTEENTH\nCENTURY SCENIC DEVICES."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c004", "article_bluemountain": "bmtnaau_1929-01_01#c004", "volume": "bmtnaau_1929-01_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=bmtnaau192901-01.2.4", "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=bmtnaau192901-01.1.2", "debut_caractere": 529, "fin_caractere_exclue": 1416, "texte": "LITERARY CONTENTS.\n1-OREWORD . . . . . . . . .J. S. . . . . . . page 1\nA FAMOUS CLOWN R. J. Broadbent. . . . .3\nMOLIERE'S LETTER ON HIS WIFE .... Moltere 8\nACTRESSES AND THEIR MEMOIRS . . . . J. B 10\nTHE ELLEN TERRY MEMORIAL 12\nTHE PRACTICE OF MAKING SCENES AND MA-\nCHINES ......... Nicola Sabbattini. . . . .13\nTWO LETTERS RELATIVE TO THE PRODUCTION\nOF \" MACBETH . . . . • . . Gordon Craig . . . . .18\nTHIS WORLD... THAT WORLD Percy Mackaye 20\nGENUINE GORDON George Jean Nathan .... 22\nSOME EXTRACTS FROM AMERICAN PAPERS on the\nProduction of \" Macbeth . . . . . . Various writers . . . . .23\nANOTHER BOOK ABOUT STAGE DECORATION . d. n. 1. §27\nELINOR WYLIE C 30\nL' EGLISE ST. ROCH, PARIS C .30\nNOTES OF THE PLAN OF VENICE, 1500 . . . Anon 31\nWALDTEUFEL, Two Letters on the a previous Article . Faith Compton Mackenzie &D. P. . 33\nFOREIGN NOTES. BOOK REVIEWS. EDITORIAL NOTES. LAST WORDS."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c005", "article_bluemountain": "bmtnaau_1929-01_01#c005", "volume": "bmtnaau_1929-01_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=bmtnaau192901-01.2.5", "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=bmtnaau192901-01.1.2", "debut_caractere": 1418, "fin_caractere_exclue": 1769, "texte": "ILLUSTRATIONS.\nA DESIGN FOR A STAGE MODEL, 1913 . . . Gordon Craig . . Plate 1. Face 1\nSTILL VAULTING by MR. BRADBURY \" 2. \" 4\nA VIEW OF SMALL HYTHE PLACE . n 3. n 12\nA SILHOUETTE ........ Chodowiecki 8\nHEAD OF MOUNET-SULLY F&ix Vallottin . . . Page 25\nA 1500 PLAN OF VENICE. Six concluding plates .\ni\nHead and Tail Pieces from old and modern Designs."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c006", "article_bluemountain": "bmtnaau_1929-01_01#c006", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 4, "image_fin": 4, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.6", "titre_corps": "PORTION OF A STAGE MODEL", "titre_sommaire": "PORTION OF A STAGE MODEL", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 72, "texte": "PORTION OF A STAGE MODEL DESIGNED AND CONSTRUCTED BY GORDON CRAIG, 1913."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c007", "article_bluemountain": "bmtnaau_1929-01_01#c007", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1", "page_fin": "2", "image_debut": 5, "image_fin": 6, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.7", "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=bmtnaau192901-01.1.5", "debut_caractere": 20, "fin_caractere_exclue": 838, "texte": "FOREWORD\n\nWITH this number \"The Mask\" begins its fif-\nteenth volume.\nFounded in 1908, it has, save for an in-\nterval caused by the war, carried on ever since,\nand it still stands for all that it stood for from the outset\nstill exists, as it has always existed, to serve the Theatre's\nbest interests, by serving to its utmost the Artists of the\nTheatre, stanGing by and tor the best men and the best work\nrTf # 1 1 VfV-TAAX#\n1 o our friends we have no need to say this: they\nknow it: they have seen the proofs of it through fourteen\nolumes extending over twenty years. But there are some\n/ho still enjoy directing their popguns against \" The Mask \"\ndischarging such epithets as \"precious\", \"a personal\njrgan of publicity ' and other like small missiles which,\nnegligible in themselves, at times, buzzing around, confuse"}, {"page_pdf": 6, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 924, "texte": "others who are keen to be honestly informed, and whose\nacquaintance with \"The Mask\", and the whole Idea for\nwhich it stands, is but just beginning.\nWe therefore repeat that, far from being \"precious\"\nor a \"personal organ of publicity\", \"The Mask\" champions\nthe finest creative artists wherever they are to be found:\nsupports the sanest, most active-minded, most far-sighted and\npractical men and women in the world of the Theatre; is\nalways on the look-out for good work in every branch of\nTheatre endeavour, not only of today and in any one na-\ntion, but in all periods and all lands; and, to make it clear\nto our newer readers and adherents what we are working\nfor... and against,... in what direction we are moving, we\nreprint once more, on a later page, the tenets which...\non our original principle of \"After the Practice the\nTheory\"... we published first in 1918 and again in 1923,\nand to which we still adhere.\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c009", "article_bluemountain": "bmtnaau_1929-01_01#c009", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "3", "page_fin": "8", "image_debut": 7, "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=bmtnaau192901-01.2.8", "titre_corps": "A FAMOUS CLOWN", "titre_sommaire": "A FAMOUS CLOWN", "signature_source": "R. J. BROADBENT", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 3379, "texte": "A FAMOUS CLOWN\nBy R. J. BROADBENT.\n\nJ. S.\nMR. BROADBENT is already known to\nreaders of \"The Mask \"bis arti-\ncle on \"A Forgotten Harlequin \" published\nin Volume XII, 1926.\nHe is one of those patient and thorough\nI students to whom other students owe gratitude\nbecause, instead of repeating and refurbishing\nwhat others have already brought within our\neasy reach, he brings to light for us little\nunnoticed or unremembered facts and details\nabout forgotten figures or events, and so adds\nto the co-ordinated sum of our Theatre's history.\nHis book on \" Pantomime \" issued years\nago Was a valuable contribution to that branch\nof the Theatre art. His Ms. histories of the\nManchester and Chester\nly been purchased by the Corporation\nLiverpool, and his Ms histories of 18th Cen-\ntury Lancashire Theatres now have an abiding\nplace in Harvard University Library,... which\nis all to the good of the Theatre.\nBradbury, the \" famous Clown \" of\nwhom the present article treats, is so far for-\ngotten that he is not the\nDictionary of National Biography, and we\nadmire, while we are grateful to, Mr. Broad-\nbent for having made such a careful search\nfor such good stuff.\n\" The Mask \" bas many times urged that\nTheatre students and historians should con-\ncentrate their efforts on bringing the unknown\nto light and giving us a rich page or so as\nthe fruit of serious and\nrather than large volumes\n.but rearrangements of what we already know.\nThe Theatre needs more such students as\nMr. Broadbent, and we hope some of like\nquality may be already at Work, and pre-\nsently give us a few new facts and dates to\n.fill in the blanks where ignorance or\ngetfulness have long obscured the truth about\nthe Theatres's personalities and events.\n\nROBERT BRADBURY was born of\nhumble parents at Manchester,\nabout 1777. He was apprenticed to a\ncabinet-maker at Liverpool, where at the\nTheatre Royal he debuted under s. w.\nRyley's management in the December of\n1798. Bob's prodigious strength and\nremarkable activity soon brought him into\nprominence, for on the production or\n\" Harlequin in the Moon \" on Boxing\nNight, 1 798, he, as Clown, ran up the\nlattice work of the proscenium to the boxes,\nand administered condign punishment to a\nyoung coxcomb who had been disturbing\nthe performance for sor* considerable\ntime. A month later he almost terminated\nhis career by falling down one of the\ntraps, and breaking his collar-bone during\na pantomimic pursuit in \" Harlequin\nSailor.\" This accident was a lesson to\nhim, for he ever afterwards wore nine\nstrong pads about bis person in order to\ngo through those unique feats for which\nhe was distinguished,\nBradbury after leaving Liverpool,\njoined Astley at the Royal Circus, London,\nbut it was with 'longing eyes he looked\ntowards the scene of his birth, where,\nunder the management of Cimex, the\nequestrian, he appeared at the Chatham -\nStreet Circus for a brief season during\nthe winter of 1804. Two years later\nhe was principal Clown in John Cooke's\nCompany at the Olympic Circus, Liverpool,\nwhere he became a favourite, especially\nwith the irrepressible \" chummies \" at the\n\" sweeps' corner \"—the corner of the arena\nnext to the stage.\nThe winter of 1 806 saw Bob making\nhis first bow at the Theatre Royal,\nManchester, which house was then under\nthe management of Macready, father of\nthe celebrated tragedian. Here Bradbury\nmade his first appearance as Horatio in"}, {"page_pdf": 8, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.8", "debut_caractere": 0, "fin_caractere_exclue": 3449, "texte": "\" A False Friend; or The Assassin of\nthe Rocks,\" The following year he was\nengaged at Sadler's Wells to fill Joe\nGrimaldi's place in the pantomime during\nhis absence in the country at a trial.\nBradbury became such a favourite with\nthe good folks of Clerkenwell, that when\nGrimaldi returned the proprietors told him\nthat it would not be politic to make any\nchange, and thought it advisable that\nBradbury should finish the season. \"Then\"\nexclaimed Grimaldi, \"I am ruined! \"\nHowever, on Bradbury's benefit night\nit was arranged that both Clov/ns should\nappear together ; Bradbury sustaining the\npart of Clown for the first three scenes,\nand Bradbury coming in again at the\nclose. Grimaldi soon found that the\ndoubts and fears he had experienced as\nto his popularity were groundless, for his\nreception was most cordial.\nOn February 2,1808, Bradbury\nplayed Clown in the production at the\nTheatre Royal, Manchester, of Tom\nDibdin's celebrated pantomime, \" Harle-\nquin and Mother Goose ; or The Golden\nEgg.\" The pantomime was played by\nthe stock company, and the cast included\nAtkinson as Mother Goose, Tom Ellar\nas Colin (afterwards Harlequin ), Noble\nas Avaro (afterwards Pantaloon), Miss\nHudson as Cabin Boy, York as Odd\nFish, or Water Sprite, and Bradbury as\nSquire Bugle (afterwards Clown). As\nfar as can be ascertained this was the\nfirst pantomime of any pretension played\non the Manchester stage. The pantomime\nhad originally been produced at Covent\nGarden, where it ran 1 10 nights. In\nLondon Grimaldi laid the foundation of\nthe fame of \" Mother Goose; but in\nManchester it was said that Bradbury\nnever had an equal in the motley garb.\nEarly in 1809 Bradbury returned to\nhis many Manchester friends, and in\nApril lie opened his new Amphitheatre,\nSpring Gardens, where he appeared as\nClown in \" Harleqifm Mandarin,\" in\nwhich character he also gave a Lancashire\nclog dance. He was also seen as the\nRobber of Genoa in the serious pantomime\nof \" The Robber of the Black Forest,\"\nalso in The D eserter of Naples,\"\n\" Valentine and Orson,\" and a revival\nof \" Mother Goose.\" In May he took\na benefit, during which he introduced the\nLion's Leap, and the Blacksmith's Anvil.\nIn the latter performance, he supported\nan anvil on his chest, while three smiths\nstruck upon it a merry peal as if at work\nin the smithy.\nBradbury's house, being the only\nplace of amusement open at the time,\nfully commemorated, on Thursday evening,\nOctober 26, 1809, the jubilee of\nGeorge HI. With a grand flourish of\ntrumpets, Bradbury announced the perfor-\nmance \" Jubilee !! ! Jubilee !! ! Brad-\nbury's New Amphitheatre, Spring Gardens.\nOn Thursday, October 26, 1809, will\nbe produced, for the first time, an entirely\nNew, Grand, Loyal, Burletta Spectacle\nEffusion, with truly superb scenery, dresses,\nand decorations, entitled ' The British\nPatriot; or The Jubilee of 1809.' \" In\nthis \" Burletta spectacle effusion \" was\nintroduced \" a superb hall, decorated\nwith our most splendid victories, and the\nmost brilliant transparency of our Belovea\nSovereign. Concluding with a new ap-\npropriate grand finale and chorus, written\nby Francis Dukinfield Astley, Esq., for\nthe occasion.\" All this was followed by\nanother \" new grand \" pantomime, called\n\" Zoah and Koah\" and \" A grand\ndisplay\" of horsemanship, slack rope\ndancing, \" ground and lofty tumbling,\"\n\" imitations of various birds \" <kc. The\njubil ee performances were continued several\nnights into November, the entertainments."}, {"page_pdf": 11, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 3428, "texte": "including yet further new pantomimic\ndisplays, such as 44 The Magic World ;\nor The Man in the Moon,\" 44 Harlequin\nPlighlander,\" &c.\nIn my manuscript History of the\nManchester Stage (now the property of\nthe Libraries Committee of Liverpool) !\nrelated that Bradbury's piece de resistance\nwas the first production in the town (in\nNovember) of a pantomimic entertainment\nfounded on Shakespeare's tragedy of\n\" Macbeth.\" Bradbury played Macbeth,\nMr. and Mrs. Makeen (both hailing\nfrom the Royal Circus, London) appeared\nin the respective roles of Macduff and\nLady Macbeth, Williams, the tightrope\ndancer, played Banquo, while Davis, the\nHarlequin of the company, appeared as\nHecate. This was followed by yet\nanother comic pantomime, called 44 Harle-\nquin Entombed.\" Bradbury brought his\nbrief, but apparently prosperous season to\na close on Friday, December I, finishing\nup with yet one more \" new comic\npantomime,\"—this 44 Harlequin Cockney;\nor London Displayed,\" in which he appea-\nred as Clown, Lewin as Harlequin, and\nMiss Davis as Columbine.\nAt Christmas Bob went to Dublin,\nwhere at the Crow Street Theatre, he\nproduced 45 Mother Goose,\" with himself\nas Clown, Tom Filar as Harlequin, Jim\nByrne as Pantaloon, and Miss Giroux as\nColumbine. 1he music was arranged by\nTom Cooke. The pantomime, which\nwas brought out in great splendour, proved\nhighly remunerative. Th is was Bradbury's\nfirst appearance in Dublin, and for a\nperiod of twenty years he was a prime\nfavourite with local audiences. Fie at-\ntracted so much attention by his love of\ndisplay that he was called the Beau\nBrummell of all the Clowns. When he\ndrove to the theatre in his tandem, a\nperforming bear was seated by his side.\nNo wonder then that the receipts of his\nbenefit leached the high figure of £560,\nDuring the run or \" Harlequin and\nMcAer Goose,\" Bradbury met with an\naccident which might have proved fatal.\nWhile in the act of drawing himself to\nthe celling fey his teeth, he lost his hold,\nand fell a distance of twenty-two feet on\nto the stage, but without the slightest\ninjury to his hardy frame.\nAnother noteworthy occurrence was\nthat Jim Byrne, the Pantaloon of the\nstock company, and a local actor, applied\nto Manager 44 Buck \" Jones for a rise of\nsalary, and Jones had responded by diss\nmissing him. This seriously affected\nBradbury in the business of the pantomime,\nas without having been sufficiently rehearsed,\none Melly was cast for Pantaloon, with\nthe result that many of the tricks were\nbungled. Irritated beyond all endurance,\nBradbury addressed the audience, and the\nmatter was taken up by the 4J Hibernian\n1 elegraph.\" Thereupon, Jones commenced\na libel action against the newspaper for\ncommenting invidiously upon the affair,\nwhich, however, had a happy ending as\nByrne was reinstated.\nThe Eastertide of 1 810 witnessed\nthe return of Bradbury to the Manchester\nAmphitheatre, or as the Press quaintly\ndenominated it, 46 The Slaughter House\nof Care. Pie led off his entertainments\nwith feats of horsemanship, tight-rope\ndancing, and another pantomime, \" Har-\nlequin and the Miser ; or The Goddess\nof Fancy,\" with himself as Clown.\nBradbury, as usual, hit the taste of the\ntown, and was rewarded with over-flowing\nhouses. In another pantomime, called\n44 Edwin of the Green ; or Harlequin\nand the Magic,\" a very pleasing Columbine\nof the period, Mrs. Wybrow, gave new\nzest to the performances. On May 21,\nBradbury produced, for the first time,"}, {"page_pdf": 12, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.12", "debut_caractere": 0, "fin_caractere_exclue": 3434, "texte": "another of his prolific brood of pantomimic\nentertainments, this \" a new chivalric,\nheroic, serio comic pantomime\" called\n\" Harlequin warrior ; or Jack the Giant\nKiller,\" in which both Mrs. Wybrow\nand himself shared the honours. Early\nin June, Bradbury produced \"an entire\nnew and solendid serious piece, written\nJt &>\nby a gentleman of Manchester,\" called\n\" Monteith.\" The title sounded serious\nenough, but Bradbury, who appeared as\nSt. Clair of the Isles, and Mrs. Wybrow\nas Ambrosine (f< ward of the Earl of\nRoskellyn, and in love with St. Clair \")\nimparted a pantomimic flavour to the\nperformances. The season, was brought\nto a close after the Whitsuntide holi-\ndays.\nTowards the close of 1810 Bradbury\nopened a Boxing Saloon in I emple\nLane, Dublin, where he taught boxing.\nLate in the following January the Crow\nStreet Theatre favoured its patrons with\na capital pantomime, \" Harlequin from\nthe Moon\", the rare printed book of\nwhich has a frontispiece in which Bradbury\nas Clown is depicted with an inverted\nflower pot on his head, playing antics\nwith a donkey.\nOn December 26, 1818, Bob played\nClown at Drury Lane in a short-lived,\nsatirical pantomime, entitled \" Harlequin\nand the Dandy Club.'' The non-success\nof the piece was not clue to the perfor-\nmers, but to the pantomime having neither\nspirit, nor object, or splendour of scenery\nto compensate for such, radical defects.\nAt the initial performance disapprobation\nbegan early to manifest itself, and the\ncrisis was hastened by the clamours of a\nperson in one of the dress-boxes, who led\nthe opposition. When the curtain finally\nfell, Bradbury came forward to announce\nthe pantomime for a subsequent night, but\nhe could not prevail on the audience to\nallow him a hearing. The next night he\nhad to make an apology to the public\n\" for his persevering resistance to their\nwill.\" Consequently, the pantomime was\nwithdrawn on the third night, and \" The\nSilver Arrow ; or Harlequin and the\nFairy Paribannon \" was substituted on\nJannuary 6, 1819, with Fred Hartland\nas Clown in place of Bradbury. \" The\nTimes \" said that Bob's dismissal was an\nunmerited hardsh ip, and a newspaper war\non the subject ensued in the columns of\nthe \" Morning Chronicle.\" No salary\nwas paid to Bradbury for his engagement,\nbut a benefit was accorded him at Drury\nLane, on February 5, 1819. Bradbury\nappeared at the Crow Street Theatre,\nDublin, in May, as Henry in the ballet,\n\" The Deserter of Naples.\" In the\nautumn he was at the Coburg Theatre,\nwhere he was the original representative\non the equestrian stage of Dick Turpin,\nthe renowned highwayman, whose reputed\nride to York had not then been written\nby the celebrated novelist, William Harrison\nAinsworih, who, like Bradbury, was a\nMancunian, and, what is not generally\nknown, a good amateur actor.\nThe Christmas of 1821 witnessed\nBob as Clown at the Theatre Royal,\nHawkins Street, Dublin, in \" Dick Whit-\ntington and his Cat.\" To show the\nimportance of the Clown in those days\nthere were twelve scenes in the harlequinade\nand only five in the opening. Four years\nlater Bradbury was in Scotland having\nbeen engaged by the eccentric Frank\nSeymour for the old Theatre Royal,\nGlasgow, where he produced \" Harlequin\nand Cock Robin ; or The House that\nJack Built.\" Twenty new scenes were\npainted, of which the opening and trans-\nformation scenes were very fine. The\ncomic scenes, ten in number, were all\nlocal subjects. Bradbury, of course, played"}, {"page_pdf": 13, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 3457, "texte": "Clown, Joe Frimley, Harlequin, and old\nEdmund James, Pantaloon.\nIn February, 182/, \"Bradbury in as-\nsociation with another popular pantomi-\nmist, named Norman, opened the old\nFishambles Street Theatre, Dublin, as a\nsort of variety house, under the name of\nthe Sanspareil. Here ballets, pantomimes,\ntight-rope exhibitions, <&c., were given ;\nbut the venture proved a failure, and in\nJune 1828 Bradbury returned to the\nTheatre Royal, Hawkins Street, to play\nClown in \" Harlequin and Poor Robin;\nor The House that jack Built.\" This\nwas Bob's last engagement in Dublin.\nHe subsequently returned to London,\nwhere he experienced all the vicissitudes\nof poverty before he closed his eyes in\ndeath.\nMany stories are told or Bradbury,\nit is related that at one period of his\nlife he turned preacher, but subsequently\nreturned to his profession. His old rival,\nGrimaldi, stated that when he acted and\nsung at one of Bradbury's benefits the\nlatter was hissed for some gross act of\nimpertinence. \"It must have been gross\nindeed to disgust at that period '* wrote\nWalter Donaldson in his \" Recollections\nor an Actor.\" Donaldson, who knew\nboth performers, said that \" Grimaldi was\nnot particular to a shade. Besides we\nmust not place too much faith in respect\nto what one Clown says of another in\nthe same line of business.\"\n\" Boz \" has recorded in the \" Me-\nmoirs of Grimaldi \" how Bradbury came\nto be incarcerated in a private asylum at\nHoxton. The circumstances which led\nto his confinement were briefly these ;\nIt appears that Bradbury while dining\nwith some naval officers at Portsmouth\nlost a magnificent gold snuff-box, with a\ngold chain attached. Suspicion fell upon\na junior member of the company, and\nit # ©' *\nupon his portmanteau being searched the\nbox was found, together With several\narticles belonging to his companions.\nBradbury was determined to prosecute',\nand the culprit was committed for trial.\nThe relatives in their anxiety to pre-\nserve the good name of the family offered\nlarge sums to Bradbury if he would\nabandon the prosecution, but at first\nwithout avail. Subsequently they offered\nhim a handsome annuity, which after\nsome hesitation he decided to accept.\nThe next step was how Bradbury\ncould accept the money without injuring\nhimself and the one he desired to save.\nTo do this he caused the report to be\ncirculated that he had suddenly become\ninsane ; committing many acts of apparent\nlunacy, and in a short time he was con-\nveyed to the asylum. Here he remained\nuntil the purloiner of the snuff-box was\nset at liberty, there being no prosecutor\nto give evidence against him. The trial\nover, Bradbury made arrangements for\nhis own release, which was soon effected.\nA somewhat different version of the\nstory is given by Ryley in The Itine-\nrant.\" Ryiey declared that on discovery\nthe thief cut his throat, the blood from\nwhich spurted over Bradbury, some even\ngoing down his throat. This, together\nwith the horror of what had happened,\nturned Bradbury temporarily insane, and\nhe was removed to an asylum, from\nwhich, by the aid of Dubois, the pante-\nrnimist, he managed to make his escape\ni\nsome few weeks later. Meanwhile, the\nculprit had recovered from his wound and\nsailed for India before Bradbury could\nprosecute. At the time the latter denied\nthat there was any truth in the state-\nment that his insanity was all a scheme,\nfor which he had been rewarded with\nan annuity. The snuff-box, the cause of\nall the trouble, was highly prized by"}, {"page_pdf": 14, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.14", "debut_caractere": 0, "fin_caractere_exclue": 894, "texte": "Bradbury, not daly for its intrinsic valuf;,\nbut because it bad been presented to him\nby bis old frfersd, F. D. Astley, during;\nthe time Bradbury was in management in\nManchester.\nIn the \" Memoirs of Grimaldi \" it is\nerroneously stated that Bradbury could\nneither read, nor write, and that he died\nin 1828. Poor Bob died on July 21,\n1831, at Royal Street, Westminster, and\nwhen (according to the Church register)\nhe was aged fifty-four years. Pie was\nburied, five days later, at the expense of\nAndrew Ducrow, with whom Bradbury\nfirst became acquainted at the Olympic\nCircus, Liverpool, where the former was\nthen known as Andrew, the tight-rope\nboy. Ducrow and his company attended\nthe interment in the old burial-ground of\nSt. Mary's, Lambeth. No stone marks\nthe resting-place of the once famous Clown,\nnor is the cemetary there, it having been\nconverted into a recreation ground many\nyears ago."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c010", "article_bluemountain": "bmtnaau_1929-01_01#c010", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "3", "page_fin": "3", "image_debut": 7, "image_fin": 7, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.8.1", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.7", "debut_caractere": 36, "fin_caractere_exclue": 1716, "texte": "J. S.\nMR. BROADBENT is already known to\nreaders of \"The Mask \"bis arti-\ncle on \"A Forgotten Harlequin \" published\nin Volume XII, 1926.\nHe is one of those patient and thorough\nI students to whom other students owe gratitude\nbecause, instead of repeating and refurbishing\nwhat others have already brought within our\neasy reach, he brings to light for us little\nunnoticed or unremembered facts and details\nabout forgotten figures or events, and so adds\nto the co-ordinated sum of our Theatre's history.\nHis book on \" Pantomime \" issued years\nago Was a valuable contribution to that branch\nof the Theatre art. His Ms. histories of the\nManchester and Chester\nly been purchased by the Corporation\nLiverpool, and his Ms histories of 18th Cen-\ntury Lancashire Theatres now have an abiding\nplace in Harvard University Library,... which\nis all to the good of the Theatre.\nBradbury, the \" famous Clown \" of\nwhom the present article treats, is so far for-\ngotten that he is not the\nDictionary of National Biography, and we\nadmire, while we are grateful to, Mr. Broad-\nbent for having made such a careful search\nfor such good stuff.\n\" The Mask \" bas many times urged that\nTheatre students and historians should con-\ncentrate their efforts on bringing the unknown\nto light and giving us a rich page or so as\nthe fruit of serious and\nrather than large volumes\n.but rearrangements of what we already know.\nThe Theatre needs more such students as\nMr. Broadbent, and we hope some of like\nquality may be already at Work, and pre-\nsently give us a few new facts and dates to\n.fill in the blanks where ignorance or\ngetfulness have long obscured the truth about\nthe Theatres's personalities and events."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c011", "article_bluemountain": "bmtnaau_1929-01_01#c011", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "3", "page_fin": "8", "image_debut": 7, "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=bmtnaau192901-01.2.8.2", "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": 7, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.7", "debut_caractere": 1718, "fin_caractere_exclue": 3379, "texte": "ROBERT BRADBURY was born of\nhumble parents at Manchester,\nabout 1777. He was apprenticed to a\ncabinet-maker at Liverpool, where at the\nTheatre Royal he debuted under s. w.\nRyley's management in the December of\n1798. Bob's prodigious strength and\nremarkable activity soon brought him into\nprominence, for on the production or\n\" Harlequin in the Moon \" on Boxing\nNight, 1 798, he, as Clown, ran up the\nlattice work of the proscenium to the boxes,\nand administered condign punishment to a\nyoung coxcomb who had been disturbing\nthe performance for sor* considerable\ntime. A month later he almost terminated\nhis career by falling down one of the\ntraps, and breaking his collar-bone during\na pantomimic pursuit in \" Harlequin\nSailor.\" This accident was a lesson to\nhim, for he ever afterwards wore nine\nstrong pads about bis person in order to\ngo through those unique feats for which\nhe was distinguished,\nBradbury after leaving Liverpool,\njoined Astley at the Royal Circus, London,\nbut it was with 'longing eyes he looked\ntowards the scene of his birth, where,\nunder the management of Cimex, the\nequestrian, he appeared at the Chatham -\nStreet Circus for a brief season during\nthe winter of 1804. Two years later\nhe was principal Clown in John Cooke's\nCompany at the Olympic Circus, Liverpool,\nwhere he became a favourite, especially\nwith the irrepressible \" chummies \" at the\n\" sweeps' corner \"—the corner of the arena\nnext to the stage.\nThe winter of 1 806 saw Bob making\nhis first bow at the Theatre Royal,\nManchester, which house was then under\nthe management of Macready, father of\nthe celebrated tragedian. Here Bradbury\nmade his first appearance as Horatio in"}, {"page_pdf": 8, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.8", "debut_caractere": 0, "fin_caractere_exclue": 3449, "texte": "\" A False Friend; or The Assassin of\nthe Rocks,\" The following year he was\nengaged at Sadler's Wells to fill Joe\nGrimaldi's place in the pantomime during\nhis absence in the country at a trial.\nBradbury became such a favourite with\nthe good folks of Clerkenwell, that when\nGrimaldi returned the proprietors told him\nthat it would not be politic to make any\nchange, and thought it advisable that\nBradbury should finish the season. \"Then\"\nexclaimed Grimaldi, \"I am ruined! \"\nHowever, on Bradbury's benefit night\nit was arranged that both Clov/ns should\nappear together ; Bradbury sustaining the\npart of Clown for the first three scenes,\nand Bradbury coming in again at the\nclose. Grimaldi soon found that the\ndoubts and fears he had experienced as\nto his popularity were groundless, for his\nreception was most cordial.\nOn February 2,1808, Bradbury\nplayed Clown in the production at the\nTheatre Royal, Manchester, of Tom\nDibdin's celebrated pantomime, \" Harle-\nquin and Mother Goose ; or The Golden\nEgg.\" The pantomime was played by\nthe stock company, and the cast included\nAtkinson as Mother Goose, Tom Ellar\nas Colin (afterwards Harlequin ), Noble\nas Avaro (afterwards Pantaloon), Miss\nHudson as Cabin Boy, York as Odd\nFish, or Water Sprite, and Bradbury as\nSquire Bugle (afterwards Clown). As\nfar as can be ascertained this was the\nfirst pantomime of any pretension played\non the Manchester stage. The pantomime\nhad originally been produced at Covent\nGarden, where it ran 1 10 nights. In\nLondon Grimaldi laid the foundation of\nthe fame of \" Mother Goose; but in\nManchester it was said that Bradbury\nnever had an equal in the motley garb.\nEarly in 1809 Bradbury returned to\nhis many Manchester friends, and in\nApril lie opened his new Amphitheatre,\nSpring Gardens, where he appeared as\nClown in \" Harleqifm Mandarin,\" in\nwhich character he also gave a Lancashire\nclog dance. He was also seen as the\nRobber of Genoa in the serious pantomime\nof \" The Robber of the Black Forest,\"\nalso in The D eserter of Naples,\"\n\" Valentine and Orson,\" and a revival\nof \" Mother Goose.\" In May he took\na benefit, during which he introduced the\nLion's Leap, and the Blacksmith's Anvil.\nIn the latter performance, he supported\nan anvil on his chest, while three smiths\nstruck upon it a merry peal as if at work\nin the smithy.\nBradbury's house, being the only\nplace of amusement open at the time,\nfully commemorated, on Thursday evening,\nOctober 26, 1809, the jubilee of\nGeorge HI. With a grand flourish of\ntrumpets, Bradbury announced the perfor-\nmance \" Jubilee !! ! Jubilee !! ! Brad-\nbury's New Amphitheatre, Spring Gardens.\nOn Thursday, October 26, 1809, will\nbe produced, for the first time, an entirely\nNew, Grand, Loyal, Burletta Spectacle\nEffusion, with truly superb scenery, dresses,\nand decorations, entitled ' The British\nPatriot; or The Jubilee of 1809.' \" In\nthis \" Burletta spectacle effusion \" was\nintroduced \" a superb hall, decorated\nwith our most splendid victories, and the\nmost brilliant transparency of our Belovea\nSovereign. Concluding with a new ap-\npropriate grand finale and chorus, written\nby Francis Dukinfield Astley, Esq., for\nthe occasion.\" All this was followed by\nanother \" new grand \" pantomime, called\n\" Zoah and Koah\" and \" A grand\ndisplay\" of horsemanship, slack rope\ndancing, \" ground and lofty tumbling,\"\n\" imitations of various birds \" <kc. The\njubil ee performances were continued several\nnights into November, the entertainments."}, {"page_pdf": 11, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 3428, "texte": "including yet further new pantomimic\ndisplays, such as 44 The Magic World ;\nor The Man in the Moon,\" 44 Harlequin\nPlighlander,\" &c.\nIn my manuscript History of the\nManchester Stage (now the property of\nthe Libraries Committee of Liverpool) !\nrelated that Bradbury's piece de resistance\nwas the first production in the town (in\nNovember) of a pantomimic entertainment\nfounded on Shakespeare's tragedy of\n\" Macbeth.\" Bradbury played Macbeth,\nMr. and Mrs. Makeen (both hailing\nfrom the Royal Circus, London) appeared\nin the respective roles of Macduff and\nLady Macbeth, Williams, the tightrope\ndancer, played Banquo, while Davis, the\nHarlequin of the company, appeared as\nHecate. This was followed by yet\nanother comic pantomime, called 44 Harle-\nquin Entombed.\" Bradbury brought his\nbrief, but apparently prosperous season to\na close on Friday, December I, finishing\nup with yet one more \" new comic\npantomime,\"—this 44 Harlequin Cockney;\nor London Displayed,\" in which he appea-\nred as Clown, Lewin as Harlequin, and\nMiss Davis as Columbine.\nAt Christmas Bob went to Dublin,\nwhere at the Crow Street Theatre, he\nproduced 45 Mother Goose,\" with himself\nas Clown, Tom Filar as Harlequin, Jim\nByrne as Pantaloon, and Miss Giroux as\nColumbine. 1he music was arranged by\nTom Cooke. The pantomime, which\nwas brought out in great splendour, proved\nhighly remunerative. Th is was Bradbury's\nfirst appearance in Dublin, and for a\nperiod of twenty years he was a prime\nfavourite with local audiences. Fie at-\ntracted so much attention by his love of\ndisplay that he was called the Beau\nBrummell of all the Clowns. When he\ndrove to the theatre in his tandem, a\nperforming bear was seated by his side.\nNo wonder then that the receipts of his\nbenefit leached the high figure of £560,\nDuring the run or \" Harlequin and\nMcAer Goose,\" Bradbury met with an\naccident which might have proved fatal.\nWhile in the act of drawing himself to\nthe celling fey his teeth, he lost his hold,\nand fell a distance of twenty-two feet on\nto the stage, but without the slightest\ninjury to his hardy frame.\nAnother noteworthy occurrence was\nthat Jim Byrne, the Pantaloon of the\nstock company, and a local actor, applied\nto Manager 44 Buck \" Jones for a rise of\nsalary, and Jones had responded by diss\nmissing him. This seriously affected\nBradbury in the business of the pantomime,\nas without having been sufficiently rehearsed,\none Melly was cast for Pantaloon, with\nthe result that many of the tricks were\nbungled. Irritated beyond all endurance,\nBradbury addressed the audience, and the\nmatter was taken up by the 4J Hibernian\n1 elegraph.\" Thereupon, Jones commenced\na libel action against the newspaper for\ncommenting invidiously upon the affair,\nwhich, however, had a happy ending as\nByrne was reinstated.\nThe Eastertide of 1 810 witnessed\nthe return of Bradbury to the Manchester\nAmphitheatre, or as the Press quaintly\ndenominated it, 46 The Slaughter House\nof Care. Pie led off his entertainments\nwith feats of horsemanship, tight-rope\ndancing, and another pantomime, \" Har-\nlequin and the Miser ; or The Goddess\nof Fancy,\" with himself as Clown.\nBradbury, as usual, hit the taste of the\ntown, and was rewarded with over-flowing\nhouses. In another pantomime, called\n44 Edwin of the Green ; or Harlequin\nand the Magic,\" a very pleasing Columbine\nof the period, Mrs. Wybrow, gave new\nzest to the performances. On May 21,\nBradbury produced, for the first time,"}, {"page_pdf": 12, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.12", "debut_caractere": 0, "fin_caractere_exclue": 3434, "texte": "another of his prolific brood of pantomimic\nentertainments, this \" a new chivalric,\nheroic, serio comic pantomime\" called\n\" Harlequin warrior ; or Jack the Giant\nKiller,\" in which both Mrs. Wybrow\nand himself shared the honours. Early\nin June, Bradbury produced \"an entire\nnew and solendid serious piece, written\nJt &>\nby a gentleman of Manchester,\" called\n\" Monteith.\" The title sounded serious\nenough, but Bradbury, who appeared as\nSt. Clair of the Isles, and Mrs. Wybrow\nas Ambrosine (f< ward of the Earl of\nRoskellyn, and in love with St. Clair \")\nimparted a pantomimic flavour to the\nperformances. The season, was brought\nto a close after the Whitsuntide holi-\ndays.\nTowards the close of 1810 Bradbury\nopened a Boxing Saloon in I emple\nLane, Dublin, where he taught boxing.\nLate in the following January the Crow\nStreet Theatre favoured its patrons with\na capital pantomime, \" Harlequin from\nthe Moon\", the rare printed book of\nwhich has a frontispiece in which Bradbury\nas Clown is depicted with an inverted\nflower pot on his head, playing antics\nwith a donkey.\nOn December 26, 1818, Bob played\nClown at Drury Lane in a short-lived,\nsatirical pantomime, entitled \" Harlequin\nand the Dandy Club.'' The non-success\nof the piece was not clue to the perfor-\nmers, but to the pantomime having neither\nspirit, nor object, or splendour of scenery\nto compensate for such, radical defects.\nAt the initial performance disapprobation\nbegan early to manifest itself, and the\ncrisis was hastened by the clamours of a\nperson in one of the dress-boxes, who led\nthe opposition. When the curtain finally\nfell, Bradbury came forward to announce\nthe pantomime for a subsequent night, but\nhe could not prevail on the audience to\nallow him a hearing. The next night he\nhad to make an apology to the public\n\" for his persevering resistance to their\nwill.\" Consequently, the pantomime was\nwithdrawn on the third night, and \" The\nSilver Arrow ; or Harlequin and the\nFairy Paribannon \" was substituted on\nJannuary 6, 1819, with Fred Hartland\nas Clown in place of Bradbury. \" The\nTimes \" said that Bob's dismissal was an\nunmerited hardsh ip, and a newspaper war\non the subject ensued in the columns of\nthe \" Morning Chronicle.\" No salary\nwas paid to Bradbury for his engagement,\nbut a benefit was accorded him at Drury\nLane, on February 5, 1819. Bradbury\nappeared at the Crow Street Theatre,\nDublin, in May, as Henry in the ballet,\n\" The Deserter of Naples.\" In the\nautumn he was at the Coburg Theatre,\nwhere he was the original representative\non the equestrian stage of Dick Turpin,\nthe renowned highwayman, whose reputed\nride to York had not then been written\nby the celebrated novelist, William Harrison\nAinsworih, who, like Bradbury, was a\nMancunian, and, what is not generally\nknown, a good amateur actor.\nThe Christmas of 1821 witnessed\nBob as Clown at the Theatre Royal,\nHawkins Street, Dublin, in \" Dick Whit-\ntington and his Cat.\" To show the\nimportance of the Clown in those days\nthere were twelve scenes in the harlequinade\nand only five in the opening. Four years\nlater Bradbury was in Scotland having\nbeen engaged by the eccentric Frank\nSeymour for the old Theatre Royal,\nGlasgow, where he produced \" Harlequin\nand Cock Robin ; or The House that\nJack Built.\" Twenty new scenes were\npainted, of which the opening and trans-\nformation scenes were very fine. The\ncomic scenes, ten in number, were all\nlocal subjects. Bradbury, of course, played"}, {"page_pdf": 13, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 3457, "texte": "Clown, Joe Frimley, Harlequin, and old\nEdmund James, Pantaloon.\nIn February, 182/, \"Bradbury in as-\nsociation with another popular pantomi-\nmist, named Norman, opened the old\nFishambles Street Theatre, Dublin, as a\nsort of variety house, under the name of\nthe Sanspareil. Here ballets, pantomimes,\ntight-rope exhibitions, <&c., were given ;\nbut the venture proved a failure, and in\nJune 1828 Bradbury returned to the\nTheatre Royal, Hawkins Street, to play\nClown in \" Harlequin and Poor Robin;\nor The House that jack Built.\" This\nwas Bob's last engagement in Dublin.\nHe subsequently returned to London,\nwhere he experienced all the vicissitudes\nof poverty before he closed his eyes in\ndeath.\nMany stories are told or Bradbury,\nit is related that at one period of his\nlife he turned preacher, but subsequently\nreturned to his profession. His old rival,\nGrimaldi, stated that when he acted and\nsung at one of Bradbury's benefits the\nlatter was hissed for some gross act of\nimpertinence. \"It must have been gross\nindeed to disgust at that period '* wrote\nWalter Donaldson in his \" Recollections\nor an Actor.\" Donaldson, who knew\nboth performers, said that \" Grimaldi was\nnot particular to a shade. Besides we\nmust not place too much faith in respect\nto what one Clown says of another in\nthe same line of business.\"\n\" Boz \" has recorded in the \" Me-\nmoirs of Grimaldi \" how Bradbury came\nto be incarcerated in a private asylum at\nHoxton. The circumstances which led\nto his confinement were briefly these ;\nIt appears that Bradbury while dining\nwith some naval officers at Portsmouth\nlost a magnificent gold snuff-box, with a\ngold chain attached. Suspicion fell upon\na junior member of the company, and\nit # ©' *\nupon his portmanteau being searched the\nbox was found, together With several\narticles belonging to his companions.\nBradbury was determined to prosecute',\nand the culprit was committed for trial.\nThe relatives in their anxiety to pre-\nserve the good name of the family offered\nlarge sums to Bradbury if he would\nabandon the prosecution, but at first\nwithout avail. Subsequently they offered\nhim a handsome annuity, which after\nsome hesitation he decided to accept.\nThe next step was how Bradbury\ncould accept the money without injuring\nhimself and the one he desired to save.\nTo do this he caused the report to be\ncirculated that he had suddenly become\ninsane ; committing many acts of apparent\nlunacy, and in a short time he was con-\nveyed to the asylum. Here he remained\nuntil the purloiner of the snuff-box was\nset at liberty, there being no prosecutor\nto give evidence against him. The trial\nover, Bradbury made arrangements for\nhis own release, which was soon effected.\nA somewhat different version of the\nstory is given by Ryley in The Itine-\nrant.\" Ryiey declared that on discovery\nthe thief cut his throat, the blood from\nwhich spurted over Bradbury, some even\ngoing down his throat. This, together\nwith the horror of what had happened,\nturned Bradbury temporarily insane, and\nhe was removed to an asylum, from\nwhich, by the aid of Dubois, the pante-\nrnimist, he managed to make his escape\ni\nsome few weeks later. Meanwhile, the\nculprit had recovered from his wound and\nsailed for India before Bradbury could\nprosecute. At the time the latter denied\nthat there was any truth in the state-\nment that his insanity was all a scheme,\nfor which he had been rewarded with\nan annuity. The snuff-box, the cause of\nall the trouble, was highly prized by"}, {"page_pdf": 14, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.14", "debut_caractere": 0, "fin_caractere_exclue": 894, "texte": "Bradbury, not daly for its intrinsic valuf;,\nbut because it bad been presented to him\nby bis old frfersd, F. D. Astley, during;\nthe time Bradbury was in management in\nManchester.\nIn the \" Memoirs of Grimaldi \" it is\nerroneously stated that Bradbury could\nneither read, nor write, and that he died\nin 1828. Poor Bob died on July 21,\n1831, at Royal Street, Westminster, and\nwhen (according to the Church register)\nhe was aged fifty-four years. Pie was\nburied, five days later, at the expense of\nAndrew Ducrow, with whom Bradbury\nfirst became acquainted at the Olympic\nCircus, Liverpool, where the former was\nthen known as Andrew, the tight-rope\nboy. Ducrow and his company attended\nthe interment in the old burial-ground of\nSt. Mary's, Lambeth. No stone marks\nthe resting-place of the once famous Clown,\nnor is the cemetary there, it having been\nconverted into a recreation ground many\nyears ago."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c012", "article_bluemountain": "bmtnaau_1929-01_01#c012", "volume": "bmtnaau_1929-01_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": 9, "image_fin": 9, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.8.2.1", "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": 9, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.9", "debut_caractere": 30, "fin_caractere_exclue": 38, "texte": "Plate 2."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c013", "article_bluemountain": "bmtnaau_1929-01_01#c013", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "8", "page_fin": "8", "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=bmtnaau192901-01.2.8.2.2", "titre_corps": "A SILHOUETTE BY CHODOWIECKI", "titre_sommaire": "A SILHOUETTE BY CHODOWIECKI", "signature_source": "CHODOWIECKI", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 14, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.14", "debut_caractere": 896, "fin_caractere_exclue": 924, "texte": "A SILHOUETTE BY CHODOWIECKI."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c014", "article_bluemountain": "bmtnaau_1929-01_01#c014", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "8", "page_fin": "9", "image_debut": 14, "image_fin": 15, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.9", "titre_corps": "MOLIÈRE'S LETTER ON HIS WIFE", "titre_sommaire": "MOLIÈRE'S LETTER ON HIS WIFE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 14, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.14", "debut_caractere": 926, "fin_caractere_exclue": 3264, "texte": "MOLIÈRE'S LETTER\nON HIS WIFE\nMR. Chat field Taylor gives us ike following translation\nof this letter in his remarkable Life of Moliere\nwhich is reviewed on another page of this number of\n\" The Mask\nIt is taken from a book called ee The Famous\nComedienne an anonymous publication of 1638,\nfifteen years after Moliere's death.\nThe scene is Moliere9$ garden at Auteuil, trie time\nafter his separation from his wife, the topic his strange\nunhappy happiness. Chape lie his friend rallies him upon\nhis Weakness, saying that nothing is more ridiculous than\nto love anyone who will not respond to affection, and\nasserts that he Would feel for such a woman such contempt\nthat it Would cure him of his passion.\nThen comes Moliere's long speech, which is so like\na letter thai We believe it to have been a letter lifted by\n(he anonymous author and turned into a speech. Moliere\nend no one else could have thought, felt and said what\nis here said, thought end fell. Ed.\n| see clearly, \" rejoined Moliere,\" that you\nhave never really loved. You take love's\nsemblance for love itself. Although I might\nU J\ngive you infinite examples to demonstrate the\npower of that passion, I shall merely give\nyou a faithful account of my own troubles ,\nso that you may understand how little we are\nmasters of ourselves when once love's domi-\nnion is assured. As for the consummate\nknowledge of the human heart you say the\nportraits 1 am constantly presenting to the\npublic prove me to possess, I acknowledge\nthat I have endeavoured to understand its\nweaknesses ; but if science teaches me that\ndanger should be avoided, experience con-\nvinces me only too thoroughly that escape is\nimpossible. I judge this daily from myself.\nMy disposition is by nature extremely af-\nfectionate, and all my efforts have never\nenabled me to overcome an inclination toward,\nlove ; hence 1 sought to make myself happy,\n— that is to say, as happy as a man with a\nsensitive heart may be, — and, convinced\nthat few women are deserving of sincere\naffection, that interest, ambition, and vanity\nare at the root of ail their intrigues, I\nendeavoured to insure my happiness by the\ninnocence of my choice. 1 took my wife,\nso to speak, from the cradle, and educated\nher with the care which has given rise to\nrumours which have doubtless reached your\nears. I persuaded myself that ! could inspire"}, {"page_pdf": 15, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 3050, "texte": "her with the habit of sentiments time alone\ncould destroy, so I neglected nothing to attain\nthis end. As she was still young when I\nmarried her, I perceived none of her evil\npropensities, and deemed myself a little less\nunfortunate than the majority of those who\ncontract similar engagements. Neither did\nmy eagerness diminish after marriage ; yet f\nfound so much indifference in her that I\nbegan to perceive all my precautions had\nbeen useless, and that the feelings she had\nfor me were far indeed from those my\nhappiness demanded. Reproaching myself\nwith a sensitiveness -which seemed ridiculous\nin a husband, I ascribed to her disposition\nthat which was really due to her want of\naffection lor me; yet 1 had but too many\nopportunities of perceiving my error, for the\nmad passion she contracted soon afterward for\nthe Comte de Guiehe occasioned too much\ncommotion to leave me even this appearance\nof tranquillity. So soon as 1 knew the truth,\nfinding it impossible to change her, I spared\nno endeavour to conquer myself. Employing\nall the strength of mind I could command, I\nsummoned to my aid everything that might\nconsole me. Deeming her a person whose\nsole merit had lain in her innocence, and\nwhose infidelity robbed her of all charm, I\nresolved henceforth to live with her as an\nhonourable man whose wife is a coquette,\nand who is well persuaded that, whatever\nmay be said, his reputation is not affected\nby the misconduct of his spouse. But I\nhad the mortification to discover that a woman\nwithout great beauty, who owed what little\nintelligence she possessed to the education I\nhad given her could in one instant destroy\nall my philosophy. Her presence made me\nforget all my resolutions ; the first words she\nsaid in her defence left me so convinced that\nmy suspicions were ill founded that f asked\nher pardon for having been so credulous.\nHowever, my kindness wrought no change\nm her, and in the end I determined to live\nwith her as if she were not my wife ; but if\nyou knew what I suffer, you would pity me.\nMy passion has reached such a point as to\ncause me to sympathise with her ; and when\nI realise how impossible it is for me to\nconquer my feelings for her, 1 then tell myself\nthat she has, perhaps, a like difficulty in\novercoming her love coquetry; so I find\nmyself more disposed to pity than to blame,\nNo doubt you wili tell me one must be\na poet to love thus ; yet, tor my part, I hold\nthat there is only one kind of love, and that\nthose who have not experienced such tender-\nness have never truly loved. In my heart,\nall things of this world are associated with\nher ; and so entirely are my thoughts given\nover to her that when she is away nothing\ngives me pleasure. When ! behold her,\ntransports of emotion which can be felt but\nnot descr ibed, d epnve me of all power of\nreason, and no longer having eyes for her\nfaults, I see only her lovable qualities. Is\nnot this the last extremity of folly, and do\nyou not marvel that all my reason serves\nonly to make me aware of my weakness\nwithout giving me the strength to master it? \""}]}, {"article_id": "bm-bmtnaau-1929-01-01-c016", "article_bluemountain": "bmtnaau_1929-01_01#c016", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "9", "page_fin": "9", "image_debut": 15, "image_fin": 15, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.10", "titre_corps": "A WORD ABOUT ACTORS", "titre_sommaire": "A WORD ABOUT ACTORS", "signature_source": "George Sand", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 15, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.15", "debut_caractere": 3052, "fin_caractere_exclue": 3508, "texte": "A WORD ABOUT ACTORS.\nGeorge Sand.\n\nlike actors, and this has often scandalized my con-\n* ventiortal friends. I have also been criticized for liking\npeasants, among whom I have passed my life. As pea-\nsants labour in the light of the sun to give us our daily\nbread, so actors, toiling at night by gaslight, give us the\nfood by which our imaginations are nourished. And this\nfood is needed by our minds, so often wearied and worried\nby the realities of life."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c017", "article_bluemountain": "bmtnaau_1929-01_01#c017", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "9", "page_fin": "9", "image_debut": 15, "image_fin": 15, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.10.1", "titre_corps": "From a design of 1536", "titre_sommaire": "From a design of 1536", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 15, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.15", "debut_caractere": 3510, "fin_caractere_exclue": 3532, "texte": "From a design of\n1536."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c018", "article_bluemountain": "bmtnaau_1929-01_01#c018", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "10", "page_fin": "11", "image_debut": 16, "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=bmtnaau192901-01.2.11", "titre_corps": "ACTRESSES AND THEIR MEMOIRS : WITH SPECIAL REFERENCE TO THOSE OF ADRIENNE LECOUVREUR", "titre_sommaire": "ACTRESSES AND THEIR MEMOIRS : WITH SPECIAL REFERENCE TO THOSE OF ADRIENNE LECOUVREUR", "signature_source": "J. B", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 16, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.16", "debut_caractere": 0, "fin_caractere_exclue": 3715, "texte": "ACTRESSES AND\nTHEIR MEMOIRS.\nWITH SPECIAL REFERENCE TO\nTHOSE OFADRIENNE LECOUVREUR.\n\n(1)\ndo not believe some of these ladies, —\n1 Madame Sorel I am bound to believe.\nAnything else would be unthinkable. But\nwhen she compares Lecouvreur, Bernhardt\nand Duse, saying that \" everyone knows the\nmaternal agony Sarah Bernhardt suffered\nand \" everyone knows also of the passion\nwhich devoured the Duse for the great Italian\npoet d'Annunzio and when she also brings\nRachel into the group, then I pause and\ndiscover that 1 cannot believe in all these\nladies, and I think some of them have deceived\nMadame Sorel.\nOf Duse she writes : \" Elle me livra son\nsecret\nLivreris to deliver : to hand over : to\ntrust: to give up : to betray.\nIf Duse handed over her secret, that was\nto betray it — or trust it—to Madame Sorel.\nPersonally 1 have never believed in this\n\" secret \", it is so well known. If women\nhave been in love and out of it, so have\nmen, and the poets have shown us that it\ncan be a great pain, this passion. But the\npoets have been merciless only to love itself,\nnever to the human beings. Poets do not\ntake sides ; — the writers of \" Memoirs \" are\ntoo often apt to do so. Neither do all men\nor all women hand over their secret to us, for\nit is, after all, they know, part of a far\ndeeper secret,... the whole secret of life. So\n1 am forced to suppose that actresses are\nstill acting when they betray their secret to\nanother actress, so that a fable shall be\ncreated, and fools enter it solemnly in the\ntheatrical histories of the time.\nAnd so, when we come to Lecouvreur,\nwe must ask, did she confide in someone ?\n— No indeed ; it was not quite such a stupid\ncentury. She was loved by and loved\nMaurice de Saxe.(l) She was hated by and\n(1 hope) hated the Duchesse de Bouillon.\nThe Duchess is supposed to have had her\npoisoned. I believe very little of the whole\nstory.\nAdrierme is also reported to have had\nother lovers, Voltaire among them. I don't\nbelieve it.\nI suppose her to be very unlike that dear\nSophie Arnould, and quite unlike Clairon,\nGuassin, Laguerre, de Maupin, La Pare,\nDu The, Deschamps, and a hundred other\nmembers of that Pretty Theatre with which\na writer in \" The Mask \" has from time to\ntime concerned himself. (2) As for Rachel, in\nwhat does Mile. Lecouvreur resemble her\nexcept that Rachel also was a noble woman\nif a far greater actress. In Rachel's time the old\nnotion of an actress as something pretty to\nplay with was beginning to fade. The new\nnotion was coming in, — and the nation was\n\" revolt A Rachel should be above revolt.\nYet she revolted against the Comedie F rangaise.\nShe set a bad example, for first she pushed\nto get into the Comedie Frangaise.\nAnd so with these chosen lovers. First\nthe actress selects him out of some ten\nthousand others, and then, when she finds\nthat life, with love and all else that it holds,\nis not going to shape itself as she wants, she\nbegins to look distracted, then to cry, and at\nlast, falling into the arms of her dear conso-\nlatrice, she blabs her secret. So little truth\ndoes she tell that she does it beautifully.\nNever do we overhear these words issuing\nfrom her mouth to be listened to with awe\nby the confidante : —\n\" I was a fool — 1 was like a million\nothers — I was sorry for myself — I was\ndistracted because 1 was vain. I loved, oh\nyes I loved if that is to be called love —\nbut if you ask me now what love is I will\ntell you that it is so great and so good a\nthing that nothing can destroy it. You women\n\n(I) LA VIA AMOUREUSE D'ADRiENNE LECOU\nVREUR by Ceeile Sorel. Flammericn. Paris. Francs 7.50.\n(1) From whom George Sand traced direct descent by the actress\nDemoiselle de Verrieres.\n(2) See The Mask X, 4 ; XI, 1, 4; XII, 4 XIV, 2,"}, {"page_pdf": 17, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 4240, "texte": "who pule about your lost lovers and lost love\nnever have loved. \"\nThe commonest word in the language is\nthe word Love : used every where by everyone\none way, another way, every way. So many\nvariations of the good thing itself have crea-\nted as many variations in the word. Yet the\nrarest thing in the world is Love.\nPearls, or stars, are rare things in their way\n— yet pearlies are not pearls, and Giro has\nnot really created a pearl, yet, though he\nmay think, and they may think, he has. Lola\nMontez and La Belle Otero were \" stars\"\nbut for all that are no stars.\nThere is nothing easy in the process of\nbecoming a real pearl... or a real star. And\nthat genuine and indestructible thing Love is\neven less easily created.\nThe charming actress, dancer or singer who\nhas talked about and written about her amours\nsometimes comes in time to take the stuff for\nlove. Perhaps they were deceived by others,\nbut they thoroughly hoaxed themselves anyhow.\nEven poets find it difficult to exactly define\nlove. Yet there is one poet (one of the least\nappreciated in England today) who tells us\nin fourteen lines quite clearly what Love is :\nso it seems fitting at this moment, when so\nmany people are writing and reading loosely\nabout the imitation, to reprint some of his\nlines about the genuine thing : —\n<s .... Love is not love\nWhich alters when it alteration finds.\nOr bends with the remover to remove :\nO no ; it is an ever-fixed mark,\nThat looks on tempests, and is never shaken.\nIt is the star to every wandering bark,\nWhose worth's unknown, although his height be taken.\nLove alters not with his brief hours and weeks,\nBut bears it cut even to the edge of doom. (1)\nAt least so says the poet, who knew. So\nI would have had Eleonora Duse speak. She\nwould have gone on: —\"You, my dear\nCecile, live in a little circle where a lot of\namourous children are playing with love ....\nand some laugh when it bites them, others\ncry out •— and a few destroy themselves.\nWith you or with me or with them it is all\nthe same. If 1am a queen, if a slave or if\na washerwoman, I may love if 1 can, and\nwin : but if i lose I may not then cry out\nagainst my lover or even against love itself,\npitiless though it seem. Only against myself\nmay I utter a word, and that word is \" You\nfool\nHere 1 am reminded of August Strind-\nberg's book telling of his battle with love,\nand called \"The Confessions of a fool \".\nNo, I neither believe nor believe in these\nactresses who confide their so sad tale, their\nso great secret to people who are to be as\n' silent as the tomb * and who within three\nor four years come out with it into the public.\nI very much prefer the nobler little actresses\nwho know how to hold their heads high and\ntheir tongues from that reclame which is the\nmost objectionable of all advertisement: \" I\nwas the only loved one of the great poet \",\nor \" I was the only one who loved the great\nmusician\" or \" The Emperor had but one\nwhom he really loved — it v/as 1\nMile. Georges is such a trull one rather\nlikes her outspoken book. Sophie Arnould\nwas so intelligent and so loVeable one almost\nregrets that she quashed her book : — one\nis grateful that La Guimard abstained. The\nvolume La Pare or La Champmesnil could\nhave concocted would have been riotous\nreading, — but one is well nigh certain that\nthe dear Lecouvreur never dreamed of \" Me-\nmoires \" nor wished any should be concerned\nwith her vie amoureuse.\nThere are actresses as well as other ladies\nwho have sense and sensibility and who do\nnot see all things in terms of reclame. Si-\ngnora Dina Galii, Madame Dejazet, seem,\nfrom their faces and their spirit, to be two\nsuch. The twenty years partner of Dina\nGalli died not long since, yet she does not\nmope to attract attention to what could be\ntwisted into a love affair by anyone who\nwanted to meddle. Dejazet, whom I always\nliken to the Galii, was of that same spirit.\nSo far as I know Rachel too was what we\ncall a lady.\nIt is so much. One of the sure signs is\nto remain silent about the matters of her\nheart.\nThis book on Lecouvreur is a bad\nexample in that it tries to rob her of that\ntitle which every woman values highly, and\ntoo many public performers and society\nwomen foolishly sell or throw away.\n\n(1) Shakespeare. Sonnet CXVI.\n\nJ. B."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c020", "article_bluemountain": "bmtnaau_1929-01_01#c020", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "12", "page_fin": "12", "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=bmtnaau192901-01.2.12", "titre_corps": "ELLEN TERRY MEMORIAL", "titre_sommaire": "ELLEN TERRY MEMORIAL", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 18, "page_imprimee": "12", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.18", "debut_caractere": 0, "fin_caractere_exclue": 4015, "texte": "ELLEN TERRY MEMORIAL\nCha irman :\nSIR JOHNSTON FORBES-ROBERTSON\nVice-Chairman :\nDAME MADGE KENDAL, D. B. E.\nHon. Treasurer\nTHE LADY MAUD WARRENDER\nHon. Organizer :\nMiSS J. M. HARVEY, 56 Manchester Street, W, I.\nTelephone: MAYFAIR 4180\nEXECUTIVE COMMITTEE\nChairman\nMISS GERTRUDE KINGSTON\nHon Secretary :\nMiss J. M. HARVEY\nHon. Treasurer\nTHE LADY MAUD WARRENDER\nHon Press Representative :\nMRS. SWANNACK\nHon. Legal Adviser :\nMiss IRENE COOPER-WILLIS\nLADY CHEATLE\nc. B. COCHRAN, ESQ.\nMISS ELSIE FOGERTY\nMISS CICELY HAMILTON\nMISS CHRISTOPHER ST. JOHN\nMISS VIOLA TREE\nNORMAN WILKINSON, ESQ. <N\nSINCE the death of DAME ELLEN TERRY\non July 21 st, 1928, there has been evi-\ndence of a strong desire that the widespread\nlove and admiration she inspired in life both\nas woman and artist, should be given some\npermanent expression.\n\" A thing of beauty is a joy for ever—\nIts loveliness increases, it will never\nPa S3 into nothingness. \"\nI his is true of Ellen I erry, hut it is rightly\nfelt that a Memorial to her will manifest the\ntruth and proclaim the gratitude of her coun-\ntry for her work in the theatre and her in-\nfill ence m the world. Ihe scheme to acquire\nas a public possession the fine old Tudor\ntimbered house where she spent a great part\nof the last 25 years of her life, and where\nshe cited, will, its promoters are confident, be\nenthusiastically approved. They are therefore\nissuing an appeal for contributions to a Me-\nmorial bund. Details are given below.\nOBJECTS OF THE FUND\n1. I O acquire Small Hyfhe PI a ce, and endow it with\nA an income suffi dent to put it in good repair, pre-\nserve it, keep up the garden, and pay the salary of a\ncustodian, one of whose duties will be to show the\nhouse to visitors who may be expected from all parts\nof the English-speaking world.\n2. TO keep two rooms (in one of which Ellen 1 erry\ndied) much as they were in her life-time, preserving\nthe atmosphere of simplicity which faithfully reflects her\ncharacter and taste.\n3. TO devote another room to the purposes of a Library,\nchiefly of books relating to the drama and the theatre,\nor which Ellen Terry's own collection will be the nu-\ncleus, and of a Museum of theatrical relics of histo-\nrical interest.\n4. 10 adapt the Bam, adjoining the house, a fine out-\nbuilding of the same date, to the purpose or a Barn\nI heatre, ** where it is hoped to institute an Annual\nDramatic Festival on a small scale during the week in\nj uly in which the anniversary of Ellen Terry's death falls.\nTHE SUM REOUIRED\nIT is estimated that this Memorial will cost £\\ a\nlarge or a small sum, according to the way the duty\nof honouring the great dead is regarded. Imperfectly not\nperfectly, done, this duly must always be. But not done\nat all, not remembered as a thing which God and Na-\nture and the Eternal Voices do require to be done—alas,\nwe see too well what k.ind of world that ultimately makes\nfor us. Carlyle.\nIT is surely not necessary to beg for the sum needed\nto keep Ellen Ferry's house as a monument to one of our\nnational glories. We believe there are few who will not\nfeel it to be a privilege to contribute to the Fund, and\nthat by February 27th, the birthday of Ellen Terry, the\nMemorial can be offered her as a present from the public\nshe loved.\nHOW TO CONTRIBUTE\nCHEQUES or Postal orders should be made payable to\nthe Hon. Treasurer, Ellen Terry Memorial Fund, and\nsent to the Hon. Organizer, Miss j. M. Harvey, 56 Man-\nchester St. London, W. I.\n* Doners should realise that only a comparatively small part of\nthis sum is needed for the actual purchase of the property. The\nheirs of Ellen Terry have no wish to profxt by this Memorial. The\ngreater part of the sum raised will be devoted to an adequate En-\ndowment Fund.\nWE reprint the above details as issued\nby the Committee, knowing that many\nreaders in distant parts will welcome this\nplan of a permanent memorial and the op-\nportunity to contribute to the Fund. Ed.\n(1) The seventy-six names of the members of the General\nCommittee are emitted here for want of space. Ed."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c021", "article_bluemountain": "bmtnaau_1929-01_01#c021", "volume": "bmtnaau_1929-01_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": 19, "image_fin": 19, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.13", "titre_corps": "SMALL HYTHE PLACE", "titre_sommaire": "SMALL HYTHE PLACE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 19, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 79, "texte": "SMALL HYTHE PLACE, TENTERDEN, KENT.\nTHE HOME OF ELLEN TERRY,\n1902—1928\nPlate 3."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c022", "article_bluemountain": "bmtnaau_1929-01_01#c022", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "13", "page_fin": "17", "image_debut": 21, "image_fin": 25, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.14", "titre_corps": "SOME EXTRACTS FROM THE PRACTICE OF MAKING SCENES AND MACHINES IN THEATRES (BOOK TWO)", "titre_sommaire": "SOME EXTRACTS FROM THE PRACTICE OF MAKING SCENES AND MACHINES IN THEATRES (BOOK TWO)", "signature_source": "NICOLA SABBATTINI DA PESARO", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 4248, "texte": "SOME EXTRACTS FROM\nTHE PRACTICE OF MAKING\nSCENES AND MACHINES\nIN THEATRES\n(BOOK TWO),\nBY NICOLA\nSABBATTINI DA PESARO.\n\n(1)\nCHAPTER 46, HOW TO CAUSE THE\nDESCENT OF A SMALL CLOUD\nWHICH, AS IT DESCENDS,\nINCREASES IN SIZE.\nTO make a small Cloud which, while des-\ncending, ever increases in size, this rule\nmust be followed.\nA Gargame,(2-' crane, pulleys, windlass\nand cable must be constructed as was done\nabove in chapter 43 (3), and adjusted m the\nsame manner. Then take six or eight staves,,\n•J\nwhich must be of the best wood, so that, in\nbending, they may not break.\nLet these be at least an inch in diame-\nter, and from six to seven feet in length—\nThey are to be set at equal distance around\nthe principal arm of the crane, in such a way\nthat the one end of each of them may be\nadjusted to the extremity of the horizontal arm;\nand that their other ends may be secured with\nthin plates of jointed iron and nailed to the\narm.\nThen at a distance of a foot from this\njuncture, set an equal number of iron springs,\none end of each of which is to be nailed into\nthe wooden arm, each at the ooint where its\nJ2.\nstave meets the wood ; and let the other ends\nbe nailed into the aforesaid staves, one to each..\n1he office of these springs is to be to hold\nthe staves out-spread from the wood like an\numbrella when inside-out.\nHaving done this at those ends of the\nstaves which were adjusted in the extremity\nof the wooden stanchion, one will make, in the\nhead of each, a hole a third of an inch in diame-\nter, but very clean and smooth inside, so that,\nthrough it, may run a cord, which must be\nwell soaped. Then tie one end of this cord\nin the end of a stave, and, passing through\nall the holes of the others, bring it into a\nsmall pulley wheel* winch must be set in die\nwood of the aforesaid stanchion at the oppo-\nsite end from the pierced ends of the staves-\nand, running along the wood, it must pass\n-over another pulley wheel set in the end of\nthe aforesaid wooden beam ; and trie length\nof the cord mast be equal to the height of\nthe crane from its place above the sky to beneath\nthe stage, where it must be held by a person\nof good sense, taking care that the cord lie\nvery strong, so that it should not break owing\nto its length, occasioning a very great disas-\nter. Upon the outspread, staves construct\nthe cloud, which must be composed of a thin\nlinen fastened all round to the staves, without\n.any other wood in it, and painted to represent\n.a cloud.\nThen, the crane being in its place,, one\n•wall fold together the staves, drawing -the\nfcerd to the necessary degree. Desiring -then\nthat the cloud should descend, and increase\nsin -size, one will turn the windlass as was\nsaid .above in chapter 43, and,, while the\n-cloud shall be descending, the person who\nholds rip his hands the end of the cord shall\npull it .downwards: not however so much\n•as one sees the cloud descend, but rather\nless, so that the staves may open out propor-\ntionately, and, the cloud having ceased to des-\ncend, let the staves be yet more out spread,\n.as widely as ihey can ; thus the cloud will\nhave attained its greatest size.\nWishing then that it should return upwards,\n-and produce the contrary effect, that is, that\nifrom being large it diminish, the windlass must\nibe turned the opposite way, and the person\nwho holds the cord in his hands must, while\n: the cloud rises, at the. same time let out the\n-cord until the staves close by degrees ,as they\nwere at first, so that, consequently, the cloud\n■will have diminished.\nIn this operation one must be very careful\nrespecting the contrary direction of the move-\nrrra-nts ; thus, in lowering the cloud, it seems\n-•as if the person who holds the end of the\n■coed in his hands, must also let it out, so\nith&t the staves may open out; but, when one\n-■comes to lowering the apparatus of the pulleys,\nit is requisite that the said cord be drawn ;\nnot so much, however, as the cloud, but in\nas has been said above ; and so\nalso in making it rise; thus, for this opera-\nV lion, one must seek out a person of good\nisense.\n\n(1) Published at Ravenna in 1638. See ' The Mask\" VcL\nXI!, No. 2 ; Vol. XIV, No. 4.\n(2) A grooved upright formed of two beams clamped! together\nwith an interstice.\n(3) See 1he Mask, volume XIV, No. 4."}, {"page_pdf": 22, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.22", "debut_caractere": 0, "fin_caractere_exclue": 3616, "texte": "Let A.B; be the gargame, and in it the\nframe or running block C.D. and the high\npulley wheel E: and let the cable be tied in the\ntipper part of the running block C. ; and pas-\nsing over the pulley E., let it be wound round\nthe windlass H.I. in F. ; and let the other end\nof the cable be tied in the lower part of the\nrunning block in D., and let it be wound\nround the windlass H.I . in the opposite direction\nin G. Let the staves be KJL., M.L., N.L.,\nand Q.L., and more if they be requisite, all\nwi th tl reir one extremity adjusted to the end\nof the wood of the arm of the running block\nO, and the other ends fastened to the same\narm in L. Let the springs set in it in\nline with the staves be distant from L. one\nloot, that is in P, ; and let the cord be tied\nin the end of one of the staves, that is in K. ;\nso that, passing through the holes of the others,\nM. N. O., it may come into the first pub\nley Q., and, running along the arm, pass\nthrough the other pulley R., being then carried\ndown below, where it must be held by a\nperson set in S., who, when the right time is\ncome, must hold the cord drawn, so that the\nends of the staves, where the cloud is to be,\nmay be folded as closely as possible to the\nwood, so that in this manner the linen of the\ncloud shall be reduced in size. Then, while\nthe windlass is being turned on the side,\ncausing the running block to descend, the\nperson set in S. must pull the cord, but not\nm Jfkf degree, so that the tips of the staves\nK.M.N.O. should never spread out; for this\nreason care must be taken that his pulling\nmay always be preceded by that of the wind-\nlass in such degree that, as the ends of the\nstaves T.V.X.Y. are outspread, the extreme\nedge of the cloud Y. may come to rest on\nthe level of the stage Z, so that what has to\nbe done shall thus be accomplished.\nIn making it reascend the windlass will\nbe turned in the opposite direction, and the\nperson who is in S. will draw the cord as\nhe did in causing the cloud to increase, but\nwith a movement equal to that of the wind-\nlass ; thus the cloud will be made to dimi-\nnish io its original size.\nCHAPTER 47, HOW A CLOUD CAN\nBE MADE TO MOVE CROSSWISE.\nSHOULD one need in the Intermezzi to\nmake a cloud move cross-wise, one will\nact in the following way.\nTwo gargami will be made similar to\nthose described in chapter 42, but so long\nthat they may project four feet on either\nside beyond that distance which the cloud\nis to travel.\nThese will then be fixed behind the sky\nat the same height as the cloud is to be, set-\nting them crosswise, distant from one another\nat least two feet; let them be parallel and\non the same level. Having adjusted these,\na wooden beam is to be passed through\nthem which must project equally in either\ndirection : that is, on the side of the Scene\nit must be as long as the distance to which\nit is desired that the cloud shall project,\nand it must be made to project the same\ndistance behind the scene if space allows ;\nif not, it is to be adjusted by means of a\nbalance weight.\nAfterwards, at those points which pass-\nthrough the gargami, pieces of wood must\nbe set Ox the same thickness as that which\nis to support the cloud, that is two at each\nintersecting point, one on the one side and\none on the other ; and let these be carefully\nfitted into the wood so that they may not\nhind er the sliding movement which must take\nplace in the grooved beams here as in the\ngrooved beams described in chapter 44.\nHaving done this, one will set at either\nend of the grooved beams two windlasses, one\non either side, which must be set at the same\nlevel as the grooved, beams; and let these ex-"}, {"page_pdf": 23, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 3622, "texte": "ceed by at least a foot and a half at either\nend the distance between the two gar garni,\non each side, so that the cords which are\nto serve to make the cloud run along may be\nwound round them ; and these cords must be\ntied on the wood, two 011 either side ; that\nis, in the points which correspond with the.\ntwo gargami; the other ends being wound\nround the windlasses. And the said cords\nmust be as long as is the distance to the\ncross-beam which supports the cloud when it\nshall be in the position whence it will com-\nmence to move towards the prearranged li-\nmit ; and likewise with the other on the other\nside. And on the opposite side one will\ntie an equal number of cords which must be\nof equal thickness, winding them round the\nother windlass.\nThen the cloud will be constructed at the\nend of the aforesaid wooden arm ; but let it\nbe adjusted at its centre to the arm, so\nthat, as it runs along, the point of jointure\nmay not be visible. Then, so that it may\nmove easily without impediment, one will set,\nat the opposite end of the arm, a weight suffi-\nciently heavy to counterbalance the cloud and\nmaintain its equilibrium.\nWhen the time comes to make the cloud\nrun along, if it is on the right side, the wind-\nlass set upon the left must be turned, win-\nding in the contrary direction that on the\nright, so that, by this means, the cloud will\nadvance from that side ; and, wishing to make\nit resume its former position, one will turn\nthe windlass on the right, letting out the one\non the left, so that in this way it will return\nto its original place.\nLet the two horizontal beams be A.B. and\nCD. and the cross beam traversing them be\nE.P. so adjusted that the distance is equal from\nE to G on the side of the cloud, and from\nF. to H. on the other, and let the distance\nfrom G. to hi exceed two (feet f), And\nlet the two small pieces of wood be inserted\nin the cross-beam supporting the cloud in\nI.K. on one side and L.M. on the other:\nand let the windlasses be N.G. and P.O.\nand let the ends of the cords be tied in R.\nS. on one side and 1 .V. on the other; and\nthe ends of these cords be fastened to the wind-\nlasses, each one independently ; that is, those\nof R.S. to the windlass N.O. in X.Y. ; and\nthose of the length of wood T.V. to wind-\nlass P.Q., which is on the other side, be\ntied in Z &.\nWishing, then, to make the cloud run\nalong, one will, if desirous that it move to-\nwards the side N.O., turn the windlass N.O.,\nletting out the other P.O.; and so, contrariwise,\nwhen one wishes to make it return to its\noriginal position.\nCHAPTER 48, ANOTHER WAY\nIN WHICH A CLOUD MAY BE\nMADE TO MOVE CROSSWISE.\nTHERE is also another way in which a\ncloud may be made to move crosswise;\nthat is, by means of a lever, which has its\nfulcrum set in the middle, in line with the\nmiddle of the scene, at the height at which\none wishes the cloud to move ; but it would\nbe a difficult matter for some past of the\nlever on the side which sustains the cloud\nnot to be seen. However, it has seemed\nwell to me to indicate this method.\nCHAPTER 49, HOW TO ARRANGE\nTHE DESCENT OF A CLOUD WHICH\nDIVIDES INTO THREE PARTS, AND\nTHEN, IN RISING, UNITES IN ONE.\nSO to arrange that a cloud, in descending,\nmay divide into three parts and then, in\nreascending, reunite in one, the following\nprocedure is adopted.\nA crane must be made similar to that\ndescribed in chapter 43, (l) but, in this one,\nthere must be added, to the first wooden\narm which supports the principal cloud, ether\ntwo wooden arms or lesser length, one to be\nset on one side and the other on the other\nside with their lynch pins.\nThese must be fastened to the principal"}, {"page_pdf": 23, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.23", "debut_caractere": 3635, "fin_caractere_exclue": 3659, "texte": "(I) Dee The Mesh XIV. 4."}, {"page_pdf": 24, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 3304, "texte": "wooden upright, described above, oa the\noutside, with sliding rings, so that they can\nopen out and fold up closely to the said wood-\nen arms attached to the principal wooden\nupright. And, in the parts below the lynchpins,\nthey will be fastened with an eyelet which\nturns in the hinges which are to be set m\nthe movable wood supporting the projecting\narm ; that is, on the outer side of the crane\nplumb below some flexible thin metal plates.\nThen construct three clouds ; but let that\nwhich is to be set in the middle be half\nas large again as the others which are to be\nat the sides, so that they may be hidden\nbehind it.\nAfterwards fasten each cloud to the ex-\ntremity of its wooden arm, in such a way\nthat those which are at the sides may be\nhidden within the principal one. Having\ndone this, one will take two pieces of wood,\na foot in length, and will set a pulley wheel\nat one end of each, and the other ends will\nbe nailed into the extremities of the wooden\narms which support the two small clouds,\nthat is, the ends towards the movable metal\nplates, but in such a manner that, while the\nsaid wooden arms are opening out, their\nmovement may not be impeded.\nTake then two pieces of rope and let\nthe end of one be nailed or strongly tied to\nthe extremity of one of the wooden arms\nwhich supports a small cloud ; that is, near\nto the said cloud on the inner side; and\nthen let it pass through the pulley wheel\nthat was set in the small wooden arm as was\nsaid above, bringing it down below the stage.\nThe same is to be done on the other\nside, then uniting both the ropes which have\nbeen carried below, so that this shall serve\nto cause the clouds to divide.\nWhen all this has been done one will\ntake two cords, and tie or nail the end of\nthe one into the wood on the opposite side,\nwhere the other end of the other cord was\nhed, causing it to pass through one of the\ntwo pulley wheels which must be set above\nthe principal wooden arm which supports\nthe large cloud ; and then make it pass down\nbelow as was done with the others aforesaid.\nThe same is to be done on the other side,\nmaking the ends unite together, as was said\nrespecting the first, corning down beneath the\nstage ; and these are to serve to reunite the\nsaid clouds.\nLet the crane be A. B. C. D. and the\nwooden arm C. D. be to sustain the principal\ncloud, and the other two wooden arms F. G.\nand H. G. to support the other two clouds\nF. H. which wooden arms are to be joined\ninto the wooden arm C. D. each independently\nwith the movable hinges of metal in G.\nLet there be nailed into the wooden arm\nC. D. at a little distance from D. two pieces\nof wood in K., which must project at least\nthree feet on either side, as in I and L; and,\nat their ends, there must be set a pulley\nwheel at either end, i. e. in 1 and L. Then\nlet the ropes be H. I. on one side and F. L.\non the other, and let one end of them be\ntied to the wooden arm F. G. in F. and\npass through the pulley wheel L. coming down\nbeneath the level of the stage M. N. in O.\nAnd let the other be tied to the wood H. G.\nin IT. and, passing through the pulley wheel\nI come to unite with the other end L. O.\nAnd let tnere be two other cords of which\nlet one end be tied in F., the end of the\nwooden arm, that is in the part towards the\nwooden arm C. D. and similarly the other\nin H."}, {"page_pdf": 25, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 3491, "texte": "'I hese • unite in two pulley • wheels set in\na runnel above the wooden arm C. D. in P.,\nand, running over this, let them pass through\nother two pulley wheels near to the little\ncross bar of wood I. L., coming down to\nunite in R., as in the first figure. When\none wishes to put this system in practice,\ntwo persons must be set below the level of\nthe stage M. N. one of whom will hold the\nend of the rope O and the other R.\nShould it be desired that the cloud should\ndivide while the projecting arm is being lower-\ned, the person who holds the end of the rope\nin O will pull downwards as far as S.; the\none who holds the end R. will let it run\nout as far as T, as in the second figure, so\nthat consequently the wooden arms F. G. and\nH. G. will open out and the three clouds\nC. F. H. will be seen.\nif it be desired that they close again one\nwill cause the person who holds the end T\nto pull the rope down as far as R., and the\none at S to let out the rope at O, so that\nin this way the three clouds will return to\ntheir original place as in the first figure.\nCHAPTER 50, HOW FROM THE\nSKY, WITHOUT THE USE OF A\nCLOUD. A PERSON MAY BE LOWERED\nWHO, ON REACHING\nTHE STAGE LEVEL, CAN IMMEDIATELY\nWALK AND DANCE.\nWHEN it is requisite in the Intermezzi to\nlower a person from the sky without\na cloud the following method is to be\nadopted.\nA crane will be made similar to those\ndescribed above in the other chapters, but,\ninstead of the wooden arm which supports\nthe cloud, one will in this case set in the\nprincipal wooden beam, inside the gar game,\nan iron rod of such thickness that it can se-\ncurely support the weight of a man.\nThis must have its projecting arm of the\nsame iron, and at the end of it one will set\na resting perch in the form of a saddle, but\nas small as possible; and this must be so\nsecure that the person who is to be lowered\ncan sit astride it comfortably. And a stirrup\nmust also be added, the leg-piece of which\nshall be as long as the leg of the person ; and\nit must be adjusted in such a way that he\ncan set his heel in it, and not the toe, so that\nhe shall cover not only the stirrup with his foot,\nbut also the stirruo-strap with his leg.\nA A\nDesiring then to carry out what has been\nsaid, the person is to be mounted upon that\nlittle saddle, holding his heel in the stirrup.\n1 hen lower the projecting arm with a slow\nmovement, and, when the stirrup shall have\nreached the stage, he will dexterously remove\nhis foot from it, opening his legs somewhat\n1 kJ kJ\nso that the projecting arm may descend beneath\nthe stage through an aperture which is to\nhave been prepared for that purpose, in the\nsame moment as the figure will begin to dance\non the stage.\nLet the Gar game be A. B. and the pro-\njecting arm C. D. ; and. let the parts C. D.\nand C. E. be termed of iron bars proportioned\nto the weight that they must sustain, as was\nsaid above: and let the person be F. G. set\nin the little saddle in C. and with a foot in\nthe stirrup in G.\nWishing then to produce this effect of\ndescent upon the stage the projecting arm must\nbe lowered to the level of the stage, and, so\nsoon as the person shall have reached this,\nhe will quickly remove his foot from the\nstirrup G., the projecting arm being lowered\nbeneath the level of the stage H. I. through\nthe aperture K. L. until it reaches M. N. 0.\nimmediately reel using the aperture in the stage,\nso that in this manner the person will be\nable to dance at once upon the stage, and\nwhat was required will have been accom-\nplished."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c023", "article_bluemountain": "bmtnaau_1929-01_01#c023", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "14", "page_fin": "14", "image_debut": 22, "image_fin": 22, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.14.1", "titre_corps": "Figure 1", "titre_sommaire": "Figure 1", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 22, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.22", "debut_caractere": 3618, "fin_caractere_exclue": 3627, "texte": "Figure 1."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c024", "article_bluemountain": "bmtnaau_1929-01_01#c024", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "15", "page_fin": "15", "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=bmtnaau192901-01.2.14.2", "titre_corps": "Figure 2", "titre_sommaire": "Figure 2", "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": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.23", "debut_caractere": 3624, "fin_caractere_exclue": 3633, "texte": "Figure 2."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c025", "article_bluemountain": "bmtnaau_1929-01_01#c025", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "16", "page_fin": "16", "image_debut": 24, "image_fin": 24, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.14.3", "titre_corps": "Figure 3 a", "titre_sommaire": "Figure 3 a", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 24, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.24", "debut_caractere": 3306, "fin_caractere_exclue": 3317, "texte": "Figure 3 a."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c026", "article_bluemountain": "bmtnaau_1929-01_01#c026", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "16", "page_fin": "16", "image_debut": 24, "image_fin": 24, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.14.4", "titre_corps": "Figure 3 b", "titre_sommaire": "Figure 3 b", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 24, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.24", "debut_caractere": 3319, "fin_caractere_exclue": 3330, "texte": "Figure 3 b."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c027", "article_bluemountain": "bmtnaau_1929-01_01#c027", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "17", "page_fin": "17", "image_debut": 25, "image_fin": 25, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.14.5", "titre_corps": "Figure 4", "titre_sommaire": "Figure 4", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.25", "debut_caractere": 3493, "fin_caractere_exclue": 3502, "texte": "Figure 4."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c029", "article_bluemountain": "bmtnaau_1929-01_01#c029", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "18", "page_fin": "20", "image_debut": 26, "image_fin": 28, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.15", "titre_corps": "TWO LETTERS FROM GORDON CRAIG RELATIVE TO THE PRODUCTION OF MACBETH", "titre_sommaire": "TWO LETTERS FROM GORDON CRAIG RELATIVE TO THE PRODUCTION OF MACBETH", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 26, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.26", "debut_caractere": 0, "fin_caractere_exclue": 3742, "texte": "TWO LETTERS\nFROM GORDON CRAIG\nRELATIVE TO THE\nPRODUCTION\n\nLADY MACBETH\nPARAGRAPHS FROM A LETTER ADDRESSED BY THE\nARTIST TO THE ACTRESS PLAYING THE ROLE\nTO me it seems that Lady M. could not\nbe in a room with a group of people\nwithout they all began to live with eight\ntimes their usual intensity — every one, when\nshe came in, glowed — and, as she went,\nthey went out like electric lights dying down.\n\" She was the centre of a big social\ncircle of people — as it is, on the stage we\nsee her the centre of a circle of five hand-\nmaidens — two butlers — a messenger and a\nlot of awkward spear hearers — and what\nis that for us ?\n\" A second thing : It seemed to me that,\nalthough the centre of it all, she never ap-\npeared in the centre — she hugged the sides,\nher eyes alone focus the centre and there,\nshe saw to it, stood husband — a man with\nsome poetic fancy in his speech, but a quite\ndull and awkward, melancholy sort of crea-\nture — with a knack of strength — physical.\n\" The play seems to me always to suffer\nin representation because we see two centre\nfigures.\n\" 1 would have it —• if possible — one\ncentre dull and the other always hugging the\nwalls vivid.\n\" Before five minutes our minds would\nbe asking, \"this man — this boor — what is\nhe? What's he so much in evidence for?\nWhy is he here at all ? — and before another\nthree minutes were gone we should be search-\ning the shadows for his reason — i. e.,\nLady M. We should from then onwards be\nALERT — we should be waiting breathlessly\nto catch the glint of her eyes — and when\nshe did ever advance, we should long for\nher to stay, so attractive she is; and yet\nalways she goes.\n\" Is something like this possible with\n» 1 \"1\nyou ? 1 don't know how it is, but she seems\nto me pretty rather than handsome; seductive\nrather than compelling; in fact I cannot find\nher even once compelling in the masculine\nsense of the word. She seems to have\nBernhardt's voice when. was talking\nto Armand in 'La Dame aux C. Are we\nagreed? I cannot hear her calling on Ah\nye spirits' in the voice of Siadons but in\nthe voice of C arm He gone a bit crazy.\n\" Drunken if you will, but not devastating\nWhat ' Spirit' that she calls on ever came\nto any one in response to an order thrilled\nwith mere intensity — but a spirit might be\nwooed. It is just possible. Are we\nagreed ?\n\" Can you speak such a passage with your\neyelids covering your eyes ?— in ecstasy —\nsensual — and immense ?\n\" But to answer questions.\"\n\" I had planned a scene for your first en-\ntrance : with a small room, little door\nbolts — key — bed (no fireplace, alas S) — the\nmessenger to knock, not blurt in unordered.\n\" Have no thoughts of murder exactly in\nyour head and no feelings of that when you\ngreet that company of guests why bother\nabout that — time for that....\n\" Scene before banquet.\nDon't let them hamper you witn a scrap\nmore material, cloth, brass, gold, cloaks\nthan you feel attractive in —be 1 hat to tne\nfull, ) beg of you, and one-half the troubles\nof this play are removed.\n\" A different beauty — Don't be too erect\n— Bend — listen, not with straight head, but\nwith head well cocked on one side at M.\nwhen he's murdering 1 mean: it s almost\njaunty she is : \" how easy is t . She almost\ndrawls charmingly. I d not even oblige you\nto wear a big cloak. Select the loveliest\ngrey and grey-white furs for some part of\nAct 1, and the loveliest pieces of gold fine\nspun stuff for Act 2-3 — the Indian gold\ncloth is good.\n\" Did it ever occur to you to dress up in\na more or less modern dress —. I'm not\nignorant of the latest 1928 thing, but 1 mean\nthose swathing dresses of 1913 or thereabouts.\n\" You don't want to force the modern,\nbut you could let it slip out couldn't you ?\nand thus make one feel the woman was a\nreality."}, {"page_pdf": 27, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 3848, "texte": "\" Don't laugh — because though I know 1\nam rather a good stage manager, i am quite\naware already that 1 know nothing about\nladies' dresses — so you mustn't laugh.\n\" By the way ....\n\" Where a setting doesn't seem to feel\nright to you, I beg of you not to bother\nabout it. Settings are of No ACCOUNT',\nscenery is rubbish, they never have been or\nwill be of account, where an actress is there\nto attract,\n\"If you attract (plus the bit of makeup\nand scarf and rings to explain that you ARE\nLADY MACBETH) no one will even look at\nwhat scene you are in.\n\" I have not been able to give you my\nbig staircase in the sleep-walking scene —\nget my book ' Towards a New Theatre,' and\nflatter me by looking at that design. It's not\nbad for me.\n\" But 1 have given you, a stairway.\nPillar\n<;.... ? enters here\n? a halting place\n<. .. . ? scene for sleep-walking.\nExits here . . . .>\n\" Now 1 am afraid 1 may horrify you by\nthe drawing I've made of Lady M. herself\nduring her sleep-walking — and which has\ngone to Mr. Tyler along with the other\ndesigns. Because it's ugly. It makes her\nugly — it makes her untidy — she slops along\nin straw slippers, slipped into night after night.\nShe is not impressive, she is merely almost\ndaft and uncouth.\n\" I've seen a woman of 45 — grey, old-\nlooking as 80, walking as in sleep or plodding\nalong — voice as that of a drunken\nman — growling continually like a dog :\nTRAGIC as a Shakespeare thing is tragic:\nAs a Japanese ghost picture is tragic : . . . .\nget some to look at.\n\" And if 1 saw such a perfectly enchanting\nwoman like Lady Macbeth of Act 1 changed\nto a horror of Act 4, I should feel I was\nlooking at something Shakespearean.\n\nLIGHT AND SHADOW\n\nA LETTER TO RICHARD BOLESLAVSK Y (I)\nRELATIVE TO THE LIGHTING OF THE SCENES\no DESIGNED BY CRAIG FOR MACBETH o\nBQLESLAVSKY ! The more i say the more\ndifficult for you — and embarrassing.\nThe less I say the better you'll do it — for\nyou know my likes and when you don't\nyou've got heaps of ideas of your own. bo go\nahead and don't bother your head with * Am\nI doing as Gordon Craig likes ' — 1 SHALL\nlike it. i am so happy you are doing this.\n\" In the murder scene something like this.\nThe fog to sink slowly during the scene.\nTry to keep it cold, queer and horrible\nlooking. Tiy to sink the darkness as a veil\nsinks. Then, during the time the murder is\nbeing done, during some seven to eight\npages, allow a slow but deliberate descending\nof shadow, not a lowering of light.\n\" Try to cast shadows of the screens on\nthe backcloth, or whatever is back of them.\nNever mind which way they go, but get\nthem to help the unreality of the situation.\nDon't fabricate the shadows, let them come\nif they will and can, while you are lighting\nthe whole scene. Try to colour each\nscreen with green, blue, or grey. If you\ncan't, then vary the colours to suit yourself\n— but no red or orange. Do not allow\nspotlights — but if possible give Macbeth\nand Lady Macbeth places where they can\nbe sure to find light if a very wonderful\nbit of face-play is born. Can you have\nsome good reflectors if they should be need-\ned? Possibly they will not be needed at\nall, but I fancy some such lamps to rake the\nfloor so that the actors paddle up to the knees\nor ankles in a bath of one colour, and another\ncolour, a darker one, higher up. However, I\nhave none of my designs with me now, no-\nthing to go by ... .\n\" In the bridge scene, if possible, 1 want\nsome silent wind instrument which will blow\nthe damn cloaks like the deuce, but it s to\ncome on and oft in gusts, not regular, and\nalso to blow a leaf, or a paper, — something\nto just give a sense of air, anyhow, for the\nscene's sake. Let the light bear on the left\nside of the bridge — on the right side\npretty indigoish and ugly day. Let it be gay\n\n(i) Formerly of the Moscow Art Theatre and now the Director\nof the American Laboratory Theatre."}, {"page_pdf": 28, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.28", "debut_caractere": 0, "fin_caractere_exclue": 2599, "texte": "and light, only the indigo on our side very\nominous. Basta. The witches descend by a\ntrap if it can be neatly done — in a flash —\nit's the last thing folks will expect. It goes\nwell in this melodrama. YOU could help to\nmake it lovely. (Don't kill tire witches),\n\" Seme more needless talk by hi. G. C.\n\" That passage seen outside the room\nwhere Duncan is supping to be lighted as\nnearly as possible according to tire design.\nMake it feel like a passage — net a room.\nIf possible get the shadow as indicated and\nhere again, as in the murder scene, do let it\ndescend slowly. Let the edge be rather\nsoftened before it begins to come down.\nInside the door let the red be brick red and\nnot that damned vermilion or carmine. I'm\nnot sure that a passing of stray reddish light\nto make a sort of curved passage of light on\nthe floor now and again would be at all bad.\nSee that Lady Mac keeps on pulling the\ndoor to — she must never mind the unrea-\nsonableness of it. Light should flare and go\nout as they sit and talk --- and when it flares,\na bit of silence.\n\" In the big scene to be used for the last\n\"O\nscenes — once break across it with your\nlight, another time break it into three for the\n* ¥\ntop space seems to me a bit empty. 1 sug-\ngest try it anyhow. What.\n\" In the banquet scene the baldichino\nwhich covers the table of the guests is the\nplace from which the light comes most of\nall, or seems to come let's say. Keep it red\nand the places round it orange ; around them\nindigo, and die out at the edges. Lights\ninside baldichino red and yellow mixed, and\nlet the stuff (painted) of the baldichino show\ntransparent so as to increase the richness of\nits red and gold.\n\" I forgot to tell Ross this, very important:\non the floor should be a rich sold and black\nK.J\ncarpet spread right along under table and\nchairs. A ceitic pattern on the carpet is as\ngood as any other. Ross has a book of these.\n\"if in doubt about a good extra light to\nthe baldichino put one bang down on it from\nabove. (Not fences but supposed to be light\nand shadow for a garden. Can't draw them.)\nBut you can make the light spit out.\nAlthough played like a melodrama I do hope\nthese supper people, the guests, will each\nact like a real guest of Delmonico's at a\nsupper given by Mr. Hoover. Do see that\na real nice supper is served. No art will\ndo in this extremity, but Mr. iyler inviting\nthem each night to a supper would do it\nRIGHT.\n\" Look at the original drawings if in\ndoubt. They say much more than I could\nwrite. So I won't say any more. Only\nbless you, and he as bold as you like.\nSeptember 2 ! sf, 1923. Germany.\n\nE. G. C."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c030", "article_bluemountain": "bmtnaau_1929-01_01#c030", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "18", "page_fin": "19", "image_debut": 26, "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=bmtnaau192901-01.2.15.1", "titre_corps": "LADY MACBETH", "titre_sommaire": "LADY MACBETH", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 26, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.26", "debut_caractere": 58, "fin_caractere_exclue": 3742, "texte": "LADY MACBETH\nPARAGRAPHS FROM A LETTER ADDRESSED BY THE\nARTIST TO THE ACTRESS PLAYING THE ROLE\nTO me it seems that Lady M. could not\nbe in a room with a group of people\nwithout they all began to live with eight\ntimes their usual intensity — every one, when\nshe came in, glowed — and, as she went,\nthey went out like electric lights dying down.\n\" She was the centre of a big social\ncircle of people — as it is, on the stage we\nsee her the centre of a circle of five hand-\nmaidens — two butlers — a messenger and a\nlot of awkward spear hearers — and what\nis that for us ?\n\" A second thing : It seemed to me that,\nalthough the centre of it all, she never ap-\npeared in the centre — she hugged the sides,\nher eyes alone focus the centre and there,\nshe saw to it, stood husband — a man with\nsome poetic fancy in his speech, but a quite\ndull and awkward, melancholy sort of crea-\nture — with a knack of strength — physical.\n\" The play seems to me always to suffer\nin representation because we see two centre\nfigures.\n\" 1 would have it —• if possible — one\ncentre dull and the other always hugging the\nwalls vivid.\n\" Before five minutes our minds would\nbe asking, \"this man — this boor — what is\nhe? What's he so much in evidence for?\nWhy is he here at all ? — and before another\nthree minutes were gone we should be search-\ning the shadows for his reason — i. e.,\nLady M. We should from then onwards be\nALERT — we should be waiting breathlessly\nto catch the glint of her eyes — and when\nshe did ever advance, we should long for\nher to stay, so attractive she is; and yet\nalways she goes.\n\" Is something like this possible with\n» 1 \"1\nyou ? 1 don't know how it is, but she seems\nto me pretty rather than handsome; seductive\nrather than compelling; in fact I cannot find\nher even once compelling in the masculine\nsense of the word. She seems to have\nBernhardt's voice when. was talking\nto Armand in 'La Dame aux C. Are we\nagreed? I cannot hear her calling on Ah\nye spirits' in the voice of Siadons but in\nthe voice of C arm He gone a bit crazy.\n\" Drunken if you will, but not devastating\nWhat ' Spirit' that she calls on ever came\nto any one in response to an order thrilled\nwith mere intensity — but a spirit might be\nwooed. It is just possible. Are we\nagreed ?\n\" Can you speak such a passage with your\neyelids covering your eyes ?— in ecstasy —\nsensual — and immense ?\n\" But to answer questions.\"\n\" I had planned a scene for your first en-\ntrance : with a small room, little door\nbolts — key — bed (no fireplace, alas S) — the\nmessenger to knock, not blurt in unordered.\n\" Have no thoughts of murder exactly in\nyour head and no feelings of that when you\ngreet that company of guests why bother\nabout that — time for that....\n\" Scene before banquet.\nDon't let them hamper you witn a scrap\nmore material, cloth, brass, gold, cloaks\nthan you feel attractive in —be 1 hat to tne\nfull, ) beg of you, and one-half the troubles\nof this play are removed.\n\" A different beauty — Don't be too erect\n— Bend — listen, not with straight head, but\nwith head well cocked on one side at M.\nwhen he's murdering 1 mean: it s almost\njaunty she is : \" how easy is t . She almost\ndrawls charmingly. I d not even oblige you\nto wear a big cloak. Select the loveliest\ngrey and grey-white furs for some part of\nAct 1, and the loveliest pieces of gold fine\nspun stuff for Act 2-3 — the Indian gold\ncloth is good.\n\" Did it ever occur to you to dress up in\na more or less modern dress —. I'm not\nignorant of the latest 1928 thing, but 1 mean\nthose swathing dresses of 1913 or thereabouts.\n\" You don't want to force the modern,\nbut you could let it slip out couldn't you ?\nand thus make one feel the woman was a\nreality."}, {"page_pdf": 27, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 1658, "texte": "\" Don't laugh — because though I know 1\nam rather a good stage manager, i am quite\naware already that 1 know nothing about\nladies' dresses — so you mustn't laugh.\n\" By the way ....\n\" Where a setting doesn't seem to feel\nright to you, I beg of you not to bother\nabout it. Settings are of No ACCOUNT',\nscenery is rubbish, they never have been or\nwill be of account, where an actress is there\nto attract,\n\"If you attract (plus the bit of makeup\nand scarf and rings to explain that you ARE\nLADY MACBETH) no one will even look at\nwhat scene you are in.\n\" I have not been able to give you my\nbig staircase in the sleep-walking scene —\nget my book ' Towards a New Theatre,' and\nflatter me by looking at that design. It's not\nbad for me.\n\" But 1 have given you, a stairway.\nPillar\n<;.... ? enters here\n? a halting place\n<. .. . ? scene for sleep-walking.\nExits here . . . .>\n\" Now 1 am afraid 1 may horrify you by\nthe drawing I've made of Lady M. herself\nduring her sleep-walking — and which has\ngone to Mr. Tyler along with the other\ndesigns. Because it's ugly. It makes her\nugly — it makes her untidy — she slops along\nin straw slippers, slipped into night after night.\nShe is not impressive, she is merely almost\ndaft and uncouth.\n\" I've seen a woman of 45 — grey, old-\nlooking as 80, walking as in sleep or plodding\nalong — voice as that of a drunken\nman — growling continually like a dog :\nTRAGIC as a Shakespeare thing is tragic:\nAs a Japanese ghost picture is tragic : . . . .\nget some to look at.\n\" And if 1 saw such a perfectly enchanting\nwoman like Lady Macbeth of Act 1 changed\nto a horror of Act 4, I should feel I was\nlooking at something Shakespearean."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c031", "article_bluemountain": "bmtnaau_1929-01_01#c031", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "19", "page_fin": "20", "image_debut": 27, "image_fin": 28, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.15.2", "titre_corps": "LIGHT AND SHADOW", "titre_sommaire": "LIGHT AND SHADOW", "signature_source": "E. G. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 27, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.27", "debut_caractere": 1660, "fin_caractere_exclue": 3848, "texte": "LIGHT AND SHADOW\n\nA LETTER TO RICHARD BOLESLAVSK Y (I)\nRELATIVE TO THE LIGHTING OF THE SCENES\no DESIGNED BY CRAIG FOR MACBETH o\nBQLESLAVSKY ! The more i say the more\ndifficult for you — and embarrassing.\nThe less I say the better you'll do it — for\nyou know my likes and when you don't\nyou've got heaps of ideas of your own. bo go\nahead and don't bother your head with * Am\nI doing as Gordon Craig likes ' — 1 SHALL\nlike it. i am so happy you are doing this.\n\" In the murder scene something like this.\nThe fog to sink slowly during the scene.\nTry to keep it cold, queer and horrible\nlooking. Tiy to sink the darkness as a veil\nsinks. Then, during the time the murder is\nbeing done, during some seven to eight\npages, allow a slow but deliberate descending\nof shadow, not a lowering of light.\n\" Try to cast shadows of the screens on\nthe backcloth, or whatever is back of them.\nNever mind which way they go, but get\nthem to help the unreality of the situation.\nDon't fabricate the shadows, let them come\nif they will and can, while you are lighting\nthe whole scene. Try to colour each\nscreen with green, blue, or grey. If you\ncan't, then vary the colours to suit yourself\n— but no red or orange. Do not allow\nspotlights — but if possible give Macbeth\nand Lady Macbeth places where they can\nbe sure to find light if a very wonderful\nbit of face-play is born. Can you have\nsome good reflectors if they should be need-\ned? Possibly they will not be needed at\nall, but I fancy some such lamps to rake the\nfloor so that the actors paddle up to the knees\nor ankles in a bath of one colour, and another\ncolour, a darker one, higher up. However, I\nhave none of my designs with me now, no-\nthing to go by ... .\n\" In the bridge scene, if possible, 1 want\nsome silent wind instrument which will blow\nthe damn cloaks like the deuce, but it s to\ncome on and oft in gusts, not regular, and\nalso to blow a leaf, or a paper, — something\nto just give a sense of air, anyhow, for the\nscene's sake. Let the light bear on the left\nside of the bridge — on the right side\npretty indigoish and ugly day. Let it be gay\n\n(i) Formerly of the Moscow Art Theatre and now the Director\nof the American Laboratory Theatre."}, {"page_pdf": 28, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.28", "debut_caractere": 0, "fin_caractere_exclue": 2599, "texte": "and light, only the indigo on our side very\nominous. Basta. The witches descend by a\ntrap if it can be neatly done — in a flash —\nit's the last thing folks will expect. It goes\nwell in this melodrama. YOU could help to\nmake it lovely. (Don't kill tire witches),\n\" Seme more needless talk by hi. G. C.\n\" That passage seen outside the room\nwhere Duncan is supping to be lighted as\nnearly as possible according to tire design.\nMake it feel like a passage — net a room.\nIf possible get the shadow as indicated and\nhere again, as in the murder scene, do let it\ndescend slowly. Let the edge be rather\nsoftened before it begins to come down.\nInside the door let the red be brick red and\nnot that damned vermilion or carmine. I'm\nnot sure that a passing of stray reddish light\nto make a sort of curved passage of light on\nthe floor now and again would be at all bad.\nSee that Lady Mac keeps on pulling the\ndoor to — she must never mind the unrea-\nsonableness of it. Light should flare and go\nout as they sit and talk --- and when it flares,\na bit of silence.\n\" In the big scene to be used for the last\n\"O\nscenes — once break across it with your\nlight, another time break it into three for the\n* ¥\ntop space seems to me a bit empty. 1 sug-\ngest try it anyhow. What.\n\" In the banquet scene the baldichino\nwhich covers the table of the guests is the\nplace from which the light comes most of\nall, or seems to come let's say. Keep it red\nand the places round it orange ; around them\nindigo, and die out at the edges. Lights\ninside baldichino red and yellow mixed, and\nlet the stuff (painted) of the baldichino show\ntransparent so as to increase the richness of\nits red and gold.\n\" I forgot to tell Ross this, very important:\non the floor should be a rich sold and black\nK.J\ncarpet spread right along under table and\nchairs. A ceitic pattern on the carpet is as\ngood as any other. Ross has a book of these.\n\"if in doubt about a good extra light to\nthe baldichino put one bang down on it from\nabove. (Not fences but supposed to be light\nand shadow for a garden. Can't draw them.)\nBut you can make the light spit out.\nAlthough played like a melodrama I do hope\nthese supper people, the guests, will each\nact like a real guest of Delmonico's at a\nsupper given by Mr. Hoover. Do see that\na real nice supper is served. No art will\ndo in this extremity, but Mr. iyler inviting\nthem each night to a supper would do it\nRIGHT.\n\" Look at the original drawings if in\ndoubt. They say much more than I could\nwrite. So I won't say any more. Only\nbless you, and he as bold as you like.\nSeptember 2 ! sf, 1923. Germany.\n\nE. G. C."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c033", "article_bluemountain": "bmtnaau_1929-01_01#c033", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "20", "page_fin": "20", "image_debut": 28, "image_fin": 28, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.16", "titre_corps": "THE MACBETH PRODUCTION IN NEW YORK", "titre_sommaire": "THE MACBETH PRODUCTION IN NEW YORK", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 28, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.28", "debut_caractere": 2601, "fin_caractere_exclue": 3138, "texte": "THE MACBETH PRODUCTION\nIN NEW YORK.\nKNOWING that many readers in all parts of Europe,\nas well as farther afield in India, Australia, tlgypt,\nChina and Japan look t° \" The Mask \" to bring them\nnews of salient end significant events in the Theatre oj\ntoday, we have collected for them a few extracts from\nthe many accounts of the production of i( Macbeth at\nthe Knickerbocker Theatre, New York> including two\ncontributions, of especial interest, received from Mr. Percy\nMackaye and Air. George jean Nathan, on the art of\nGordon Craig. Eld."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c035", "article_bluemountain": "bmtnaau_1929-01_01#c035", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "20", "page_fin": "21", "image_debut": 28, "image_fin": 29, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.17", "titre_corps": "THIS WORLD... THAT WORLD : A COMMENT ON THE ART OF GORDON CRAIG", "titre_sommaire": "THIS WORLD... THAT WORLD : A COMMENT ON THE ART OF GORDON CRAIG", "signature_source": "PERCY MACKAYE", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 28, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.28", "debut_caractere": 3140, "fin_caractere_exclue": 3805, "texte": "THIS WORLD... THAT\nWORLD\nA COMMENT ON THE ART\nOF GORDON CRAIG\nBY PERCY MACKAYE\nTL YEARLY two decades ago, Gordon Craig\nwrote to me : \" I am sending you two\nlittle etchings — called Drama, (2) called\nThe Temple: This world — that world.\"\nin essence, those \" little etchings \" epito-\nmize his own vast gift to the theatre of our time.\nTo the Drama of tangible world\nCraig has opened the Temple of the intan-\ngible — that inner world of Imagination for\nwhich the theatre, at its noblest, is the\nsupreme instrument. This he has done by\ninventing a new vesture of expression: a\nquivering garment of light. and plastic form\ndevised to reveal (not to hide, or to decorate)"}, {"page_pdf": 29, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 4461, "texte": "the immanent moods and symbols naked in\nthe dramatist's mind.\nTo the poet in the theatre, therefore,\nCraig has brought a new hope of liberation,\na quickening faith that the creatures of his\nmind may attain to their true birthright on\nthe stage. For the poet as dramatist is\nconcerned, first of all, with an inner theatre,\nunseen. Every play he conceives creates its\nown playhouse — a new organism, within.\nBut, without,in every era, he must needs\nconform, in part, to a crystalized, static stage,\ncast in the moulds of elder dramatists' dreams.\nSo the seen forms of the theatre have slowly\nevolved — from /Eschylus to Ibsen — by the\nmaking, breaking and re-making of such moulds.\nBut now, in our time, Gordon Craig\nbrings us his marvelously plastic art, rendering\nthe Theatre contemporary with all times and\nresponsive to all dinamic dreams of the\nDramatist. So, as creative Director, he re-\nconciles the age-long oppostions of two\nworlds — \" this world, that world \" — and\nreveals Drama in the place of its origin — •\nthe Temple of the Unseen.\nLike the dramatic poet in the theatre,\nCraig then is concerned with the dynamic\nheart of a Mystery: a burning altar, dedi-\ncated to the most high gods — not to the\nlesser acolytes -— of Human Passion, in all\ntheir majestic repertoires of Comedy and\nTragedy: an altar, whose central fire of\nwhite faith, ignited long ago in a golden\nage, has never been extinguished by the\nbreath of cynic confusion or by the turbid\nfluctuations of fashion.\nCraig utterly believes. That is why an\nage of half belief stands in awe of him.\nCraig believes in an art, rigorous in disci-\npline, whose goal is not sensation, but sen-\nliency: an ever-increasing keenness to the\npoignant arrows of Impersonal Beauty.\n\" I hope \" — he writes to me, in another\nletter, \" 1 hope some one will write an essay,\nserious and calm, in which the thoughts of\ndivine beauty are shown to be free from\nvulgarity and sensuality, and free from the\ncontemplation and delight in our own personal\nlittle oddnesses: free from the Sumurum\n\" love \" as from the Gaiety Girl \" love \" ;\nin fact, free from all \" love \" except the real,\nold, sweet and terrible thing, which because\nof its grandeur and awfulness becomes part\nof the divine thought.5'\nMuch has been written about Craig's\nmeans or expression—his technique of lighting,\nof directorship, etc. Much less has been\nwritten of his aims of expression, as hinted\nin this quotation of his own words. Those\nwords are not the language of Broadway;\nyet lovers of Broadway who would seek a\nclue to the greatest theatre genius of our age\nmay well find it in those words. During\nthe last decade, Broadway itself has been re-\nvolutionized by disciples of Craig, and today (i)\na \" designment \" by Craig of Shakespeare's\n\" Macbeth\" is announced for Broadway\nproduction, thanks to the gallant initiative of\nGeorge Tyler.\nBut as Shakespeare, the poet in the theatre,\nis creatively inseparable from his plays, so\nCraig has always maintained that the master\nproducer in the theatre must be inseparable\nfrom his productions of the dramatic poet;\nmust \"be, indeed, the personal focus and\nexecutive of his own impersonal designs. It\nremains then to be seen how \" Macbeth \",\nwith \" Craig \" himself left out, may project\nin New York the ideal of Craig, who per-\nsonally stays in Europe.\nHowever that may be, the emergence of\nGordon Craig — out of an aloofness of years\nalready legendary — into the glare of Today,\nhere in living spirit amongst us,is itself a\nmilestone in theatrical history. More than to\nthe public, more even than to the \" theatre\nartist,\" so termed, Craig's designment of\n\" Macbeth\" is a portent greatly significant\nto the dramatist. For now, as in the past,\nti.e ja 1 cxi!use remains liouse of plays ;\nand if the poet, as play - maker, shall ever\nagain in his art rise to the stature of the\nauthor of \" Macbeth\", it will be, in no\nslight measure, because to our more chaotic\nage the unswerving vision of Gordon Craig\nhas revealed through his art that harmonious\nfusion of two worlds wherein .the poet of the\ntheatre attains his noblest growth.\nNot less, but more, because our America\nis a democracy, should we honour the true\nmonarch.s of Imagination. In that kingdom,\nwhich he himself lias called \" the only\nrealm of true freedom\", we salute the ge-\nnius of Gordon Craig, with \" Long live the\nKing.\"\n\"W\n(1) Mr. Mac Wye, writing before the event, refers here to the\ndesign® for the \" Macbeth \" performances, Ed."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c036", "article_bluemountain": "bmtnaau_1929-01_01#c036", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "22", "page_fin": "22", "image_debut": 30, "image_fin": 30, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.18", "titre_corps": "GENUINE GORDON", "titre_sommaire": "GENUINE GORDON", "signature_source": "GEORGE JEAN NATHAN", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 30, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.30", "debut_caractere": 0, "fin_caractere_exclue": 4397, "texte": "GENUINE GORDON\nBY GEORGE JEAN NATHAN\n(I)\nTHE mere hint of Gordon Craig in the\nDouglas Ross production of \"Macbeth\"\n.—it is simply a hint, as Craig has con-\ntributed only a few sketches and sugges-\ntions— is yet sufficient to indicate to all\nand sundry the distance that separates the\nfather of modern interpretive scenecraft not\nonly from the mass of contemporary scenic\nentrepreneurs but also from his own hundred\nand one offspring and imitators. These few\nflashes of .Craig thus revealed must prove\neven to one hitherto unacquainted with his\nwork what those of us who have followed\nhis enterprises for many years have maintained,\nto wit, that here is the one and only authentic\nscenic artist of the modern theatre.\nThe main difference between Craig and\nall the other workers in stage pictorial design\nis that he is an interpreter of drama in terms\nof scenery and its adjuncts whereas the others,\nsave when they try rather pathetically to copy\nhis method, are simply and purely fabricators\nof settings externally suggested by the dramas\nthey adorn. Craig's settings come out of the\nbody and texture of a drama; those of his\ncontemporaries are visited upon a drama.\nThe latter do not work toward an interpreta-\ntion of a play so much as toward a mere\noutward projection of it. Their settings are\noften beautiful.and often superficially effective,\nas the settings of a revue or musical comedy\nare beautiful and effective, but they contribute\nlittle or nothing toward the illumination of the\nheart and soul of a drama. It is a common\nphenomenon of the theatre to find an audience\nloudly applauding a piece of scenery when\nthe curtain goes up and before the play itself\nhas actually begun. That is an occurence\nappropriately strange to the theatre of Gordon\nCraig!\nSo much has been written of Craig and\nhis theories, both by others and by myself,\nthat it is unnecessary to toy with repetition.\nThe story of the man proceeds naturally and\nforcibly out of a contemplation of the efforts\nof all the other scene designers presently\nactive in the world theatre. These simply\ngrope* more or less blindly after what Craig\nactually accomplishes, that is, those designers\nwho are to be taken at all seriously. Ger-\nmany, for instance, is full of his followers,\nsome of them ~~ craftsmen like Ernst Stern,\nAlfred Roller and Ludwig Sievert, the first\nin particular—of an exceptional aptitude, but\nnone of them quite succeeds in achieving the\nends that Craig achieves. They grasp his\ntheories and his methods in outline but\nseldom in content. They sometimes get the\neffects they desire by Craig's means but 1\nhave yet to see one of their productions that\ndid not here and there in its course collapse\neither because of an ill assimilation of the\nCraig principles or because they have injected\nfaulty side theories of their own into their\ngeneral appropriation from Craig.\nCraig thinks of scenery and of a parti-\ncular drama at one and the same time. The\ngenerality of his colleagues give us the im-\npression of thinking of the drama first and\nthen, sometime later, of the scenery. Thus,\nwhere Craig becomes .a dramatist within a\ndramatist the others strike one as dramatists\nsitting astride the shoulders of dramatists.\nThere is always an open space, so to speak,\nbetween their backgrounds and the play itself;\nthe two do not flow together smoothly as\none. The backgrounds of Craig never for a\nmoment dissociate themselves from a play;\nthey whisper the text even as it is being\nspoken by the players; the orchestration is\nmeticulously and gracefully exact. There is\nnever a self-assertive, obstreperous note, as\nin the case of the others. He devises setting\nand appurtenances something after the manner\nof a soil musical accompaniment.\nCraig's contributions to the local presen-\ntation of Shakespeare's tragedy may, as I have\nsaid, be taken only as fragmentary samples\nof his technique. To judge the artist accu-\nrately, one must know him not from such\nmere suggestions but from his own personal\ndirectorial control over them. This \"Macbeth\"\nis given to us with the man himself four\nthousand miles away. He simply drew a\nfew pictures and indicated a few colorings.\nThe real Craig \" Macbeth\" thu s remains\nwith him in his far-off Italian Genoa.\n(1) A further Note cn the \" Macbeth \" production by Mr Na-\nthan vill be found among seme short Extracts cn the subject from\nvarious sources reprinted cn pege. 23-4. Ed."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c038", "article_bluemountain": "bmtnaau_1929-01_01#c038", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "23", "page_fin": "24", "image_debut": 31, "image_fin": 32, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.19", "titre_corps": "SOME EXTRACTS FROM THE AMERICAN JOURNALS", "titre_sommaire": "SOME EXTRACTS FROM THE AMERICAN JOURNALS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 31, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 4143, "texte": "SOME EXTRACTS FROM THE\nAMERICAN JOURNALS.\nTHE Macbeth directed by Douglas Ross\nwas a notable production, but notable\nin a different way from the production of\n\" Wings Over Europe \".\nThe magnificence was in the mounting.\nGordon Craig's wonderful designs were taken\nand used in such a way that they became\npart of an actual, not an ideal theatre.\nGordon Craig's great invention, it seems\nto me, consists 'in making the stage more\ndimensional than it has been — he uses\nplatforms, bridges, stairways in almost every\nscene of Macbeth, and by doing so he gets\naction on more than one plane.\nIf that were all that Craig's designs helped\ntoward it would be a great deal, but he also\ngives a grand setting for Shakespeare's fantasy\nand poetry.\nThree or four of the settings were mag-\nJ W/\nnificent achievements in themselves: there\nwas the scene where Macbeth with the\nWierd Sisters stands as in a Cathedral in\ninferno ; there was the scene where Duncan\nis received by Lady Macbeth before a castle\nwhich seems to be the iast, the remotest\nplace to which Duncan can come in his\nkingdom, and there is the scene in Macbeth's\ncastle where Lady Macbeth, holding a lamp,\npasses up and down the sta.ii way and across\na level — a place of shadows where one\nsleeping and two waking people seem to move\nin a vault.\nAnd the costumes provided are fine\nenough to go with so grand an action as that\nof Macbeth.\nBut the play is, first of ail, a reel tal of\nverse against a background of violent action;\nthe great scenes are all in soliloquy. It is\nobvious, then, that as much attention should\nbe given to the enunciation of the verse as\nto the mounting of the scenes. This has not\nbeen done. The verse is repeated so that\nit is heard and understood, and heard and\nunderstood as verse, and that is something.\nBut it is not repeated with any real regard\nfor the music of the lines.\nLyn Harding, for instance, says his great\nlines without, apparently, an inner feeling for\nsuch music as\nte Pluck from the memory a rooted sorrow/s\ni * ' i * Sf\nHe soliloquizes as if the situation had\ngiven him the cue — not as if an event had\nstartled him into a sort of clairvoyance that\ncomes out in accents that have been set to\na deep music. Florence Reed has this\nadvantage over Lyn Harding : her great scene\nis in prose, her voice and movement in the\nsleep-walking scene were deeply mournful.\nBut in the spirited scenes she did not render\nthe woman who through some element of\nwill, intellect, or imagination dominates her\nhusband. The most adequate delivery in\nthe whole play was Percival Vivian's, in the\nporter's great prose fantasy.\nPaclraic Colium in The Dial, February 1929.\nTHE George Tyler production of \"Macbeth\"\nis chiefly noteworthy for the share that\nGordon Craig has had in it. It isn't a big\nshare, unfortunately, for Craig has contributed\nsimply a tew designs for settings and costumes,\nbut, even so, it is big enough to give Ame-\nricans an inkling that there may he something\nmore to dramatic backgrounds than they have\nhitherto believed.\nThis is no place to go into an extended\nessay on Dr. Craig's art; I assume that you\nhighbrows who devour this magazine are\nsufficiently familiar with at least the elementals\nof it. But this may yet be the place to\nreiterate that, in the estimable Gordon\nof Genoa, the modern theatre has its\ngreatest genius of scenic designs and that, if\nyou wish to sample a snifter of him, an\nevening at the Knickerbocker Theatre will\n*D\ndo you no harm.\nThe difference between Craig and his\nfollowers is the difference between Amerigo\nVespucci and Hendrik Willem Van Loon,\nwho, nevertheless, is a very decent fellow.\nCraig is the pioneer in vital interpretation o!\ndrama in terms of settings and their properties;\nthe others — some of them skilful enough —\nmerely rattle their little shiny tin sheets in an\neffort to cuckoo his thunder.\nThe influence of Craig has been felt\nwherever there is a theatre modern enough to\nboast a men's washroom with open plumbing.\nThat influence in many cases has been filtered\nthrough designers who have defeated both it\nand themselves because of a vainglory that\nhas impelled them to distil it through moil-"}, {"page_pdf": 32, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.32", "debut_caractere": 0, "fin_caractere_exclue": 3760, "texte": "keyshines oi their own. But, corrupted or\nleft unadulterated, it has done more to realize\nthe potential strength and beauty or the stage\nthan any analogous influence in its time.\nOne regrets that Craig himself did not\ncome over here to supervise and direct this\n\" Macbeth \". I hen we should have had some-\nthing, my boys, to talk about. But we may,\nnone the less, be grateful for small favours.\nA sample, after all, is better than no-\nthing. So run around to the Knickerbocker,\nsmile prettily upon Impresario Tyler as you\npass through the lobby, and pleasure yourself\nwith an education, in some authentic scenic art.\nGeorge Jean Nathan in Judging the Shows.\nTHIS \" Macbeth \" should certainly not be\noverlooked by students and Shakespea-\nreans.\"\nBurns Mantle in the New York Daily News.\nGEORGE C. IYLER IS a gam the hero of\na line endeavour in the theatre .. . For\nMr. Tyler's production there is only praise\nio offer . . . First, the choice of a great play,\nsecond, inducing the most famous scenic ar-\ntist of our time to design the sets, and then\ndrawing together as fine a cast of players as\nmight have been available.\"\nRank Lea Snort in the Christian Science Monitor.\nMR. CRAIG S designs are a constantly\ntunning exhibit, a haunting and beau-\ntiful background instinct with every stark and\nsoul tossed mood of the play.\"\n1he New York Times.\nNOi the least oi the personal triumphs\nin this revival is the one scored by\nGordon Craig in designing for the first time\nthe settings for an American production\nlhe monumental, savagely temperamental ge-\nnius of this son of Dame Ellen Terry wrought\nscenic marvels upon the Knickerbocker stage,\nand the audience, seeing, was not slow °to\nappreciate the beauty his brain had conceived.\nNot spectacular, not built to amaze, his set-\ntings simply give this excellent cast of players\na worthy stage whereon they may run the\ngamut of human passions.\"\ni\nThe New York Evening Journal.\nTHE point of departure for this \" Macbeth \"\nof Mr. George Tyler as a part in his-\n\" annual presentation of famous masterpieces\nwas the designs by Mr. Gordon Craig.\nWhat we see at the Knickerbocker is-\nscenery taken from the designs he sent, but\nnot actually created under his eye and\nhand.\nThat Mr. Gordon Craig is one of the\noutstanding geniuses in the history of the\nworld theatre is obvious.\n.... he has been a seed, an upheaval, a\nlight and power in the art or the theatre, not\nonly on its visual side but with regard to the\nwhole production. His influence is evident\nin the modern Russians, in Reinhardt, in\nGranville Barker and lesser men in England,,\nin Mr. Robert Edmond Jones and Mr. Nor-\nman-Bel Geddes snd other designers in Ame-\nrica, in Spain, in Italy, in the whole modern\ntheatre.\nborne have fed their talents with his\nsubstance, some have turned it into paying\nenterprise. Everyone who knows anything\nabout the modern theatre knows this ....\nThere are those who say that it was not\nethical, or something of the kind, for Mr.\nGordon Craig to turn over his designs to\nanother man and not come over and see them\nthrough himself, and that he is therefore sub-\nject to be judged by the result. But this\nis nonsense ; he has as much right to sell his\ndesigns to a producer as the dramatist has to\nsell his play or as the costume designer to\nsell his plates — so long, that is, \"as the\nproduction does not claim to be his, which\nthis does not and need not try to do.\n.... The design tor the castle scenes, the\nking s arrival and afterwards the circumstan-\nces of his murder, I thought superb\nit is only too easy to imagine that in the\nwhole sheaf of designs that Mr. Gordon Craig\ncreated, there were many beautiful motives\nand elements that are not even suggested in\nthis production as we see it.\nStark \\ oung in 1he New Republic."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c039", "article_bluemountain": "bmtnaau_1929-01_01#c039", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "25", "page_fin": "25", "image_debut": 33, "image_fin": 33, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.20", "titre_corps": "HEAD OF MOUNET-SULLY", "titre_sommaire": "HEAD OF MOUNET-SULLY", "signature_source": "Felix Vallottin", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 33, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 50, "texte": "HEAD OF MOUNET-SULLY.\nEngraved by Felix Vallottin."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c040", "article_bluemountain": "bmtnaau_1929-01_01#c040", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "27", "page_fin": "30", "image_debut": 35, "image_fin": 38, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.21", "titre_corps": "ANOTHER BOOK ABOUT STAGE DECORATION", "titre_sommaire": "ANOTHER BOOK ABOUT STAGE DECORATION", "signature_source": "d. n. l", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 35, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.35", "debut_caractere": 0, "fin_caractere_exclue": 4027, "texte": "ANOTHER BOOK ABOUT\nSTAGE DECORATION\n\n(1)\nMR. AlfrediKnopf,\" whose * energy has in\na brief time given bin a notewor thy po-\nsition among tne younger publishers, has is-\nsued this work in two handsome and well\nprinted volumes.\nBut it is a pity that, if Mr. Knopf wish-\ned to publish a costly book on recent work\nin the 1 heatre, his usual perspicacity should\nhave deserted him, and that he should have\nsquandered his money, and the time of his\ncapable staff, on perpetuating the remarks of\nanyone so incompletely qualified to deal with\nthe subject as Mr. Samuel j. Hume.\nIt is true that on the title page there ap-\npears also the name of Mr. Walter Rene\nFuerst; but were Mr. Fuerst himself genuine-\nly well-informed, surely he would hardly be\nfound in this collaboration with Mr. Hume.\nSpace does not permit of treating fully\nof this publication, which indisputably brings\ntogether a considerable amount of matter rela-\ntive to the Theatre of recent years and of\ntoday ; but, for those who have followed the\nNew Movement with any intelligence, the\ntone adopted by the authors to the work of\nMr. Gordon Craig is in itself sufficiently\nindicative of the temper and quality of the\nwhole.\nIt is not of course a damning attitude....\nunless faintly to praise be indeed that; it is\nrather a benignly patronising attitude , the at-\ntitude of one who cites words and ideas, of\nwhich he has obviously no remote understan-\nding, with the desire to show us that his own\nsuper-intelligence net only grasps, but win-\nnows them and finds them wanting ; implying\nthat, though the passages quoted may be well-\nintentioned, he himself holds other views, sees\nthe matter in a clearer light; is, in fact, the\nsuperior.\nThe extent to which Mr. Craig is quo-\nted or paraphrased is lavish; and the Quota-\nJL A •' t\nlions are so firmly embedded in the text, the\nindications of quotation so slight and easily\nover-looked, that one reads long passages\nwhich would raise one's opinion of the intel-\nligence of Messrs Fuerst and Hume did one\nnot then find it is Craig one is really reading,\nand, at the end or a column or so, hear the\njudicial voices of the joint authors gently in-\nsinuating that of course this is all very well,\nbut assuredly this man is absurd, incoherent,\nincomprehensible ; still, they imply, they, with\ntheir penetrating intelligence and trained un-\nderstanding, can perceive his drift and good\nintentions, and will do their best on his\nbehalf as intermediaries between him and the\ngeneral public.\nLet us listen to Messrs Fuerst and Flume\nin this kindly role for a few moments : -—\n\" Craig is not only up in arms against\nthe dancer, hut above all against the actor \"\nHere follows a long extract from Mr. Craig's\nwritings in which he points out that \" in order\nto mak.e any Work °f ari d is clear we may\nonly work those materials which we\nmay calculate\"; \"That, then, which the\nactor gives us, is not a work of art The\nauthors have in no way understood Mr. Craig;\nthey have evidently not read all that he has\nwritten on behalf of the actor, not understood\nthe way he has sought to free the actor,\nevoking the periods when the actor was not\nthe mere mouthpiece of the playwright. They,\ninstead, snapping up a single, and misunder-\nstood, passage, declare senlentiously, \" It b\nhardly necessary to point out the\nmisunderstanding which is at the bottom of\nsuch a theory as this '.\nProceeding to mis-paraphrase Mr. Craig,\nthev write \" : —\n\" If Craig considers e Divine Movement '\n\" as the basis and origin of the theatre, and\n\" then later tells us that in the beginning the\n\"theatre consisted in combats between animals,\n\" it seems that we might with justice and\n\" quite logically ask Craig to explain how,\n\" and in just what way, an elephant is better\n\"fitted to express this \"Divine \"\n\" than man — the human body. We must\n\" not demand too much logic \" (oh kindly igno-\n\n(!) TWENT IE TIT CENTER Y ST AGE DECORA TION\nHi Walter Rene Fuerst & Scmuel J. Hurre, iciih cn Introduction\nby Adolpke Apple. Alfred Knopf\\ 2 Volt. Price five Guineas."}, {"page_pdf": 36, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.36", "debut_caractere": 0, "fin_caractere_exclue": 4446, "texte": "ramuses) \"from one who loves to express\n\" himself in paradox, and we mast at the\n\"same time accustom ourselves\n\" ' thus-spakc Zarathustra ' manner Then,\nquoting a passage in which Mr. Craig, [ore-\nseeing a time when, \"No longer would there\nbe a figure to confuse us into connecting ac-\ntuality and art ', they conclude: \"One\n\" Would do Craig an injustice in disputing or\n\" discussing such an argument as this. His\n\" point of view is thai of the savage who,\n\" never having seen a theatre nor a play\n\" ted, believes thai the actor filled on the\n\" stage has been actually assassinated, and\n\" rum to his assistance\nCan you beat it ?\nWhy yes, tor these two ineftabl.es soon\nout-do themselves.\nTo express or represent movement, then,\n\"we must substitute for man automaton\n\" more or less immobile. Craig claims to have\n\" made certain experiments in this field in an\n\" effort to construct a mechanism capable\n\" expressing rhythm. So far, he says, he has\n\" only succeeded in expressing the simplest\n\" rhythms. It will be thousands years before\nthe great movements can be grasped; in thai\nfar, dim future this art born of movement\n\"will be the final and universal belief\n\"Let us be just:we see here, pushed to\n\" excess and loaded with paradox, a postulate\n\" of the art of the theatre..und. so weiter.\nWhen the egregious couple come to facts\narid dates they are no less fatuously misin-\nformative.\nIhe chapter on \" Reinhardt and Stylized\nRealism \" opens as follows : — \" day\n\" on which Max Reinhardt presented first\n\" Shakespearean production marked a\n\" stone in the history of the modern theatre.\nI hat event Was the production of\n\" speares \"A Midsummer Night's Dream'\nat fhe N eu.es Theater, Berlin, the 31 si\n\" of January 1905.With first\n\" stroke Reinhardt completely revolutionized\n\" the theatre of his time\nComment on this is superfluous, but a\npointer towards the truth of things might be\nfound by the intelligent m an article entitled\nReinhardt & Co. \" published in \"\nMask \" 192/, in which the author, Mr. Galli,\nwrites, of this period : \" And then began the\ncomplete Craigizaticn of the great Firm of\nReinhardt \".\nHere again is a striking passage, which\nappears to have slipped its moorings, being\nlocated in the chapter on \" Adolphe Appia .\n\" ...for the last twenty years Craig has\n\"had what Appia lacked, a personal organ\n\"of publicity almost exclusively del )oted to\n\" propaganda for the Craig cult, 1 his of -\n\" ficial organ. The Mask, founded 1908.\n\" has now with the last issues reached \" Vol.\n\"12 bis \" (strange how the actor-mind can\n\" never rid itself of superstition). Here, in\n\" the pages of this interesting magazine, Craig\n\" has been free to express personal views\n\"on all matters pertaining the theatre and\n\"on many others much less relevant.\n\" the World loves a fight and The Mask\n\" Craig has given it to them. Sometimes\n\" person and sometimes behind the transparent\n\" veil of some bizarre pseudonym he has\n\" tied his verbal guns on battleships and non-\n\" combatant rowingboals alike. So long as\n'c he has stuck to the rowing-boats and ligh-\n\" ter craft he has come off excellently, but\n\" now and then some heavily-armed battle-\n\" ship lipe Shaw, or an armoured cruiser like\n\" Ervine, turns and takes a pot at him, with\n\" the result that the guns of Rapallo are tem-\n\" pcrarily out of commission. All this has\n\" produced a continuously amusing and enter-\n\" laining show for the side-lines, and the world\n\" of the theatre has talked and laughed and\n\"'more important still,has read\".\nNow to reply to the many errors in this\nsingle passage would be to waste valuable\n<S» '.y\nspace ; but one or two of the more obvious\nmay be mentioned.\nIt was not the \" superstition \" of the\n\" actor-mind ' , as assumed by the authors to\nabide in Mr. Craig which decided the harm-\nI 1 * f ' \\ / 1 V£ I 1 ■ >• f\nless eupneuism or V olume yvli his for\n\" Volume XIII \" while that volume was run-\nning. It was the strong feeling expressed by\nvarious well-wishers utterly unconnected with\nthe stage, and heartily supported and advo-\ncated by the Mask's London representative,\na business man moving in a world of busi-\nness men. Mr. Craig was not consulted, and\nprobably, like the rest of the public, saw this\ninfimitesmal joke, viewed by Messrs Fuerst\nand Hume as a portentous indication of inhe-\nrent superstition in the \" actor-mind \" for the\nfirst time when he received his January 1927\n\n(I) Evidently written in 1927 while that volume was being\npublished."}, {"page_pdf": 37, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.37", "debut_caractere": 0, "fin_caractere_exclue": 4493, "texte": "number. But then Messrs Fuerst and Hume\nappear to conceive of Mr. Craig as brooding\ncontinually upon Thewith the unre-\nmitting solicitude of a male penguin ; whereas,\nthough he usually contributes generously, it\nis others who hatch out the quarterly egg,\nand years go by during which he never sets\nfoot in The Mask Offices, or even in Flo-\nrence, where it is produced, and where it\ncontinues to appear punctually, whether he\nhimself be in Copenhagen, London, Paris or\nBerlin.\nAgain, the term \" a personal organ of pub-\nlicity \" is somewhat of a misnomer for a\njournal which, through fourteen volumes, has\ngathered and published a considerable bulk\nof writings of men of many periods and many\nnationalities, from the sixteenth-century Sab-\nbattini to the twentieth-century W. B. Yeats;\nfrom the Hungarian Alexander Hevesi to the\nIndian Coomaraswamy; and on all subjects from\nthe No Dances of japan to the Private Theatres\nof the time of Louis XV ; from the old.\nSpanish performances to the productions of\nShakespeare in India.\ntry and keep your mental footing, gen-\ntlemen, a little better ; the blind falling into\nthe ditch arm in arm is a comic rather than\na pretty sight.\nNow about Mr. Fuerst personally I know\nnothing, except that I do not highly esteem\nthe literary company he keeps, which eviden-\nces no great perspicacity on his part: but\nabout Mr. Samuel j. Hume I am better in-\nformed, and, to get a true angle on his state\nof mmd and its public expression through the\nHouse of Knopf, a few earlier biographical\nC•1 9 *\ntacts will prove illuminating.\nAbout the year 1909 Mr. Hume, a husky\nj oung American from somewhere out west, was\nseized, .inexplicably, with a desire to enlist\nas a student of the Art of the 1 heatre and\nto to that end, admitted as a pupil of\nMr. Gordon Craig. He therefore commenced\nwriting ardent letters, as have done, and doubt-\nless will continue to do, many of his com-\npatriots, representing himself as earnest, wil-\nling, modest, obedient, and loyal, and begging\nto be given a chance.\nWestern persistence, as manifested in many\nletters, won. He was given a chance.\nHe arrived in Florence to begin the most\nelementary training and to make himself useful;\nm such simple ways as might be appointed him..\nBut unfortunately the goods were not up\nto the previous representation : Mr. Hume\nproved capable of very little, which was,\ndoubtless, his misfortune rather than his fault.\nHe was impervious to ideas of art: he\nis apparently still impervious : he was unwil-\nling t© submit to that discipline without which\nno organization can exist: he showed little\n-aptitude ie-r the small tasks assigned him:\nhe could not even be credited with being\n41 willing and punctual \" for he was rather dis-\nconcertingly on the slack side; and neither\nthen, nor since, did he prove himself loyal\nat heart to the master whose service he had\nvoluntarily entered.\nHowever, he proved so impermanent that\n\"the inconvenience he caused was but transi-\ntory. His ardour soon flickered out, and with-\nin .a very short time he had drifted away\nfrom ihe leader for whom he had avowed such\n.strong allegiance.\nHe left no gap. Everybody assumed he\n■had recovered from that brief abberation which\nbad induced him to suppose he wanted to\ndevote his life to art; that he had realized\nIiow misplaced he was there, and how com-\npletely equipped for the life of a western\nranch.\nThey were mistaken.\nMr. Hume, however little endowed by\nnature for the artist career, was an alert Ame-\nrican, a genuine go-getter. Fie possessed in\na marked degree that acquisitiveness which\ncharacterises so many of his countrymen.\nDuring the brief period when he had cut\ncardboard for models, or heated the glue-pot,\nor stood at a switch behind a model-stage\nawaiting the order to turn it on or off, he\nhad noted with satisfaction that some very\nnatty little effects seemed easy of production\nby the juxterposition of a few neutral-tinted\nsteps or columns, the turning on of a coloured\nlight, and he decided that to produce effects\nin the \" New style \" was as easy as falling\n•off a log. Accordingly, before long, back\nin his native States, he was playing just these\nlittle tricks, braced and flattered by the unfor-\ntunate credulity of his compatriots, touchingly\n-eager in regard to what they conceived to\nhe manifestations of \" high art \".\nNow, remembering Mr. Flume's antece-\ndents, it is legitimate to wonder whether, when\n.ihe appears before his public as an apostle\nand exponent ol the Art of the Theatre, his"}, {"page_pdf": 38, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.38", "debut_caractere": 0, "fin_caractere_exclue": 2610, "texte": "tongue is permanently in his cheek, or whe-\nther he has deluded himself as he has deluded\nothers into thinking that his little mechanical\nstale copy-cat arrangements are any expres-\nsion whatsoever of art.\nWe have all seen children pick flowers\nand stick them in the ground to make a gar-\nden, and for an hour it may look quite pret-\nty ; but, having no roots, all quickly withers,\nhas no propagating power, and leaves only\nan untidy mess.\nMr. Hume's stage productions are much\nof the same futility. They are vapid imita-\ntions of something which he has observed;\npresent some momentary artificial semblance,\n(reproduced without perception or understan-\nding of the basic truth and vitality of which\nsuch phenomena were but single and fugitive\nexpressions) of another man's ideas,\nRemembering all this it is the more dis-\ntasteful to see Mr. Flume behaving in a\nmanner which so little becomes him towards\nthe master to whom he was never loyal, but\nwhose past kindness to him he has exploited\nby every kind of imitative stunt for years past.\nThe second volume of Mr. Knopf's pub-\nlication is comprised wholly of reproduc-\ntions of the works and designs of various\nscenographers and producers. Mr. Craig's\nwork here is so conspicuously absent that the\nauthors themselves have felt constrained to\nmake the best of a bad business by explai-\nning how regrettable it was that Mr. Craig\ndid not see his way to allowing any of his\nwork to be reproduced.\nI hey did not give the true explanation,\nwhich was simply that Mr. Craig saw no reason\nto give his work without remuneration to enable\nMessrs Fuerst, Hume and Knopf to profit by\nit: for, if you come to think of it, it a\nprofitable way of producing a volume of\ndesigns, .....to get all the artists to concede\ntheir work without charge to fill such a vo-\nlume, so that the compilers of the text and\nthe publisher may sell it for a handsome\nprice. The other artists were evidently more\nsheep-like in their attitude than Mr. Craig, for\nMessrs Fuerst, Hume and Knopf have roped'\nthem in to the tune of 387 illustrations.\nI he whole work is well printed, and in\nthat sense does much credit to the House of\nKnopf: but Mr. Knopf would be well ad-\nvised, next time he aims to publish an expen-\nsive work on the Theatre, to get a man whose\nwork is worth a costly settting to write and\nedit it tor him, and to make sure he gets a\nup-top one. 1 understand iVir. Cseorge Jean\nNathan has a chair in his building. Whv\ndid Mr. Knopf not consult Mr. Nathan before\nbringing his money and his excellent publishing\nprestige to this association with Mr. Fuerst\nand Mr. Hume ?\n\nd. n. l."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c042", "article_bluemountain": "bmtnaau_1929-01_01#c042", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "30", "page_fin": "30", "image_debut": 38, "image_fin": 38, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.22", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "Ed", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 38, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.38", "debut_caractere": 2612, "fin_caractere_exclue": 2875, "texte": "Ed.\nP. S. & N. B. - J he above signature is not to be\nterpen as wtiat j\\'/r. Blums calls a *' bizarre pseudonym \"\nof Mr. Craig, he having neither inspired nor read the\npreceding review, nor, we believe, \"seen as yet this five\nguinea WOT!? of Messrs Fuerst & Hume,"}]}, {"article_id": "bm-bmtnaau-1929-01-01-c044", "article_bluemountain": "bmtnaau_1929-01_01#c044", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "30", "page_fin": "30", "image_debut": 38, "image_fin": 38, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.23", "titre_corps": "ELINOR WYLIE", "titre_sommaire": "ELINOR WYLIE", "signature_source": "C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 38, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.38", "debut_caractere": 2877, "fin_caractere_exclue": 3537, "texte": "ELINOR WYLIE.\nC.\nNOTHING will be more sad to some than the passing\naway of the lovely writer Elinor Wylie. — Did some-\nthing try to enshrine her that she died ?...\n0 she is neither good nor bad\n•But innocent and wild!\nEnshrine her and she dies, who had\n1 he hard heart of a child.\nNever was I so astonished as when, having read her\nbooks with so much beauty in them, 1 came to see a\nportrait of her with so much beauty in it.\n{he longing for beauty by beauty, that is a little too\nmuch for us to contemplate — in this world where lon-\nging for what we haven't is the most we can all do.\nI he world loses far more than it has realized in losing\nthis fine being."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c045", "article_bluemountain": "bmtnaau_1929-01_01#c045", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "30", "page_fin": "30", "image_debut": 38, "image_fin": 38, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.24", "titre_corps": "L'EGLISE ST. ROCH. PARIS", "titre_sommaire": "L'EGLISE ST. ROCH. PARIS", "signature_source": "C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 38, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.38", "debut_caractere": 3539, "fin_caractere_exclue": 4328, "texte": "L'EGLISE ST. ROCH. PARIS.\nC.\nIf was close upon two o'clock in the morning that 1\nleft the vivid and delightful company of the director\nand creator of the Russian Ballet and some of his devo-\nted friends and found myself descending the Rue St. Roch|\nAs i came to the turning where stands the old churchy\ni eglise St. Roch, f too turned out of my way five paces\nand stood facing the entry.\nAll was muddy as well as silent and seemingly very omi-\nnous, the doors inreatemngly closed... grey black : and 1 said\nto myself and to the doors more or less aloud, 44 It was you\nwho closed and refused to admit the body of Mile. Rau-\ncourt when she was brought here for burial\nSteadily the doors replied, 44 Yes — but only her body\nand saluting, I turned and passed down the street and\ninto my hotel."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c047", "article_bluemountain": "bmtnaau_1929-01_01#c047", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "31", "page_fin": "33", "image_debut": 39, "image_fin": 41, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.25", "titre_corps": "SOME NOTES ON THE FLAN OF VENICE. 1500", "titre_sommaire": "SOME NOTES ON THE FLAN OF VENICE. 1500", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 39, "page_imprimee": "31", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.39", "debut_caractere": 25, "fin_caractere_exclue": 2880, "texte": "SOME NOTES ON THE\nFLAN OF VENICE. 1500.\n\n/n our last number we issued the first six\nplates of the 1500 Plan of Venice, with\nsome Notes about this. We now issue the\nremaining six plates, and give here some\nnotes on some oj the early Theatres of Venice.\nI HERE were sixteen Theatres in Venice\nbuilt between the years 1637 and 1699....\ntherefore all built after this plan was made.\nThe Plan serves merely as the best survey\nof the ground on which those Theatres came\nto be built.\nNAME OPENED\n!. I eatro San Cassiano 1637\n2. Teatro S. S. Giovanni e Paolo 1639\n3. i eatro San Moise 1639\n4. 1 eatro Novissimo 1641\n5. Teatro S. S. Apostoli 1649\n6. 1 eatro Sant'Apollmare 1651\n7. Teatro San Salvatore 1661\n8. Teatro Ai Saloni 1670\n9. Teatro Sant'Angelo 1677\n10. Teatro S. Giovanni Grisostomo 1678\ni1. Teatro Canal Regio 1679\n12. Teatro Alle Zattere 1679\n13. Teatro Altieri 1690\n14. Teatro Santa Marina 1698\n15. Teatro San Fantino 1699\n16. Teatro S. Moise (Private\nIheatre in Calie Lunga) 1699\n1. TEATRO SAN CASSIANO.\n§ HE Church of San Cassiano is named on\nour plan and is found in Plate III.\nLength 2, height 23.\nNear this church was the Teatro.\n2. TEATRO SAN GIOVANNI E PAOLO.\nHE plan of this Theatre was first shown\n1 in \" The Mask \" volume XIII, No. 3,\n(1927).\nPosition. La Lande, in his 18th century\nplan of Venice places it on the western side\nof the second calk from Rio di S. Giustina.\nHe marks its position with a plan of a theatre.\nIn his list he tickets it \"II Teatro \". La\nLande can be curiously incorrect.\nGalvani says that it stood near the Calls\ndella Testa and Rio della Panada Verso the\nFondamenta Nuove.\nV/e know so much, for the Fondamenta\nNuove is long and takes in fifteen to twenty\n\" blocks as we call them today : over 650\nmetres anyhow. What we need to do is to\nplace it more exactly.\nLalande s Plan and Galvani's words are\nat loggerheads.\nIf we believe Galvani, then the spot on\nwhich the 1 eatro San Giovanni e San Paolo\ncame to be built in 1639 (i.e., 139 years\nafter this big plan of Venice was engraved)\nis that which is to the near left of the Church\nof San Giovanni e San Paolo across the\nCanal which runs down its side and over\nwhich we see two budges crossing. (Plate V.\nLength 7, height 24).\n3. TEATRO SAN MOISE, 1639.\nPLATE IV. Somewhere between Length 9\nand 13 and width 4 and 7.\nFhei e was a 1 eati o San Moise and\nclose by a Sala del Ridotto San Moise.\nHabnit, in his Piantadella Citia\ndated (I believe) about 1850, places the two\nbuildings just south of the Church of San Moise\n(Length 4, height 7 on our Plate IV).\nBut when I was in Venice about 1923\nit lay where I have indicated above.\n4. TEATRO 'NOVISSIMO' 1641.\na HIS theatre only existed for six years,\nwas built of wood, was close to the\nChurch S. S. Giovanni e Paolo on the spot\nwhere later was built la there-\nfore in our Flan it is on Plate V., Length 1\nheight 25."}, {"page_pdf": 40, "page_imprimee": "32", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.40", "debut_caractere": 0, "fin_caractere_exclue": 3108, "texte": "5. TEATRO S.S. APOSTOLI, 1649.\nTHERE were two Theatres of this name.\nThe first in a large house in Calk\nde' Proverb] ossia Calle Larga. Here were\ngiven comedies. The secono. m a\nin Calle dell' Oca where musical drama was.\ngiven. Roughly, Plate VLength 17*\nheight 22.\n6. TEATRO SANT' APOLLINARE, 1651.\nj\\, good-sized Theatre in the Corte Pe-\ntrxana near the Calls which leads to the iro.~\ngheilo of San Benedetto (Plate 3, Length 7,\nheight 27).\n7. TEATRO SAN SALVATORE, 1661.\nTHIS theatre is situated in the Parish of\nSan Cassiano. Plate III, about Length\n23, height 4-5.\n8. TEATRO AI SALONI, 1670.\nTHIS was a little Theatre in the parish\nof S. Gregorio. Plate IV, Length 16,\nheight 8.\n9. TEATRO SANT' ANGELO 1677.\n[N the Parish of Sand Angelo, Plate III.\nLength 12, height 29.\n10.TEATRO S.GIOVANNI GRISOSTOMO 1678\nTHIS Theatre was built in 1677 by the\nnoble family Grimani and opened in 1678\nwith the opera \" Vespasiano\" by Maestro\nPallavicino.\nit was called in 1730 \" the true Phoenix\nof Theatres \". Its name changed a few times :\nit became Teatro Gallo and then Teatro Ma-\nli'oran. It was altered and restored in 1834\nafter designs by the architect Salvador!.\nIt will be found on Plate V., Length 15,\nheight 23 precisely.\n11. TEATRO CANAL REGIO, 1679.\nsmall playhouse built by Marco Moro-\nJ~\\ smi quite near the church of S. Giobbe,\nthis theatre will be found in Plate III,\nLength 22, height 15.\n12. TEATRO ALLE ZATTERE, 1679.\nf\\ very small Theatre where Marionnettes\n■+\\ performed. Almost impossible to place\nbut apparently Plate II. Length 12 & 11,\nheight 2 & 3.\n%aJ\n13. TEATRO ALTIERI. 1690.\n|N the garden of the Palazzo Altieri.\nPosition not satisfactorily identified.\n14. TEATRO SANTA MARINA, 1698.\n/\\ private Theatre not far from the Teatro\nSan Giovanni Grisostomo (No. 10) in\nthe Contrada S. Marino near i Miracoli.\nPlate V., about length 17, height 21.\n15. TEATRO SAN FANTINO, 1699.\nF\\JEAR the spot where today La Fenice\nstands, ...about length 14 to 10,\nheight 32 of Plate HI.\n16. TEATRO SAN MOISE, 1699.\n/V private Theatre in Calie Lunga S. Moise ,\nwhich is on Plate IV. Length 6 to 16,\nheight 4 to 5.\nIJESSDES these sixteen more or less important\nplayhouses of the 17th century there was\na tealrino of Murano, 1660, a icatrino of\nDolo 1697. Ihe i eatro San Benedetto erected\nin 1788 by the Grimani family, architect Fran-\ncesco Costa of Pad ova : the Teafcro San Luca,\nerected 1629, destroyed by fire in 1750 and\nrebuilt in the same year by the architect\nPietro Chezia : the 1 eatro Fenice built 1791 -2\nby the architect Antonio Selva : the Teatro\nS. Samuele, erected by the Grimani family\nin ! 688 : the I eatro a! Malcantori, 1639-1748:\nthe I eatro ai Mendicanti built by Torelli,\n1640-1747 : and then a few small private\ntheatres in Palaces. One of these Michael\nKelly visited when a boy.\nPompeo Molmenti, in his \" Sioria\nrsezia neila Vda F^rivata'' gives the following\nfacts about the \" theatre of wood constructed at\nVenezia by Palladio \" which \"was opened\n\" February 28 1565 \" ; and relates that it may\nhave been due to the complicated construe-\n\" tion of the theatrical decoration and me-"}, {"page_pdf": 41, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.41", "debut_caractere": 0, "fin_caractere_exclue": 1671, "texte": "\" chanism, and to the exigencies of the actors\n\" and collaborators that the Vincenzian archi-\n\" tect wrote to his fellow-citizen Vincenzo Ar-\n\" naldo:\" I have finished making this\nblessed theatre in which I have done penance\nfor all the sins I have committed or may\nyet commit. On Tuesday next the tragedy\nwill be recited there. If your lordship could\nsee it, I would urge you to come because it\nis hoped that it will be a rare thing.\"\nThat the inauguration must have indeed\nbeen a \" rare \" occasion can be well estimated,\nwhen the building was by such an architect,\nand the decorations by Federico Zuccheri di\nSant'Angelo in Vado, (who, Vasari records,\nmade twelve great designs, each seven and a\nhalf feet square), and the Venetians such\nlovers of the theatre that it is recorded as\nhabitual that they \" climbed on the walls,\nbroke in the doors, traversed canals \" \" to get\nin where some famous actor was performing.\"\n\"No record \" continues Molmenti, remains\nto us of the details of this \" representation,\n\" nor even the titles of the others which must\n\" subsequently have been given in this wooden\n\" theatre .... but they must have been spectacles\n\"of regal magnificence, such as could he\n\" staged by none but the Compagnia del la\n\" Calza di Venezia and the Academici\n\" Olimpici di Vicenza .... \"\nTcmenza states that the building of Pal-\nladia was destroyed by the fire which in\n1630 burnt down the Monastery delle Carite,\nwhich gives some clue to its position.\n(1) This letter is given by Temenza in his \" Vite dei piu ce-\nlebri architetti e scultori Veneziani. M.S. Venezia \" MDCCLVIII.\n(2) Parabosco. 44 11 prime libro delie Lettcre famigiiari p. 52.\nVenezia, 1551."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c048", "article_bluemountain": "bmtnaau_1929-01_01#c048", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "31", "page_fin": "31", "image_debut": 39, "image_fin": 39, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.25.1", "titre_corps": "Rolewinck", "titre_sommaire": "Rolewinck", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 39, "page_imprimee": "31", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.39", "debut_caractere": 0, "fin_caractere_exclue": 23, "texte": "Rolewinck, Venice 1480."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c050", "article_bluemountain": "bmtnaau_1929-01_01#c050", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "33", "page_fin": "34", "image_debut": 41, "image_fin": 42, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.26", "titre_corps": "WALDTEUFEL : TWO LETTERS RELATIVE TO THE NOTE PUBLISHED IN THE LAST NUMBER OF \"THE MASK\"", "titre_sommaire": "WALDTEUFEL : TWO LETTERS RELATIVE TO THE NOTE PUBLISHED IN THE LAST NUMBER OF \"THE MASK\"", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 41, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.41", "debut_caractere": 1673, "fin_caractere_exclue": 4699, "texte": "WALDTEUFEL\nTWO LETTERS RELATIVE TO\nTHE NOTE PUBLISHED IN THE\nLAST NUMBER OF \"THE MASK\"\n\nFROM \"THE SKATERS\" TO \"MY DARLING\"\n\nClR:—\n4 4 What's wrong with Waldteufel ? \" asks D. B. in\nthe last number of The Mask,\n44 Nothing at all \" is my reply, putting on another\nrecord. I have just played The Skates, to which D. B.\nsays he would like to dedicate a v/hole book, 44 three\nhundred and sixty-five romances It is certainly one of\nthe best waltzes ever composed, and I think most people\nagree on that. It has been recorded many times; the\nversion I have is played by the Paul Godwin Orchestra\non a Brunswick record. Now I am listening to the\ncheerful Esiudiantina, beloved of the nineties, and on the\nreverse of this record is Lcs Sirenes, as alluring as its title.\nThis is an Electron record from the Edison Bell Company.\nI don't pretend to have a complete collection of\nWaldteufel discs, but I have enough to prove that the\nFather of the Modern Waltz has not been neglected by\nthe recording companies in their response to the new po-\npularity of the traditional dance. Surely it is a sign of\ngrace that the jazz-ridden public is reaching out for the\nrhythmic curves of this divine dance ? Of course the\nwaltz as danced nowadays is comparatively a poor affair\n— gone is the intoxicating whirl — but steps are invented\nnow with more than half an eye on middle-age, and the\ntrue Walt?. is the dance of Youth. Yet even Youth\ndoes not want to get hot and breathless now ; rapture is\ndead in the ball-room. Even if the girl is willing, what\nmodern young man would risk one collar for her ?\nAs D. B. says, disgracefully little is known of Emil\nWaldteufel, beyond the fact that he was born at Stras-\nbourg, and was Master of Music io Napoleon III, and\nthat he is credited with having introduced the modern\nwaltz into France. The Waltz first appeared at A1 mack's\nvery tentatively, as early as 1815. I? was known as the\n4 mazy waltz ', and not much favoured, probably because\nLady jersey, the tyrannical patroness or Almack s, had\nlately brought over the Quadrille from Paris, and it was\nas much as your ticket was v/orth to want to dance any-\nthing else.\nSo the 4 mazy ' waltz lay in wait for the arrival of\nWaldteufel on the scene in the 1850's when it became\nthe rage of Paris and London and the despair of the\nPuritans. Nowadays it is only on the ice that Waldteufel\ncomes into his own again. What is more glorious than\nan orderly crowd of perfect skaters waltzing to — The\nSkaters ? *\nThe god-like inevitability of those exquisite curves,\nthe rapturous swirl, the enchanting rhythm, the torch-lit\nfaces, and ecstasy not denied —- what is there more satis-\nfying than this ? The Scalers must have been inspired\nby some such scene and the result is a wonderful combi-\nnation of sentiment and high spiritis. The skated waltz,\nso popular now, persuades us that after all, life is not so\ncompletely fiatchested as it sometimes seems.\nBefore I end — on a tender note — let me beg D. B.\nto hear some good modern gramophones, so that he will"}, {"page_pdf": 42, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.42", "debut_caractere": 0, "fin_caractere_exclue": 2590, "texte": "not talk of music which 4 defies * the gramophone. No\ndecently recorded music need defy it. That the gramo-\nphone is still in a state of evolution is true, and at any\nmoment some new and marvellous invention may supersede\npresent principles, but in these days, to talk about defiance\nis to talk in ignorance ; and it seems all wrong that D. B.\nshould be doing this.\nHere is my tender epilogue.\nFresh and shining from His Master's Voice, a new\nrecord has just arrived. It is played by Marek Weber\nand his orchestra, and it is the loveliest old waltz imagi-\nnable —My Darling, by Emil Waldteufel.\nFaith Compton Mackenzie.\n\nIsle of Jethou, Guernsey, C. I.\n\nA REPLY FROM D. P.\nD. P.\nClR\nHave I anything to say, you ask. Wei!, hardly\nanything : only I am D. P. not D. B. and as sensitive as a\nkitten about it. Once a slip, twice merely a blunder;\nbut five times does Mrs. Compton Mackenzie Bevil me\ndown.... and I a Pevil.\nBut I like to know that there really are some good\ngramophones. I have only a cheap one. It has a cu-\nrious name.... 44 Pathe Twin \", if I remember aright.\nWhy 44 Twin \" I was not able to discover.\nI he records are good. 1 have only sixty-nine; and\nthe needles are the usual needles, ten different kinds,\nMrs. Compton Mackenzie will I expect agree with me\nthat the bamboo needles do not compare for delicacy with\nthe newest German tadpole needle.\nPeople in London pretended never to have heard of\nthese tadpoles;.t. as one of the two Black Crows says,\n44 they are so soft \" ;... the needles, not the Londoners.\nStill I hold to it that there is something still in music\nwhich can be said to 44 defy \" the gramophone — if to\nwalk some million miles away from it gives any slight no-\ntion of defiance.\nBut I am so ignorant of so much, as Mrs. Compton\nMackenzie hints ; and surely I more than anyone feel that\nit is 44 all wrong that I, talking in ignorance, should\nuse the word 14 defy when I mean only that music seems\n44 unaware '* of the existence of the gramophone,\nI or were it really aware it would stoop lower and\nstill lower and, amiably I hope, oblige.\nOf Emil Waldteufel I have recently learnt more.\n44 The Skaters 44 Estudiantina *'.... I so regret I haven't\nthree hundred and sixty-five clays for the romances to get\ndotted down ; —• but I can we!! suppose that in days to\ncome producers — those flamboyant scenical fellows like\nMr. Gordon Craig.... (with all respect I say it) — will\nsome day drag in Waldteufel to prop up some production\nof Cymbeline or Coriolanus, using a 44 loud speaker \" —\nnot in ignorance but innocently — innocently.\nFleet Street.\nLondon."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c051", "article_bluemountain": "bmtnaau_1929-01_01#c051", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "33", "page_fin": "34", "image_debut": 41, "image_fin": 42, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.26.1", "titre_corps": "FROM \"THE SKATERS\" TO \"MY DARLING\"", "titre_sommaire": "FROM \"THE SKATERS\" TO \"MY DARLING\"", "signature_source": "Faith Compton Mackenzie", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 41, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.41", "debut_caractere": 1761, "fin_caractere_exclue": 4699, "texte": "FROM \"THE SKATERS\" TO \"MY DARLING\"\n\nClR:—\n4 4 What's wrong with Waldteufel ? \" asks D. B. in\nthe last number of The Mask,\n44 Nothing at all \" is my reply, putting on another\nrecord. I have just played The Skates, to which D. B.\nsays he would like to dedicate a v/hole book, 44 three\nhundred and sixty-five romances It is certainly one of\nthe best waltzes ever composed, and I think most people\nagree on that. It has been recorded many times; the\nversion I have is played by the Paul Godwin Orchestra\non a Brunswick record. Now I am listening to the\ncheerful Esiudiantina, beloved of the nineties, and on the\nreverse of this record is Lcs Sirenes, as alluring as its title.\nThis is an Electron record from the Edison Bell Company.\nI don't pretend to have a complete collection of\nWaldteufel discs, but I have enough to prove that the\nFather of the Modern Waltz has not been neglected by\nthe recording companies in their response to the new po-\npularity of the traditional dance. Surely it is a sign of\ngrace that the jazz-ridden public is reaching out for the\nrhythmic curves of this divine dance ? Of course the\nwaltz as danced nowadays is comparatively a poor affair\n— gone is the intoxicating whirl — but steps are invented\nnow with more than half an eye on middle-age, and the\ntrue Walt?. is the dance of Youth. Yet even Youth\ndoes not want to get hot and breathless now ; rapture is\ndead in the ball-room. Even if the girl is willing, what\nmodern young man would risk one collar for her ?\nAs D. B. says, disgracefully little is known of Emil\nWaldteufel, beyond the fact that he was born at Stras-\nbourg, and was Master of Music io Napoleon III, and\nthat he is credited with having introduced the modern\nwaltz into France. The Waltz first appeared at A1 mack's\nvery tentatively, as early as 1815. I? was known as the\n4 mazy waltz ', and not much favoured, probably because\nLady jersey, the tyrannical patroness or Almack s, had\nlately brought over the Quadrille from Paris, and it was\nas much as your ticket was v/orth to want to dance any-\nthing else.\nSo the 4 mazy ' waltz lay in wait for the arrival of\nWaldteufel on the scene in the 1850's when it became\nthe rage of Paris and London and the despair of the\nPuritans. Nowadays it is only on the ice that Waldteufel\ncomes into his own again. What is more glorious than\nan orderly crowd of perfect skaters waltzing to — The\nSkaters ? *\nThe god-like inevitability of those exquisite curves,\nthe rapturous swirl, the enchanting rhythm, the torch-lit\nfaces, and ecstasy not denied —- what is there more satis-\nfying than this ? The Scalers must have been inspired\nby some such scene and the result is a wonderful combi-\nnation of sentiment and high spiritis. The skated waltz,\nso popular now, persuades us that after all, life is not so\ncompletely fiatchested as it sometimes seems.\nBefore I end — on a tender note — let me beg D. B.\nto hear some good modern gramophones, so that he will"}, {"page_pdf": 42, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.42", "debut_caractere": 0, "fin_caractere_exclue": 652, "texte": "not talk of music which 4 defies * the gramophone. No\ndecently recorded music need defy it. That the gramo-\nphone is still in a state of evolution is true, and at any\nmoment some new and marvellous invention may supersede\npresent principles, but in these days, to talk about defiance\nis to talk in ignorance ; and it seems all wrong that D. B.\nshould be doing this.\nHere is my tender epilogue.\nFresh and shining from His Master's Voice, a new\nrecord has just arrived. It is played by Marek Weber\nand his orchestra, and it is the loveliest old waltz imagi-\nnable —My Darling, by Emil Waldteufel.\nFaith Compton Mackenzie.\n\nIsle of Jethou, Guernsey, C. I."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c052", "article_bluemountain": "bmtnaau_1929-01_01#c052", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "34", "page_fin": "34", "image_debut": 42, "image_fin": 42, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.26.2", "titre_corps": "A REPLY FROM D. P", "titre_sommaire": "A REPLY FROM D. P", "signature_source": "D. P", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 42, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.42", "debut_caractere": 654, "fin_caractere_exclue": 2590, "texte": "A REPLY FROM D. P.\nD. P.\nClR\nHave I anything to say, you ask. Wei!, hardly\nanything : only I am D. P. not D. B. and as sensitive as a\nkitten about it. Once a slip, twice merely a blunder;\nbut five times does Mrs. Compton Mackenzie Bevil me\ndown.... and I a Pevil.\nBut I like to know that there really are some good\ngramophones. I have only a cheap one. It has a cu-\nrious name.... 44 Pathe Twin \", if I remember aright.\nWhy 44 Twin \" I was not able to discover.\nI he records are good. 1 have only sixty-nine; and\nthe needles are the usual needles, ten different kinds,\nMrs. Compton Mackenzie will I expect agree with me\nthat the bamboo needles do not compare for delicacy with\nthe newest German tadpole needle.\nPeople in London pretended never to have heard of\nthese tadpoles;.t. as one of the two Black Crows says,\n44 they are so soft \" ;... the needles, not the Londoners.\nStill I hold to it that there is something still in music\nwhich can be said to 44 defy \" the gramophone — if to\nwalk some million miles away from it gives any slight no-\ntion of defiance.\nBut I am so ignorant of so much, as Mrs. Compton\nMackenzie hints ; and surely I more than anyone feel that\nit is 44 all wrong that I, talking in ignorance, should\nuse the word 14 defy when I mean only that music seems\n44 unaware '* of the existence of the gramophone,\nI or were it really aware it would stoop lower and\nstill lower and, amiably I hope, oblige.\nOf Emil Waldteufel I have recently learnt more.\n44 The Skaters 44 Estudiantina *'.... I so regret I haven't\nthree hundred and sixty-five clays for the romances to get\ndotted down ; —• but I can we!! suppose that in days to\ncome producers — those flamboyant scenical fellows like\nMr. Gordon Craig.... (with all respect I say it) — will\nsome day drag in Waldteufel to prop up some production\nof Cymbeline or Coriolanus, using a 44 loud speaker \" —\nnot in ignorance but innocently — innocently.\nFleet Street.\nLondon."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c054", "article_bluemountain": "bmtnaau_1929-01_01#c054", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "34", "page_fin": "34", "image_debut": 42, "image_fin": 42, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.27", "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": 42, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.42", "debut_caractere": 2592, "fin_caractere_exclue": 5081, "texte": "FOREIGN NOTES.\n\nGLASGOW.\nEd.\nA Glasgow correspondent sends us the following extract\n* from an article hy 44 Lime \" published on January 18,\n1929 in the 44 Glasgow Evening News ; and we are\nglad to bring it to the attention of our readers who have\nprobably also heard at times the scoffing term 44 precious\napplied... by its enemies and the enemies of ell that is\nmost vital in the theatre... to 44 The Mask\n\n||N several occasions I have drawn attention here to\nmerits of 1 he Mask, the magazine which has the best\ninterests of the theatre, and particularly the British theatre,\nat heart, and over which Gordon Craig is the presiding\ngenius. I do so again.\nAt a time when the British theatre has no leader, no\ngreat actor, no great producer, no great active dramatist—I\nsay so advisedly, bearing in mind the fact that Bernard\nShaw is still alive — The Mask supplies that lead as\nnearly as it can within its power, the power of the prin-\nted word. It is the touchstone and the suane.\nI once had a heated argument with two leading mem-\nbers of the Scottish National Players as to how much they\nwere actually doing to encourage the art of the theatre.\nI said that if they were really concerned with the best\ninterests of the theatre and were not merely playing at.\ntheatres they would be selling The Mask in the auditorium.\n1 hey scoffed at that, fhe Mask, they said, was precious.\nPrecious! What a word from people who were\nshortly .to deck their programme sellers out in monk's gowns\nand cowls !\nBut it was sufficient to show how far we are from\nbeing a force in the theatre, how far the Scot has to travel\nbefore he begins to be an original thinker in the theatre.\n\nW H Y~Y O U SHO U L D BU Y T H E~\\I\"ASK\nT 1i.iin.i IN II mini IMII IMIIIIIW II IHWI II ■■nn— n.mumHI ■» m mum , mump JBJ,\nRUI the impression of The Mask being precious is not\nconfined to the Players alone ; it is the stock-in-trade\nanswer of those who have only a half-interest in the theatre.\nOf course, they talk in ignorance. They have not read\nthose biting, often hard, common-sense comments that adorn\nits eno-pages ; they do not know that its book reviews are\namong die best written in English, just because, again,\nthey are so shrewd and so well-informed ; that its format\nmakes it a delight to handle ; that it is quick to put its\nfinger on the 44 stunt \" ; and they do not reflect that just\nbecause it is the mouthpiece of Gordon Craig it is worth\ntaking for that alone.\nThe Glasgow Evening News. January 18 - 1929."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c056", "article_bluemountain": "bmtnaau_1929-01_01#c056", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "34", "page_fin": "34", "image_debut": 42, "image_fin": 42, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.27.2", "titre_corps": "GLASGOW", "titre_sommaire": "GLASGOW", "signature_source": "Ed", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 42, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.42", "debut_caractere": 2608, "fin_caractere_exclue": 2998, "texte": "GLASGOW.\nEd.\nA Glasgow correspondent sends us the following extract\n* from an article hy 44 Lime \" published on January 18,\n1929 in the 44 Glasgow Evening News ; and we are\nglad to bring it to the attention of our readers who have\nprobably also heard at times the scoffing term 44 precious\napplied... by its enemies and the enemies of ell that is\nmost vital in the theatre... to 44 The Mask"}]}, {"article_id": "bm-bmtnaau-1929-01-01-c057", "article_bluemountain": "bmtnaau_1929-01_01#c057", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "34", "page_fin": "34", "image_debut": 42, "image_fin": 42, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.27.3", "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": 42, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.42", "debut_caractere": 3000, "fin_caractere_exclue": 4255, "texte": "||N several occasions I have drawn attention here to\nmerits of 1 he Mask, the magazine which has the best\ninterests of the theatre, and particularly the British theatre,\nat heart, and over which Gordon Craig is the presiding\ngenius. I do so again.\nAt a time when the British theatre has no leader, no\ngreat actor, no great producer, no great active dramatist—I\nsay so advisedly, bearing in mind the fact that Bernard\nShaw is still alive — The Mask supplies that lead as\nnearly as it can within its power, the power of the prin-\nted word. It is the touchstone and the suane.\nI once had a heated argument with two leading mem-\nbers of the Scottish National Players as to how much they\nwere actually doing to encourage the art of the theatre.\nI said that if they were really concerned with the best\ninterests of the theatre and were not merely playing at.\ntheatres they would be selling The Mask in the auditorium.\n1 hey scoffed at that, fhe Mask, they said, was precious.\nPrecious! What a word from people who were\nshortly .to deck their programme sellers out in monk's gowns\nand cowls !\nBut it was sufficient to show how far we are from\nbeing a force in the theatre, how far the Scot has to travel\nbefore he begins to be an original thinker in the theatre."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c058", "article_bluemountain": "bmtnaau_1929-01_01#c058", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "34", "page_fin": "34", "image_debut": 42, "image_fin": 42, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.27.4", "titre_corps": "WHY YOU SHOULD BUY THE MASK", "titre_sommaire": "WHY YOU SHOULD BUY THE MASK", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 42, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.42", "debut_caractere": 4257, "fin_caractere_exclue": 5081, "texte": "W H Y~Y O U SHO U L D BU Y T H E~\\I\"ASK\nT 1i.iin.i IN II mini IMII IMIIIIIW II IHWI II ■■nn— n.mumHI ■» m mum , mump JBJ,\nRUI the impression of The Mask being precious is not\nconfined to the Players alone ; it is the stock-in-trade\nanswer of those who have only a half-interest in the theatre.\nOf course, they talk in ignorance. They have not read\nthose biting, often hard, common-sense comments that adorn\nits eno-pages ; they do not know that its book reviews are\namong die best written in English, just because, again,\nthey are so shrewd and so well-informed ; that its format\nmakes it a delight to handle ; that it is quick to put its\nfinger on the 44 stunt \" ; and they do not reflect that just\nbecause it is the mouthpiece of Gordon Craig it is worth\ntaking for that alone.\nThe Glasgow Evening News. January 18 - 1929."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c059", "article_bluemountain": "bmtnaau_1929-01_01#c059", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "35", "page_fin": "38", "image_debut": 43, "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=bmtnaau192901-01.2.28", "titre_corps": "BOOK REVIEWS", "titre_sommaire": "BOOK REVIEWS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 43, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.43", "debut_caractere": 0, "fin_caractere_exclue": 6774, "texte": "BOOK REVIEWS.\n\nMOLlbRE - A BIOGRAPHY by\nH. C. Chatfield-Taylor, Liit. D. Duf~\nfield & Co. New York J 928.\nPrice Four Dollars.\nTHIS is the second edition of the\nbook which was published in 1906,\nso it is twenty-two years old and as\nfresh as a daisy. I am not necessarily\nthe right man for the Editor to have\nselected to write this review for I am\nquite foil about Moliere and am en-\ntirely enchanted by Mr. Chaifield-\nTaylor's work. Not only his work\non Moliere but also his work on\nGoldoni.\nThe original preface to the book\nis retained and in this one finds detailed\nreference to the interesting illustrations\nof the first edition which are unfor-\ntunately omitted from the present volume,\nThere is a frontispiece showing the\nhead of Moliere by Pierre Mignard\n— a hypnotising portrait — and there\nis a little portrait of him in words —\nit is quoted from De Vize; 44 Elomire\ndid not speak a word. / found him\nleaning on my counter in the attitude\nof a man who dreams. His eyes\nWere glued upon two or three persons\nof quality who were bargaining for\nlaces and he appeared attentive to\ntheir conversation: for the movement of\nhis eyes indicated that he was searching\nthe depth of their souls for the things\nthey did not say : I believe, however,\nhe had a memorandum book and that,\nhidden by his cloak* wrote down,\nunseen, the most pertinent things they\nsaid. One is inclined to think of\nMoliere, at least I often do, as re-\nsembling Garrick, in that he was\nalways talking, chattering, brilliantly\namusing. One knows of course that\nit was peace with him — as De Vize\nsays 44 he did not speak a word\nSo like a man of dreams; but anything\nmore unlike a dreamer than Moliere\nis not to be found. The Stage and\nthe Drama, which deals, and which\nmust deal, with realities, demands that\nthe Dramatist shall be a very real\nperson indeed — a Politician may\ndream before a Dramatist may. I\ncan imagine it to be the most painful\ntask that a man of imagination can be\nset — that of having to write dramatic\nmasterpieces to amuse the world, and\nanyhow to please the Public ; and it\nwas Moliere's chief boast that he\nwrote to please. And so, when he\ncame to think of his wife and her\napparent heartlessness, the fact of her\nhaving \" the art of pleasing me entirely\ncverweighed the trifling little defects\nsuch as being a coquette, not entirely\nsincere nor so very kind.\"\nMr Chatfield Taylor, in his enthu-\nsiasm for the literary quality of Mo-\nliere, is driven to belittle the acting qua-\nlity of the Italian scenarii, which after\nall were the basis of the playwright's\ntraining. As he alludes to the famous\nIsabella Andreini as being the sister\nof Francesco Andreini, whereas she\nwas his wife and partner in the com-\npany of the Gelosi, it would appear\nthat Mr Chatfield Ta ylor either made\na bit of a slip or has not given the\nsympathetic study to the records of the\npre-Shakespeare and pre-Moliere com-\npanies which they are now beginning\nto obtain from other scholars. Mr Tay-\nlor treats of Moliere's develooment\nA\nfrom improvisation to literary form as\nbeing an escape from Italian leading\nstrings and tutelage, 44 except for bare\nsuggestions in the way of plots If\nMoliere's genius rose 44 superior to Ita-\nlian z&nyism there wras continuity\nand not a break in his flight.\nMoliere's life was divided naturally\ninto three parts : the years of his ge-\nneral education (1622-1643) in which\nhe obtained the best training of his\ntimes ; the fifteen years of apprentice-\nship to his profession (1643-1658),\ntwelve of these being spent in the pro-\nvinces as a wandering player ; and the\nlast fifteen years of success in Paris\n(1658-1673), during which he enjoyed\nthe steady patronage of his king for\nwhom he worthily played the cour-\ntier's role.\nMr Chatfield I aylor deals excel-\nlently with these periods and gives\nspecial chapters to the study of the\ndramatist as a poet militant, to his\ntheatrical and domestic life, to The\nMisanthrope as a reflection of the pri-\nvate sorrow of that life, to the cam-\npaign against quackery, to Moliere's\nfriendships, and to his 44 histrionic\nplays—-the purely stage plays conceived\nprimarily to amuse an audience.\n1 he final chapter, in which the dra-\nmatist is reconciled to his wayward\nwife, Armande Bejart, after over four\nyears of separation, and in which the\ndeath of Madeleine Bejart, the actress\nwho discovered his genius and remai-\nned throughout her life his comrade\nand adviser, and the death a year later\nof Moliere himself are recounted, is so\nfull of human interest that it needs but\ntelling straightforwardly, as Mr Taylor\ntells it.\nIt is of course utterly impossible for\nanyone, even Mr. Chatfield-Taylor, to\nwrite of Mme. Moliere quite truthfully,\nbecause, if I don't misquote, \" to the\nsuperiority of another one can put up\nno defence but that of leve \". Since\nMoliere put up that defence of love\nonly, what he felt must be the supe-\nriority of Mme. Moliere. Then the\nposition could be nothing very awful,...\nso where are we?\nSince it is impossible for man and\nwoman to understand each other,... or\nlet us say well-nigh impossible,... and\nsince the misunderstanding of these two\nwas the tragedy of the life of Moliere,\nhow can any historian be expected to\nclear up things ? There is no clearing\nup because there is nothing to clear up.\nMme. Moliere has been taken far\ntoo seriously by the historians, and that\nis probably due to the fact that her\nhusband took her a little too seriously.\nAfter he was dead she lived for another\nthirty years or so, and, what is more,\nmarried again. How can you take\nanybody seriously who is quite as\nfunny as that ?\nMme. Moliere has to live and likes\nto live, but it is none the less funny that\nthis great creature Moliere, who pours\nout to millions of us the very thing we\nwant to know v and hear, was quite\nunable to pour out anything that\nMme. Moliere wanted to hear, have,\nknow, feel or like. And Mme Moliere\nwas the chief actress ; she was open to\nan inspiration we suppose ; — she\ncould, we imagine, have touched the\nheights that at least Rachel touched ; —\nbut no, she is an insignificant person,...\nwhich is hard luck on Mme. Moliere.\nAdded to this, scurrilous writers de-\nvoted the last years of her life to\nannoying her, and Moliere himself must\nhave annoyed her whilst he was alive.\nHow troubling this thought is.\nElsewhere in this number can be\nread a letter written by Moliere about\nhimself and his wife. It is supposed\nto be written by someone else, but is\nobviously a letter by Moliere, quoted\nword for word. Mr. Chatfield-Taylor\nwill not commit himself to say so as\nemphatically as 1 do here; he says\n44 so touching are the poet's Words, so\nreplete with true sentiment and feeling>\nthat some have believed them to be\ntaken from an actual letter written to\nhis friend by the poet himself.\""}, {"page_pdf": 44, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.44", "debut_caractere": 0, "fin_caractere_exclue": 7024, "texte": "I must find a little fault with Mr.\nChatfield-T ay lor, because if I don't I\nmight fall to gushing about this book\nwhich delights me so much ; and one\nthing I would ask him: why it is he\nmust speak of the morality of theatrical\npeople as not an easy cause to defend\nwhen it is as easy to defend the\nmorality of the theatrical people as\nof any other people. I had thought\nthat v/e had got so far in our under-\nstanding, and even a bit further in our\nsympathy. True, 45 the morality of\ntheatrical people in an age of license\nis not an easy cause to defend but,\ninstead of 4 theatrical people ', Mr.\nChatfield-Taylor must allow me to\ndelete and alter to 4 any people'.\nI cannot quite agree with Mr.\nChaifield Taylor when he speaks of\nMoliere's resentment towards the fa-\nculty of medicine, and that it was\nthis resentment which caused him to\nilluminate so many of his plays with\nso much fun. I think it may have\nbeen likely that he felt no resent-\nment towards Doctors until they were\nparticularly rude to him. It is much\nmore likely that all his jokes about the\nDoctors were taken by the handful\nfrom the Comedie Italienne because\nthey were such good stuff for an\nevening's entertainment. His portfolios\nmust have been packed with these\ncentury-old Italian jokes about Doctors\njust as they were packed with jokes\nabout everything, including dramatists. I\nthink it is never really safe to try and\nread the feelings of a dramatist from\nwhat his characters are made to say\nbecause the dramatist has so strongly\nthat faculty for putting himself — throw-\ning himself — into another person's\nbeing and of hopping out again as\nnimbly; so it is an error to stop and\ncriticise him for making a fool of\nhimself when he is only pretending to\nbe a doctor of Medicine for three-\nquarters of an hour.\nAlthough it is welinigh impossible\nto write about Moliere's domestic life,\nit is none the less most interesting to\nread of it, and indeed to read of it\nover again and again. Whether, when\nwe come to read of the private life\nof Mr. Bernard Shaw, Moliere's will\nseem at all dull, I don't know, but\nI am afraid that Moliere's will seem\na bit black beside it.\nThere are no jaeger tints in Mo-\nHere — all is sunrise, sunset and black\nnight. I here is nothing made about\nhim, planned about him, except his\nplays, and no one can discover the\nplans of them : — if we could we\nshould again be able to write good plays,\nfor you will never find anyone reading a\nplay of Moliere's who does not exclaim,\nand exclaim with the delight of a\nchild — this is a play —• this is lovely.\nThe book contains a splendid chro-\nnology, besides a bibliography and the\nnecessary index.\n\nWILLIAM CONGREVE. Edited\nWith an introduction by Bonarny Dobree.\nOxford University Press, London :\nHumphrey Milford. Price 2j— each\nvolume.\nN«IIN w nil ■IIIIIWI. HI III,IIII'IN\nIT seems almost incredible that in\n* the two tiny volumes, each of five\nhundred odd pages, you get the whole\nof William Congreve's works, and all\nfor the price of ... and here I am\ngoing to get jolly angr}'. It is the\neighth time in the last year that I\nhave come across copies of the World's\nClassics kindly sent in for review and\nwithout a single intimation as to how\nmuch the dear little volumes cost.\nOne would imagine that they were\nde luxe volumes of which the prices\ndare not be mentioned lest they\nfrighten everybody. But here is\nperhaps the most popular library in\nthe world, and nowhere does it state\nhow cheap these volumes are. How-\never, I am going to have a shot at\nguessing what the price should be, and\nif I guess too low and if by doing\nthat I spoil the market for the Oxford\nUniversity Press, it is the Oxford Uni-\nversity Press's fault. I guess that they\ncost one shilling and ninepence a vo-\nlume ; now if they cost four shillings\nor even three shillings and sixpence the\ncouple of hundred people who on read-\ning this will besiege Amen Corner on\nor about the second of April, will be\nso enraged on discovering that the vo-\nlumes are more than I have hinted they\nare, there will probably be a riot in\nthe Squared).\nWhy aren't they more practical at\nthe Oxford University Press? Every-\nbody seems practical there ; I have seen\nthem and so I can vouch for it. Mr.\nGerald Hopkins himself looks a power\nof practicality — a colossus of good\nsense, and 44 The Mask \", voicing Pub-\nlic Opinion, has made it clear to\nMr. Hopkins etc. etc. over and over\nagain that the price should be on each\nvolume, and yet nothing is done. Must\none write to 44 The Times\" about it?\nAnyhow Congreve is worth one shilling\nand ninepence in this form, „on this\npaper and bound in the excellent little\ncover with the unspeakably awful design\non the back.\nA really good, ordnarily good,\ndesign is quite as easy to get as an\nextraordinarily bad one, so the Oxford\nUniversity Press must forgive me for\nbeing so untactfully frank about such\na trifle. It's the Oxford University\nPress that's the point, and this design\nwould not even be seen on one of the\nGeneral Post Office's penny stamps.\nThe Congreve volume contains sur-\nprisingly lovely things.\n(1) To avoid this calamity we have en-\nquired and supplied the price, and give it\nabove. Ed.\n\nVOLPONE. Adapted by Stefan\nZweig. Translated by Ruth Langner.\nGeorge allien and Unwin Ltd. Lon-\ndon, Price six shillings.\nhaven't added the name of the\n•* English author of this book because,\nthough the real author is Ben Jensen,\nhe has been adapted by Stefan Zweig\nand Miss Ruth Langner has translated\nhim back again into English. I sup-\npose it is all right to adapt and re-\ntranslate and so forth, since it may be\nuseful to the stage, but why have they\nprinted it ? To print it is treason :\ntreason against Ben Jonson, unfair on\nZweig if profitable to Langner.\nVolpone, the original play by Ben\nJonson, may need furbishing up in\norder to make it a good play, and,\ncertes, it may take a foreigner to do\nit, and he at perfect liberty to do\nwhat many other foreigners have done\nwith our literature for so, many years :\n—i. e}. to change the whole thing and\nto make it up-to-date : but it would be\nmuch better to call it something else and\nto omit Ben Jonson's name altogether\nthan to adapt quite so freely as ail\nthat.\nI have read the first few lines and\nI don't want to read any more ; not\nthat I doubt that the thing, if staged,\nmight go very nicely, adapted in this\nfree way and translated back again into\nEnglish ; but because I am sufficiently\na lover of a fine artist to be offended\nto the bones by such treatment. The\ntreatment I allude to being the dragging\nin of Ben Jonson's name : that's all.\nIt is trying to get on in the world by\nsaying 44 Oh yes, I know Jonson quite\nwell; I also know the Birkenheads *. It\nleans towards this sort oi thing; so I for\none don't know Mr. Zweig and don't\nwant to know him : besides, I am off\nto my Restaurant.\n\nTHE MEMOIRS OF J. M. Dent,\nWith some Addition by Hugh R. Dent.\nJ. M. Dent & Sons. Price 7/6 net.\nIT is a fine story, this of the tenth son\nof a fine-natured but humbly situa-\nted man who, starting from the very smal-"}, {"page_pdf": 45, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 7114, "texte": "lest beginnings, made himself a power\nin the publishing world ; spread good\nbooks around in editions accessible to\nall, in ever increasing numbers; built\nup a great business; shared in many\ndisinterested public projects; and lived\nhis own life and had the friendship of\nmany of the most interesting personali-\nties of the time, to the full.\nIt was a life of expansion and ac-\ntivity from first to last. The man was\nwhat we call a dynamo, and his force\nseemed always seeking fresh channels\nthrough which to pour.\nBrought up in the strict atmosphere\nof Quaker Darlington, the boy's ear-\nliest passion was the theatre, which he\nhad to visit by stealth and which he\neven had some idea of adopting as a\ncareer until convinced that the lame-\nness with which he was afflicted from\nhis childhood would disqualify him even\nfor a 44 Walking-on gentleman \".\nA 44 complete dullard at school\nhe yet formed an early habit of rea-\nding which never left him; and the\nfact that his 44 first employment was as\na kind of messenger-boy and ticket-\ncollector to an Art Exhibition \", and\nhis next, apprenticeship to a printer as\n44 an all-round workman \", early gave\nhim the bent towards that which was\nto be his life work.\nA mere glance down the chapter\nheadings indicates on what wide and\n<expanding lines he worked ; how the\nsmall early enterprises extended into\n/Aldine House and the Letchworth estab-\nlishment, and the Canadian house; and\nhow the multiform activities of any alert\nand serious publishing house were starred\nby such admirable special features as\n44 The Temple Library the 44 Temple\nShakespeare the 44 Mediaeval Towns\nSeries(planned during one of his\nvisits to Italy, a country he intensely\nloved) : and the great 44 Everyman *\"\nseries, which began years ago giving us,\nfor what he called the 44 democratic\nshilling a long and delightful series\nof the literary treasures of the world.\nThe Memoirs were written by him-\nself 44 without any idea of publication \",\n44 meant to be treated as a personal\nletter from the author to his intimate\n; but Mr. Hugh Dent, long his\nfather s devoted and efficient colleague,\nand now Chairman of the great Firm\nwhich his father founded, has done\nwell to share with a larger public this\nstory of his father's life.\n\nIT'S SMEE by George Shelton,\nErnest Benn Limited, Price 5/- net.\nD. P.\n|HIS is a very nice little book ; not\nonly nice because it is little, but\nat least 4 it s thatIt reminds me\nrather of a book of reminiscences of\nan actor of the eighteenth century who\nplayed as a boy with Garrick at Drury\nLane and who wrote a most melan-\ncholy lot of recollections, and his name\nI think was Everard. This book\nreminds me of that book because, in\none hundred years from now, there\nwon't be many laughs left in this one\nalthough there are so many of them\nin it now. Mr. Shelton writes the\nbook with his memory filled with the\nrecollections of those people who knew\nwhat Shelton was talking about when\nhe mentioned the name—44 Mr. Toole\";\nwho remembers that name now ? of\nwhat is it significant ? what will people\nto-day find funny in the following\nanecdote : —\n\"On one occasion, while Toole\nwas at the Old Ship Hotel, Brighton,\nBleackley came to see him, and, as\nthey very often did, they began talking\ntogether about their ailments. Said\nBleackley * Johnny, I'm terribly bo-\nthered at night. I can't get to sleep/\n4 Oh,9 said Toole ; 4 I can give you\na splendid prescription that will send\nyou off to sleep at once.' 4 For\ngoodness sake I 9 cried E. O., as he\nhe Was called. 4 What on earth is\nit ? 9 4 It's a copy of my Remini-\nscences I 9 said Toole.\"\nWe who can remember Toole find\nit very charming ; we who remember\nhis face and his voice begin to laugh,\nbut in one hundred years they will\nfeel as I always feel when I read the\nrecollections of Everard. When Mr.\nShelton asks Mr. Toole for another\npound a week on to his salary — Mr.\nToole replies 44 I'll see you damned\nfirst\"; of course we get the whole\npoint of it when we know Toole,\nShelton, London and the rest of it; but\nin fifty years from now there won't\nbe a smile left in it.\nIn this book George Shelton has\nonly painted an inch thick; he has\nforgotten to lay it on large enough for\nthe centuries which are coming. But\nit will be something for him to be in\nthe company of Everard, for there is\na certain quality in both of these books\nwhich is always dear to us and always\nquietly makes its little point, and I\nam not so sure that it is not a triumph\neven to make a little point with a\ncouple of centuries between you and\nyour silent audiences.\nThere are a number of things that\nI could say about this book which I\nam itching to say and may not, because\nit is nine to one that they would hurt;\nand yet I feel nothing but liking\ntowards the Actor who I met once\nand talked with at Barnstable ; I shalL\nnever forget the genial personality.\nOccasionally I said a word or two,\nbut Shelton's kindness and goodness\nbeamed and filled the place to the\nrafters. It was the Bar we were in ;\nwe had lost the train, or rather he\nhad ; I wonder if he will remember ?\nand curiously enough I remember\nthinking at the time — when Shelton\ncomes to write his memoirs what a\njolly book it will be; how it will\nsparkle; how we shall all roar with\nlaughter, and, what is more, what a\nprofundity of thought and feeling will\nbe behind it all; and it is these things\nthat I want my readers to look to find,\nI labour under a disadvantage : —\nI have known the writer — that ad-\nvantage will be memorable in my re-\ncollections to the end ; it is long since\nI saw him, for my beat is between\nRed Lion Court and the little Restau-\nrant, which I do not intend to advertise\nhere in spite of its excellent Mixed\nGrill; but then if I were to meet\nShelton tomorrow, he might remember\nmy face but would not remember my\nname ; and yet, as perhaps my readers\nalready know, mine is an honoured\nname in the Profession — although one\nof my ancestors who bore precisely\nthe same name was Stage Door\nKeeper at Drury Lane as those who\nturn to the histories can ascertain fcjr\na certainty; and, though the other\nancestors never rose higher in the world\nof the stage than to carry banners,\nwhen they weren't carrying bucklers,\nstill we were rather celebrated for\nalways having our own opinion on\nwhat Mr. Macready did and what\nMr. Charles Kean should do, and I\nthink it is from these self-opinionated\nones of the stage of yesterday that I\nhave inherited a certain flair for my own\nopinion. It is probably that in Barnstable\nGeorge Shelton noticed this and pre-\nvented me from butting in by keep-\ning up a fire of conversation, and\nit is probably because of that that I\nam getting my own back again here.\nBut my opinion is that it is an excellent\nlittle book this, and far more readable\nthan some of the large books on the\nart of the theatre whose authors I will\nnot name.\n\nORIGIN AND DEVELOPMENT\nOF LIGHT OPERA by Sterling\nMackinlay. Hutchinson & Co. First\ncheap edition, Price 10/6 net.\nTHIS book was already fully re-\nviewed and warmly praised in its\nfirst and more costly edition in \" The\nMask\", Volume XIV, No 2 (1128).\nThe present editition, at the moderate"}, {"page_pdf": 46, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.46", "debut_caractere": 0, "fin_caractere_exclue": 3646, "texte": "price of 10/6, is Welcome because it\nbrings a useful and well illustrated\nwork within the reach of many students\nwho may have been debarred from\nbuying the first edition.\nMr. Mackinlay tells the story of\nLight Opera in many lands and many\ncenturies. Beginning with the stage of\nancient Greece and Rome, and touch-\ning upon Egypt and the East, he\ntakes a birdseye view of the subject\nfrom mediaeval Europe down to mo-\ndern times, inclusive of England and\nAmerica, France, Italy, Spain, Ger-\nmany, Austria, Russia and Scandinavia.\nThe pages are full of history and\nhistorical figures; there are many anec-\ndotes, both serious and amusing, of per-\nsonalities and events; musical criticisms,\nplots of operettas; and glimpses of com-\nosers, librettists and other figures of\nphe operatic world crowd the pages,\nt Mr. Mackinlay's book, moreover, is\nwell planned in that it shows briefly the\ndevelopment of scenery and lighting, of\norchestral and musical forms, masks,\ncustoms, and the theatre itself, from\nancient times to the present.\nMany illustrations.... nearly fifty....\nenliven the whole, and we recommend\nthis entertaining, and now inexpensive,\nbook, to all who wish to learn more\nof the genesis, development and back-\nground of light opera.\n\nTHE WHITE WALLET by Pa-\nmela Grey (Viscountess Grey of Fallo-\ndon). Designs by Stephen Tennant.\n/. M. Dent & Sons. Price 5/- net.\nTHIS Anthology of prose and verse\ncontains many good things, though\nno particular plan seems to have gui-\nded the compiler in the selection of\nthe extracts.\nDrawn from many ancient and mo-\ndern sources, perhaps too much pro-\nminence has been given to the writings\nof T. W. FI. Crosland, quotations from\nwhose writings far out-number any\nother author.\nBut where did the compiler find the\nversion she gives of Blake :\n\" The angel that presided o'er my birth\nSaid, little creature born for joy and mirth,\n\" Go, live without the help of anything on\nearth \" ?\nWe had always known it as\n\" Go, love without the help of anything on\nearth\nWe like the following old advertise-\nment, cited by Macaulay :\n\"Although it is Wrong, I must frankly confess,\nTo judge of the merits of folk by their dress,\nI cannot help thinking an ill-looking hat\nIs a very bad sign in a man for all that.\nEspecially now as James Johnson is willing\nTo touch up old hats in style for a shilling,\nAnd give them a gloss of so silktJ a hue,\nAs makes them look newer than when they\nwere new\nAltogether a very pleasant little col-\nlection of miscellanies to have upon\none's shelf.\n\nTHE EVERYMAN SERIES.\n/. M. Dent & Sons. Price 2j- net.\n[HE recent volumes issued bring this\ncelebrated collection up to 822\nvolumes, and we note that the bind-\ning, paper and general excellence of the\nbooks keep to the established standard.\nSeeing another work by Defoe among\nthese latest volumes reminds us that\nthe second greatest book by Defoe is\nnot yet in this series, ...\" Moll Flan-\nders \"... and the Everyman series will\nnot be complete without it.\nAmong the latest volumes issued are:\n44 The Plain Speaker \", William\nHazlett.\nThe Rubaiyat of Omar Khayyam\nand Six Plays by Calderoix* translated\nby Edward Fitzgerald.\nEighteenth Century Plays selected\nby John Hampden.\nA Tour through England and Wales\n(2 volumes) by Daniel Defoe.\nGrace Abounding, and The Life\nand Death of Mr. Badman, by John\nBunyan.\nA New Book of Sense and Non-\nsense, edited by Ernest Rhys.\n44 Marriage \", (an old tale which\npleased Sir Walter Scott), by Susan\nFerrier.\nJorrocks, Jaunts and Jollities, by Ro-\nbert Smith Surtees.\nMore Tales from Hans Anderson.\nCastiglione's 44 The Courtier \" trans-\nlated by Sir Thomas Hoby.\nSir John Mandeville's Travels."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c061", "article_bluemountain": "bmtnaau_1929-01_01#c061", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "35", "page_fin": "36", "image_debut": 43, "image_fin": 44, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.28.2", "titre_corps": "MOLlÉRE - A BIOGRAPHY by H.C. Chatfield-Taylor", "titre_sommaire": "MOLlÉRE - A BIOGRAPHY by H.C. Chatfield-Taylor", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 43, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.43", "debut_caractere": 15, "fin_caractere_exclue": 6774, "texte": "MOLlbRE - A BIOGRAPHY by\nH. C. Chatfield-Taylor, Liit. D. Duf~\nfield & Co. New York J 928.\nPrice Four Dollars.\nTHIS is the second edition of the\nbook which was published in 1906,\nso it is twenty-two years old and as\nfresh as a daisy. I am not necessarily\nthe right man for the Editor to have\nselected to write this review for I am\nquite foil about Moliere and am en-\ntirely enchanted by Mr. Chaifield-\nTaylor's work. Not only his work\non Moliere but also his work on\nGoldoni.\nThe original preface to the book\nis retained and in this one finds detailed\nreference to the interesting illustrations\nof the first edition which are unfor-\ntunately omitted from the present volume,\nThere is a frontispiece showing the\nhead of Moliere by Pierre Mignard\n— a hypnotising portrait — and there\nis a little portrait of him in words —\nit is quoted from De Vize; 44 Elomire\ndid not speak a word. / found him\nleaning on my counter in the attitude\nof a man who dreams. His eyes\nWere glued upon two or three persons\nof quality who were bargaining for\nlaces and he appeared attentive to\ntheir conversation: for the movement of\nhis eyes indicated that he was searching\nthe depth of their souls for the things\nthey did not say : I believe, however,\nhe had a memorandum book and that,\nhidden by his cloak* wrote down,\nunseen, the most pertinent things they\nsaid. One is inclined to think of\nMoliere, at least I often do, as re-\nsembling Garrick, in that he was\nalways talking, chattering, brilliantly\namusing. One knows of course that\nit was peace with him — as De Vize\nsays 44 he did not speak a word\nSo like a man of dreams; but anything\nmore unlike a dreamer than Moliere\nis not to be found. The Stage and\nthe Drama, which deals, and which\nmust deal, with realities, demands that\nthe Dramatist shall be a very real\nperson indeed — a Politician may\ndream before a Dramatist may. I\ncan imagine it to be the most painful\ntask that a man of imagination can be\nset — that of having to write dramatic\nmasterpieces to amuse the world, and\nanyhow to please the Public ; and it\nwas Moliere's chief boast that he\nwrote to please. And so, when he\ncame to think of his wife and her\napparent heartlessness, the fact of her\nhaving \" the art of pleasing me entirely\ncverweighed the trifling little defects\nsuch as being a coquette, not entirely\nsincere nor so very kind.\"\nMr Chatfield Taylor, in his enthu-\nsiasm for the literary quality of Mo-\nliere, is driven to belittle the acting qua-\nlity of the Italian scenarii, which after\nall were the basis of the playwright's\ntraining. As he alludes to the famous\nIsabella Andreini as being the sister\nof Francesco Andreini, whereas she\nwas his wife and partner in the com-\npany of the Gelosi, it would appear\nthat Mr Chatfield Ta ylor either made\na bit of a slip or has not given the\nsympathetic study to the records of the\npre-Shakespeare and pre-Moliere com-\npanies which they are now beginning\nto obtain from other scholars. Mr Tay-\nlor treats of Moliere's develooment\nA\nfrom improvisation to literary form as\nbeing an escape from Italian leading\nstrings and tutelage, 44 except for bare\nsuggestions in the way of plots If\nMoliere's genius rose 44 superior to Ita-\nlian z&nyism there wras continuity\nand not a break in his flight.\nMoliere's life was divided naturally\ninto three parts : the years of his ge-\nneral education (1622-1643) in which\nhe obtained the best training of his\ntimes ; the fifteen years of apprentice-\nship to his profession (1643-1658),\ntwelve of these being spent in the pro-\nvinces as a wandering player ; and the\nlast fifteen years of success in Paris\n(1658-1673), during which he enjoyed\nthe steady patronage of his king for\nwhom he worthily played the cour-\ntier's role.\nMr Chatfield I aylor deals excel-\nlently with these periods and gives\nspecial chapters to the study of the\ndramatist as a poet militant, to his\ntheatrical and domestic life, to The\nMisanthrope as a reflection of the pri-\nvate sorrow of that life, to the cam-\npaign against quackery, to Moliere's\nfriendships, and to his 44 histrionic\nplays—-the purely stage plays conceived\nprimarily to amuse an audience.\n1 he final chapter, in which the dra-\nmatist is reconciled to his wayward\nwife, Armande Bejart, after over four\nyears of separation, and in which the\ndeath of Madeleine Bejart, the actress\nwho discovered his genius and remai-\nned throughout her life his comrade\nand adviser, and the death a year later\nof Moliere himself are recounted, is so\nfull of human interest that it needs but\ntelling straightforwardly, as Mr Taylor\ntells it.\nIt is of course utterly impossible for\nanyone, even Mr. Chatfield-Taylor, to\nwrite of Mme. Moliere quite truthfully,\nbecause, if I don't misquote, \" to the\nsuperiority of another one can put up\nno defence but that of leve \". Since\nMoliere put up that defence of love\nonly, what he felt must be the supe-\nriority of Mme. Moliere. Then the\nposition could be nothing very awful,...\nso where are we?\nSince it is impossible for man and\nwoman to understand each other,... or\nlet us say well-nigh impossible,... and\nsince the misunderstanding of these two\nwas the tragedy of the life of Moliere,\nhow can any historian be expected to\nclear up things ? There is no clearing\nup because there is nothing to clear up.\nMme. Moliere has been taken far\ntoo seriously by the historians, and that\nis probably due to the fact that her\nhusband took her a little too seriously.\nAfter he was dead she lived for another\nthirty years or so, and, what is more,\nmarried again. How can you take\nanybody seriously who is quite as\nfunny as that ?\nMme. Moliere has to live and likes\nto live, but it is none the less funny that\nthis great creature Moliere, who pours\nout to millions of us the very thing we\nwant to know v and hear, was quite\nunable to pour out anything that\nMme. Moliere wanted to hear, have,\nknow, feel or like. And Mme Moliere\nwas the chief actress ; she was open to\nan inspiration we suppose ; — she\ncould, we imagine, have touched the\nheights that at least Rachel touched ; —\nbut no, she is an insignificant person,...\nwhich is hard luck on Mme. Moliere.\nAdded to this, scurrilous writers de-\nvoted the last years of her life to\nannoying her, and Moliere himself must\nhave annoyed her whilst he was alive.\nHow troubling this thought is.\nElsewhere in this number can be\nread a letter written by Moliere about\nhimself and his wife. It is supposed\nto be written by someone else, but is\nobviously a letter by Moliere, quoted\nword for word. Mr. Chatfield-Taylor\nwill not commit himself to say so as\nemphatically as 1 do here; he says\n44 so touching are the poet's Words, so\nreplete with true sentiment and feeling>\nthat some have believed them to be\ntaken from an actual letter written to\nhis friend by the poet himself.\""}, {"page_pdf": 44, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.44", "debut_caractere": 0, "fin_caractere_exclue": 2642, "texte": "I must find a little fault with Mr.\nChatfield-T ay lor, because if I don't I\nmight fall to gushing about this book\nwhich delights me so much ; and one\nthing I would ask him: why it is he\nmust speak of the morality of theatrical\npeople as not an easy cause to defend\nwhen it is as easy to defend the\nmorality of the theatrical people as\nof any other people. I had thought\nthat v/e had got so far in our under-\nstanding, and even a bit further in our\nsympathy. True, 45 the morality of\ntheatrical people in an age of license\nis not an easy cause to defend but,\ninstead of 4 theatrical people ', Mr.\nChatfield-Taylor must allow me to\ndelete and alter to 4 any people'.\nI cannot quite agree with Mr.\nChaifield Taylor when he speaks of\nMoliere's resentment towards the fa-\nculty of medicine, and that it was\nthis resentment which caused him to\nilluminate so many of his plays with\nso much fun. I think it may have\nbeen likely that he felt no resent-\nment towards Doctors until they were\nparticularly rude to him. It is much\nmore likely that all his jokes about the\nDoctors were taken by the handful\nfrom the Comedie Italienne because\nthey were such good stuff for an\nevening's entertainment. His portfolios\nmust have been packed with these\ncentury-old Italian jokes about Doctors\njust as they were packed with jokes\nabout everything, including dramatists. I\nthink it is never really safe to try and\nread the feelings of a dramatist from\nwhat his characters are made to say\nbecause the dramatist has so strongly\nthat faculty for putting himself — throw-\ning himself — into another person's\nbeing and of hopping out again as\nnimbly; so it is an error to stop and\ncriticise him for making a fool of\nhimself when he is only pretending to\nbe a doctor of Medicine for three-\nquarters of an hour.\nAlthough it is welinigh impossible\nto write about Moliere's domestic life,\nit is none the less most interesting to\nread of it, and indeed to read of it\nover again and again. Whether, when\nwe come to read of the private life\nof Mr. Bernard Shaw, Moliere's will\nseem at all dull, I don't know, but\nI am afraid that Moliere's will seem\na bit black beside it.\nThere are no jaeger tints in Mo-\nHere — all is sunrise, sunset and black\nnight. I here is nothing made about\nhim, planned about him, except his\nplays, and no one can discover the\nplans of them : — if we could we\nshould again be able to write good plays,\nfor you will never find anyone reading a\nplay of Moliere's who does not exclaim,\nand exclaim with the delight of a\nchild — this is a play —• this is lovely.\nThe book contains a splendid chro-\nnology, besides a bibliography and the\nnecessary index."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c062", "article_bluemountain": "bmtnaau_1929-01_01#c062", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "36", "page_fin": "36", "image_debut": 44, "image_fin": 44, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.28.3", "titre_corps": "WILLIAM CONGREVE. Edited by Bonamy Dobree", "titre_sommaire": "WILLIAM CONGREVE. Edited by Bonamy Dobree", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 44, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.44", "debut_caractere": 2644, "fin_caractere_exclue": 5151, "texte": "WILLIAM CONGREVE. Edited\nWith an introduction by Bonarny Dobree.\nOxford University Press, London :\nHumphrey Milford. Price 2j— each\nvolume.\nN«IIN w nil ■IIIIIWI. HI III,IIII'IN\nIT seems almost incredible that in\n* the two tiny volumes, each of five\nhundred odd pages, you get the whole\nof William Congreve's works, and all\nfor the price of ... and here I am\ngoing to get jolly angr}'. It is the\neighth time in the last year that I\nhave come across copies of the World's\nClassics kindly sent in for review and\nwithout a single intimation as to how\nmuch the dear little volumes cost.\nOne would imagine that they were\nde luxe volumes of which the prices\ndare not be mentioned lest they\nfrighten everybody. But here is\nperhaps the most popular library in\nthe world, and nowhere does it state\nhow cheap these volumes are. How-\never, I am going to have a shot at\nguessing what the price should be, and\nif I guess too low and if by doing\nthat I spoil the market for the Oxford\nUniversity Press, it is the Oxford Uni-\nversity Press's fault. I guess that they\ncost one shilling and ninepence a vo-\nlume ; now if they cost four shillings\nor even three shillings and sixpence the\ncouple of hundred people who on read-\ning this will besiege Amen Corner on\nor about the second of April, will be\nso enraged on discovering that the vo-\nlumes are more than I have hinted they\nare, there will probably be a riot in\nthe Squared).\nWhy aren't they more practical at\nthe Oxford University Press? Every-\nbody seems practical there ; I have seen\nthem and so I can vouch for it. Mr.\nGerald Hopkins himself looks a power\nof practicality — a colossus of good\nsense, and 44 The Mask \", voicing Pub-\nlic Opinion, has made it clear to\nMr. Hopkins etc. etc. over and over\nagain that the price should be on each\nvolume, and yet nothing is done. Must\none write to 44 The Times\" about it?\nAnyhow Congreve is worth one shilling\nand ninepence in this form, „on this\npaper and bound in the excellent little\ncover with the unspeakably awful design\non the back.\nA really good, ordnarily good,\ndesign is quite as easy to get as an\nextraordinarily bad one, so the Oxford\nUniversity Press must forgive me for\nbeing so untactfully frank about such\na trifle. It's the Oxford University\nPress that's the point, and this design\nwould not even be seen on one of the\nGeneral Post Office's penny stamps.\nThe Congreve volume contains sur-\nprisingly lovely things.\n(1) To avoid this calamity we have en-\nquired and supplied the price, and give it\nabove. Ed."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c063", "article_bluemountain": "bmtnaau_1929-01_01#c063", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "36", "page_fin": "36", "image_debut": 44, "image_fin": 44, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.28.4", "titre_corps": "VOLPONE. Adapted by Stefan Zweig", "titre_sommaire": "VOLPONE. Adapted by Stefan Zweig", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 44, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.44", "debut_caractere": 5153, "fin_caractere_exclue": 6806, "texte": "VOLPONE. Adapted by Stefan\nZweig. Translated by Ruth Langner.\nGeorge allien and Unwin Ltd. Lon-\ndon, Price six shillings.\nhaven't added the name of the\n•* English author of this book because,\nthough the real author is Ben Jensen,\nhe has been adapted by Stefan Zweig\nand Miss Ruth Langner has translated\nhim back again into English. I sup-\npose it is all right to adapt and re-\ntranslate and so forth, since it may be\nuseful to the stage, but why have they\nprinted it ? To print it is treason :\ntreason against Ben Jonson, unfair on\nZweig if profitable to Langner.\nVolpone, the original play by Ben\nJonson, may need furbishing up in\norder to make it a good play, and,\ncertes, it may take a foreigner to do\nit, and he at perfect liberty to do\nwhat many other foreigners have done\nwith our literature for so, many years :\n—i. e}. to change the whole thing and\nto make it up-to-date : but it would be\nmuch better to call it something else and\nto omit Ben Jonson's name altogether\nthan to adapt quite so freely as ail\nthat.\nI have read the first few lines and\nI don't want to read any more ; not\nthat I doubt that the thing, if staged,\nmight go very nicely, adapted in this\nfree way and translated back again into\nEnglish ; but because I am sufficiently\na lover of a fine artist to be offended\nto the bones by such treatment. The\ntreatment I allude to being the dragging\nin of Ben Jonson's name : that's all.\nIt is trying to get on in the world by\nsaying 44 Oh yes, I know Jonson quite\nwell; I also know the Birkenheads *. It\nleans towards this sort oi thing; so I for\none don't know Mr. Zweig and don't\nwant to know him : besides, I am off\nto my Restaurant."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c064", "article_bluemountain": "bmtnaau_1929-01_01#c064", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "36", "page_fin": "37", "image_debut": 44, "image_fin": 45, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.2.28.5", "titre_corps": "THE MEMOIRS OF J. M. Dent", "titre_sommaire": "THE MEMOIRS OF J. M. Dent", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 44, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.44", "debut_caractere": 6808, "fin_caractere_exclue": 7024, "texte": "THE MEMOIRS OF J. M. Dent,\nWith some Addition by Hugh R. Dent.\nJ. M. Dent & Sons. Price 7/6 net.\nIT is a fine story, this of the tenth son\nof a fine-natured but humbly situa-\nted man who, starting from the very smal-"}, {"page_pdf": 45, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 2243, "texte": "lest beginnings, made himself a power\nin the publishing world ; spread good\nbooks around in editions accessible to\nall, in ever increasing numbers; built\nup a great business; shared in many\ndisinterested public projects; and lived\nhis own life and had the friendship of\nmany of the most interesting personali-\nties of the time, to the full.\nIt was a life of expansion and ac-\ntivity from first to last. The man was\nwhat we call a dynamo, and his force\nseemed always seeking fresh channels\nthrough which to pour.\nBrought up in the strict atmosphere\nof Quaker Darlington, the boy's ear-\nliest passion was the theatre, which he\nhad to visit by stealth and which he\neven had some idea of adopting as a\ncareer until convinced that the lame-\nness with which he was afflicted from\nhis childhood would disqualify him even\nfor a 44 Walking-on gentleman \".\nA 44 complete dullard at school\nhe yet formed an early habit of rea-\nding which never left him; and the\nfact that his 44 first employment was as\na kind of messenger-boy and ticket-\ncollector to an Art Exhibition \", and\nhis next, apprenticeship to a printer as\n44 an all-round workman \", early gave\nhim the bent towards that which was\nto be his life work.\nA mere glance down the chapter\nheadings indicates on what wide and\n<expanding lines he worked ; how the\nsmall early enterprises extended into\n/Aldine House and the Letchworth estab-\nlishment, and the Canadian house; and\nhow the multiform activities of any alert\nand serious publishing house were starred\nby such admirable special features as\n44 The Temple Library the 44 Temple\nShakespeare the 44 Mediaeval Towns\nSeries(planned during one of his\nvisits to Italy, a country he intensely\nloved) : and the great 44 Everyman *\"\nseries, which began years ago giving us,\nfor what he called the 44 democratic\nshilling a long and delightful series\nof the literary treasures of the world.\nThe Memoirs were written by him-\nself 44 without any idea of publication \",\n44 meant to be treated as a personal\nletter from the author to his intimate\n; but Mr. Hugh Dent, long his\nfather s devoted and efficient colleague,\nand now Chairman of the great Firm\nwhich his father founded, has done\nwell to share with a larger public this\nstory of his father's life."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c065", "article_bluemountain": "bmtnaau_1929-01_01#c065", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "37", "page_fin": "37", "image_debut": 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=bmtnaau192901-01.2.28.6", "titre_corps": "IT'S SMEE by George Shelton", "titre_sommaire": "IT'S SMEE by George Shelton", "signature_source": "D. P", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.45", "debut_caractere": 2245, "fin_caractere_exclue": 6823, "texte": "IT'S SMEE by George Shelton,\nErnest Benn Limited, Price 5/- net.\nD. P.\n|HIS is a very nice little book ; not\nonly nice because it is little, but\nat least 4 it s thatIt reminds me\nrather of a book of reminiscences of\nan actor of the eighteenth century who\nplayed as a boy with Garrick at Drury\nLane and who wrote a most melan-\ncholy lot of recollections, and his name\nI think was Everard. This book\nreminds me of that book because, in\none hundred years from now, there\nwon't be many laughs left in this one\nalthough there are so many of them\nin it now. Mr. Shelton writes the\nbook with his memory filled with the\nrecollections of those people who knew\nwhat Shelton was talking about when\nhe mentioned the name—44 Mr. Toole\";\nwho remembers that name now ? of\nwhat is it significant ? what will people\nto-day find funny in the following\nanecdote : —\n\"On one occasion, while Toole\nwas at the Old Ship Hotel, Brighton,\nBleackley came to see him, and, as\nthey very often did, they began talking\ntogether about their ailments. Said\nBleackley * Johnny, I'm terribly bo-\nthered at night. I can't get to sleep/\n4 Oh,9 said Toole ; 4 I can give you\na splendid prescription that will send\nyou off to sleep at once.' 4 For\ngoodness sake I 9 cried E. O., as he\nhe Was called. 4 What on earth is\nit ? 9 4 It's a copy of my Remini-\nscences I 9 said Toole.\"\nWe who can remember Toole find\nit very charming ; we who remember\nhis face and his voice begin to laugh,\nbut in one hundred years they will\nfeel as I always feel when I read the\nrecollections of Everard. When Mr.\nShelton asks Mr. Toole for another\npound a week on to his salary — Mr.\nToole replies 44 I'll see you damned\nfirst\"; of course we get the whole\npoint of it when we know Toole,\nShelton, London and the rest of it; but\nin fifty years from now there won't\nbe a smile left in it.\nIn this book George Shelton has\nonly painted an inch thick; he has\nforgotten to lay it on large enough for\nthe centuries which are coming. But\nit will be something for him to be in\nthe company of Everard, for there is\na certain quality in both of these books\nwhich is always dear to us and always\nquietly makes its little point, and I\nam not so sure that it is not a triumph\neven to make a little point with a\ncouple of centuries between you and\nyour silent audiences.\nThere are a number of things that\nI could say about this book which I\nam itching to say and may not, because\nit is nine to one that they would hurt;\nand yet I feel nothing but liking\ntowards the Actor who I met once\nand talked with at Barnstable ; I shalL\nnever forget the genial personality.\nOccasionally I said a word or two,\nbut Shelton's kindness and goodness\nbeamed and filled the place to the\nrafters. It was the Bar we were in ;\nwe had lost the train, or rather he\nhad ; I wonder if he will remember ?\nand curiously enough I remember\nthinking at the time — when Shelton\ncomes to write his memoirs what a\njolly book it will be; how it will\nsparkle; how we shall all roar with\nlaughter, and, what is more, what a\nprofundity of thought and feeling will\nbe behind it all; and it is these things\nthat I want my readers to look to find,\nI labour under a disadvantage : —\nI have known the writer — that ad-\nvantage will be memorable in my re-\ncollections to the end ; it is long since\nI saw him, for my beat is between\nRed Lion Court and the little Restau-\nrant, which I do not intend to advertise\nhere in spite of its excellent Mixed\nGrill; but then if I were to meet\nShelton tomorrow, he might remember\nmy face but would not remember my\nname ; and yet, as perhaps my readers\nalready know, mine is an honoured\nname in the Profession — although one\nof my ancestors who bore precisely\nthe same name was Stage Door\nKeeper at Drury Lane as those who\nturn to the histories can ascertain fcjr\na certainty; and, though the other\nancestors never rose higher in the world\nof the stage than to carry banners,\nwhen they weren't carrying bucklers,\nstill we were rather celebrated for\nalways having our own opinion on\nwhat Mr. Macready did and what\nMr. Charles Kean should do, and I\nthink it is from these self-opinionated\nones of the stage of yesterday that I\nhave inherited a certain flair for my own\nopinion. It is probably that in Barnstable\nGeorge Shelton noticed this and pre-\nvented me from butting in by keep-\ning up a fire of conversation, and\nit is probably because of that that I\nam getting my own back again here.\nBut my opinion is that it is an excellent\nlittle book this, and far more readable\nthan some of the large books on the\nart of the theatre whose authors I will\nnot name."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c066", "article_bluemountain": "bmtnaau_1929-01_01#c066", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "37", "page_fin": "38", "image_debut": 45, "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=bmtnaau192901-01.2.28.7", "titre_corps": "ORIGIN AND DEVELOPMENT OF LIGHT OPERA by Sterling Mackinlay", "titre_sommaire": "ORIGIN AND DEVELOPMENT OF LIGHT OPERA by Sterling Mackinlay", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.45", "debut_caractere": 6825, "fin_caractere_exclue": 7114, "texte": "ORIGIN AND DEVELOPMENT\nOF LIGHT OPERA by Sterling\nMackinlay. Hutchinson & Co. First\ncheap edition, Price 10/6 net.\nTHIS book was already fully re-\nviewed and warmly praised in its\nfirst and more costly edition in \" The\nMask\", Volume XIV, No 2 (1128).\nThe present editition, at the moderate"}, {"page_pdf": 46, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.46", "debut_caractere": 0, "fin_caractere_exclue": 1241, "texte": "price of 10/6, is Welcome because it\nbrings a useful and well illustrated\nwork within the reach of many students\nwho may have been debarred from\nbuying the first edition.\nMr. Mackinlay tells the story of\nLight Opera in many lands and many\ncenturies. Beginning with the stage of\nancient Greece and Rome, and touch-\ning upon Egypt and the East, he\ntakes a birdseye view of the subject\nfrom mediaeval Europe down to mo-\ndern times, inclusive of England and\nAmerica, France, Italy, Spain, Ger-\nmany, Austria, Russia and Scandinavia.\nThe pages are full of history and\nhistorical figures; there are many anec-\ndotes, both serious and amusing, of per-\nsonalities and events; musical criticisms,\nplots of operettas; and glimpses of com-\nosers, librettists and other figures of\nphe operatic world crowd the pages,\nt Mr. Mackinlay's book, moreover, is\nwell planned in that it shows briefly the\ndevelopment of scenery and lighting, of\norchestral and musical forms, masks,\ncustoms, and the theatre itself, from\nancient times to the present.\nMany illustrations.... nearly fifty....\nenliven the whole, and we recommend\nthis entertaining, and now inexpensive,\nbook, to all who wish to learn more\nof the genesis, development and back-\nground of light opera."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c067", "article_bluemountain": "bmtnaau_1929-01_01#c067", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "38", "page_fin": "38", "image_debut": 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=bmtnaau192901-01.2.28.8", "titre_corps": "THE WHITE WALLET by by Pamela Grey", "titre_sommaire": "THE WHITE WALLET by by Pamela Grey", "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": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.46", "debut_caractere": 1243, "fin_caractere_exclue": 2512, "texte": "THE WHITE WALLET by Pa-\nmela Grey (Viscountess Grey of Fallo-\ndon). Designs by Stephen Tennant.\n/. M. Dent & Sons. Price 5/- net.\nTHIS Anthology of prose and verse\ncontains many good things, though\nno particular plan seems to have gui-\nded the compiler in the selection of\nthe extracts.\nDrawn from many ancient and mo-\ndern sources, perhaps too much pro-\nminence has been given to the writings\nof T. W. FI. Crosland, quotations from\nwhose writings far out-number any\nother author.\nBut where did the compiler find the\nversion she gives of Blake :\n\" The angel that presided o'er my birth\nSaid, little creature born for joy and mirth,\n\" Go, live without the help of anything on\nearth \" ?\nWe had always known it as\n\" Go, love without the help of anything on\nearth\nWe like the following old advertise-\nment, cited by Macaulay :\n\"Although it is Wrong, I must frankly confess,\nTo judge of the merits of folk by their dress,\nI cannot help thinking an ill-looking hat\nIs a very bad sign in a man for all that.\nEspecially now as James Johnson is willing\nTo touch up old hats in style for a shilling,\nAnd give them a gloss of so silktJ a hue,\nAs makes them look newer than when they\nwere new\nAltogether a very pleasant little col-\nlection of miscellanies to have upon\none's shelf."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c068", "article_bluemountain": "bmtnaau_1929-01_01#c068", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "38", "page_fin": "38", "image_debut": 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=bmtnaau192901-01.2.28.9", "titre_corps": "THE EVERYMAN SERIES", "titre_sommaire": "THE EVERYMAN SERIES", "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": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.46", "debut_caractere": 2514, "fin_caractere_exclue": 3646, "texte": "THE EVERYMAN SERIES.\n/. M. Dent & Sons. Price 2j- net.\n[HE recent volumes issued bring this\ncelebrated collection up to 822\nvolumes, and we note that the bind-\ning, paper and general excellence of the\nbooks keep to the established standard.\nSeeing another work by Defoe among\nthese latest volumes reminds us that\nthe second greatest book by Defoe is\nnot yet in this series, ...\" Moll Flan-\nders \"... and the Everyman series will\nnot be complete without it.\nAmong the latest volumes issued are:\n44 The Plain Speaker \", William\nHazlett.\nThe Rubaiyat of Omar Khayyam\nand Six Plays by Calderoix* translated\nby Edward Fitzgerald.\nEighteenth Century Plays selected\nby John Hampden.\nA Tour through England and Wales\n(2 volumes) by Daniel Defoe.\nGrace Abounding, and The Life\nand Death of Mr. Badman, by John\nBunyan.\nA New Book of Sense and Non-\nsense, edited by Ernest Rhys.\n44 Marriage \", (an old tale which\npleased Sir Walter Scott), by Susan\nFerrier.\nJorrocks, Jaunts and Jollities, by Ro-\nbert Smith Surtees.\nMore Tales from Hans Anderson.\nCastiglione's 44 The Courtier \" trans-\nlated by Sir Thomas Hoby.\nSir John Mandeville's Travels."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c069", "article_bluemountain": "bmtnaau_1929-01_01#c069", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "38", "page_fin": "39", "image_debut": 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=bmtnaau192901-01.2.29", "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": 46, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.46", "debut_caractere": 3648, "fin_caractere_exclue": 5749, "texte": "EDITORIAL NOTES\nJANUARY: FEBRUARY: MARCH:\n\nTHE CREDO OF THE MASK\nSINCE ITS FOUNDATION\no1908- 1 9 2 9 o\nAS many are reading 44 The Mask \"\ntoday who Were not doing so in\n1918 when we first printed the fol-\nlowing 44 Declaration of Belief \", or\nin 1923 when we reprinted it, ttfe\nhold it to he of value to reprint it\nonce again in this fifteenth volume,\nto clear any misapprehensions and to\nconfirm once more the principles to\nwhich, now as then, We adhere.\nIHJEED THE MASK make any pro-\n* testations of faith this year?...\nYou know its beliefs. Do you think\nthey will change today ?... Why should\nthey ?\nNothing is more easy than that it\nshould remain staunch to its Cause.\nIt is a Cause which, when it bears fruit,\nwill bring a little benefit to every-body.\nBut as that Cause is always being\nmisrepresented and belittled by those\ncurious folk who seem to want the\nworld to stand still so that they may\nmake a remark and ten per cent, let\nus once more rehearse the Creed.\nq THE MASK BELIEVES in The\nTheatre and in The Drama whether\nwritten, acted, sung or spoken.\nq THE MASK BELIEVES in it alU\nq THE MASK BELIEVES in the Ac-\ntor and in the Actress.\nQ IT BELIEVES in the Marionnettes;\nand in Masks.\nq IT BELIEVES in Sceneries and\nsics and in Dancing, in Dancers, Musi-\ncians, Scenographers and Dramatists,\nif; BELIEVES in every blessed or cursed?\nthing that ever was, is or shall be in\nThe Theatre.... if Theatrical.\nq BELIEVES in The Theatre of Eu-\nrope and in the Theatre of Ame-\nrica. Not alone in one local Thea-\ntrical group.\nq BELIEVES in, and venerates, the\ngreat Asiatic Theatre.\nq IT BELIEVES in the FUTURE\nOF THE THEATRE .... not alone\nin the future of a phase of the Lon-\ndon, Paris, or Honolulu Theatre, but\nin the whole.\nq IT LOVES AND ADORES all that\ncan be called The Theatre.\nq IT IS ENTRANCED by the 44 Thea-\ntrical. \" Which some day is to become\nthe Theatrical without inverted com-\nmas.\nIT LOVES the dust and the rags\nand the paint and the daub and dirt\nof the Old fTheatre.... its ancient\nsmell.... its strange air.... its queer\nways.... ALL.\nHOW SHOULD \" THE MASK \" NOT\nLOVE IT ALL ?"}, {"page_pdf": 47, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 5911, "texte": "€J As for those who misrepresent \"THE\nMASK tell them from me that we\nknow our own Mother, and what she\nexpects of us, and that no one but\nshe shall dictate to us our duty.\nq THE THEATRE is our Mother. Its\narms encircle the Globe. It is not Pa-\nrochial.... not hypocritical.... not pa-\nthetic.... not pious.... not puffed up....\nstarched or spotless. Not a piece of\nVirtue without any goodness, but\nHuman.\nIts faults become ours.\nDo you suppose we shall not love\nthese faults.... What ?\nOr do you suppose either that we\nshall tolerate them in ourselves for\nlong.... What ?\nIf our Home is not quite as perfect\nas that of the other Muses it can be....\nand so it shall be.\nGive us time to put it in better\norder....\nGive us bricks to build the founda-\ntions of a new one.\nSend no more incompetents to our\naid.... send no more advice, no more\nweak-kneed patrons.... send us more\nsolid assistance if you will.... reliable\nmen and enough money.... we need\nboth.\nAnd help us by routing misrepre-\nsentation.\nQ You, OUR READERS AND EN-\nCOURAGERS, nail the lies to the doors\nof the liars....\nThe Tarradiddle that we want no\nDrama.\nThe Yarn that we want nothing but\nScenery.\nThe Whopper that we despise the\nActor.... that we wish to glorify the\nProducer only.... that our theories are\nrash innovations, are not based upon\nthe oldest and best traditions.... And\nthat special fib of the fib-mongers, that\nwe are exclusive, that we want a pre-\ncious Theatre de Luxe.... nail it\nup ! !\nWe exclude nothing except the non-\nDramatic.... the non-Theatrical; and\nthe great traditions we reverence.\nWe include all and every good form\nof Theatre in our Programme, we do\nnot exclude the worst: already we have\nchanged some of the worst theatres\ninto good ones.\nSo Trace the lies up and down the\ncities to the housedoors of the liars and\nnail them there. Do that part of the\nwork for us and we will do the\nrest.\nq And say besides that it was I who\nasked you to do so on behalf of THE\nMASK and the Dramatic Genius of\nthe World. Gordon Craig.\nFlorence 19 IS.\n\nPERSONALITY AND\no THE ARTS. o\nIs a great work of art the product\nof a great person ?\nIf so what exactly is a great person?\nWe will suppose Alexandre Dumas\nis that — if health, overflowing hearty\nspirits and vigour count. How much\nare they to be allowed to count ?\nBurns is a great poet surely. Ve-\nlasques and Rubens are great painters\nas surely. But then Heine is as great\na poet and was not robust; Giotto and\nChopin were sickly.\nIs health to be reckoned with ? —\ndoes it count or not ?\nThe answer seems to be that old\nremarkable one — yes and no.\nAnd character: — does character\ncount ? — what character ? — all, or\nonly the controlled and disciplined ?\nEdmund Kean and Henry Irving for\ninstance : — the one wild as flames,\nthe second well controlled; do both\ncount equally, or one more and the\nother less ?\nWhat should be the fear, where\nshould be the folly, if we all acknow-\nledge ourselves lacking in certain qua-\nlities and make the effort to develop\nthose qualities — and to discipline our\ndefects ?\nWe do not know what it is we\nlack. We Will not see, or, being told,\n(even by ourselves) we will not admit\nthere is any value in what we lack.\nIs that too personality ?\nDo our great personalities achieve\nwhat they hoped they would achieve ?\nAre they ever successful ?\nSome who wanted wealth (needed\nit) are poor.\nThey wanted the world's recognition\nand they pass unnoticed except by\nthose few 44 in the swim \".\nThey wanted comfort and power —\nthey seem to have little of either. And\nhealth — they are losing some of\nthat.\nLiberty of action they demanded —\nfor themselves.\nCriticism they spurned — and cri-\nticised others.\n44 I teach freedom in life -— freedom\nfrom all ties — religious, domestic,\ncivil, all says this one ; and the same\nhour insinuates that M. M. is not as\nmoral as he might be.\nIs personality able to live and deve-\nlop better in the world or in retire-\nment ? Which is easier ?\nAre we to deduct something vile\nfrom all personality when considering\nit as great, or are we to add something\n— some more understanding — to our\nown small personalities when stopped\nby great personality and forced to look\nit up and down ?\nIs great personality bound to possess\nbig qualities and big defects ?\nAH these questions puzzle us all now\nand again, and we think that to occa-\nsionally attempt to answer them is ncrt\nwithout profit.\n\no ''HAMLET'', o\nDLBLIOPHILES, and all Who delight\nin great books produced in noble\nand beautiful format, will look forward\nwith eagerness to the appearance of\nthe magnificent new Edition of 44 Ham-\nlet \" which is being prepared in\nWeimar at the Cranach Press, the\nowner of which is Count Harry Kessler.\nFor this Edition Mr. Gordon Craig\nhas cut over a hundred blocks, on a\nrare American wood which gives a\nunique impression, and has himself\nspent some time in Weimar to supe-\nrintend their printing.\nAmong the workers at the Cranach\nPress are some of the men who were\ntrained by William Morris at the Kelms-\ncott Press,\nEvery leaf of this new 44 Hamlet \"\nis being printed by .hand on a paper\nwhich has been specially made by hand\nfor this Edition. The two types used\nhave been designed and cut by Ed-\nward Johnston, an Englishman, and one\nof the finest type-designers living.\nAltogether a superb edition is to be\nanticipated.\n\nFEL IX VALLOTIN.\nIjN page 25 we reproduce a head\nof the French actor Mounet-Sully\nby the French artist Felix Vallottin,\nwho was one of the first to revive the\nbold stile of wood-engraving with strong\nmasses of black and white.\nThe artist, not long before his death,\ngave especial permission to 44 The Mask \"\nto reproduce this engraving.\n\nMACBETH DESIGNS.\nhad been obtained from\nMr. Gordon Craig for the repro-\nduction of some of his \" Macbeth \"\ndesigns to accompany the reports prin-\nted on earlier pages of this number.\nBut as these have not reached us in\ntime, we hope to include them in a\nfuture issue."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c070", "article_bluemountain": "bmtnaau_1929-01_01#c070", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "38", "page_fin": "39", "image_debut": 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=bmtnaau192901-01.2.29.1", "titre_corps": "THE CREDO OF THE MASK SINCE ITS FOUNDATION : 1908-1929", "titre_sommaire": "THE CREDO OF THE MASK SINCE ITS FOUNDATION : 1908-1929", "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": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.46", "debut_caractere": 3691, "fin_caractere_exclue": 5749, "texte": "THE CREDO OF THE MASK\nSINCE ITS FOUNDATION\no1908- 1 9 2 9 o\nAS many are reading 44 The Mask \"\ntoday who Were not doing so in\n1918 when we first printed the fol-\nlowing 44 Declaration of Belief \", or\nin 1923 when we reprinted it, ttfe\nhold it to he of value to reprint it\nonce again in this fifteenth volume,\nto clear any misapprehensions and to\nconfirm once more the principles to\nwhich, now as then, We adhere.\nIHJEED THE MASK make any pro-\n* testations of faith this year?...\nYou know its beliefs. Do you think\nthey will change today ?... Why should\nthey ?\nNothing is more easy than that it\nshould remain staunch to its Cause.\nIt is a Cause which, when it bears fruit,\nwill bring a little benefit to every-body.\nBut as that Cause is always being\nmisrepresented and belittled by those\ncurious folk who seem to want the\nworld to stand still so that they may\nmake a remark and ten per cent, let\nus once more rehearse the Creed.\nq THE MASK BELIEVES in The\nTheatre and in The Drama whether\nwritten, acted, sung or spoken.\nq THE MASK BELIEVES in it alU\nq THE MASK BELIEVES in the Ac-\ntor and in the Actress.\nQ IT BELIEVES in the Marionnettes;\nand in Masks.\nq IT BELIEVES in Sceneries and\nsics and in Dancing, in Dancers, Musi-\ncians, Scenographers and Dramatists,\nif; BELIEVES in every blessed or cursed?\nthing that ever was, is or shall be in\nThe Theatre.... if Theatrical.\nq BELIEVES in The Theatre of Eu-\nrope and in the Theatre of Ame-\nrica. Not alone in one local Thea-\ntrical group.\nq BELIEVES in, and venerates, the\ngreat Asiatic Theatre.\nq IT BELIEVES in the FUTURE\nOF THE THEATRE .... not alone\nin the future of a phase of the Lon-\ndon, Paris, or Honolulu Theatre, but\nin the whole.\nq IT LOVES AND ADORES all that\ncan be called The Theatre.\nq IT IS ENTRANCED by the 44 Thea-\ntrical. \" Which some day is to become\nthe Theatrical without inverted com-\nmas.\nIT LOVES the dust and the rags\nand the paint and the daub and dirt\nof the Old fTheatre.... its ancient\nsmell.... its strange air.... its queer\nways.... ALL.\nHOW SHOULD \" THE MASK \" NOT\nLOVE IT ALL ?"}, {"page_pdf": 47, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 2031, "texte": "€J As for those who misrepresent \"THE\nMASK tell them from me that we\nknow our own Mother, and what she\nexpects of us, and that no one but\nshe shall dictate to us our duty.\nq THE THEATRE is our Mother. Its\narms encircle the Globe. It is not Pa-\nrochial.... not hypocritical.... not pa-\nthetic.... not pious.... not puffed up....\nstarched or spotless. Not a piece of\nVirtue without any goodness, but\nHuman.\nIts faults become ours.\nDo you suppose we shall not love\nthese faults.... What ?\nOr do you suppose either that we\nshall tolerate them in ourselves for\nlong.... What ?\nIf our Home is not quite as perfect\nas that of the other Muses it can be....\nand so it shall be.\nGive us time to put it in better\norder....\nGive us bricks to build the founda-\ntions of a new one.\nSend no more incompetents to our\naid.... send no more advice, no more\nweak-kneed patrons.... send us more\nsolid assistance if you will.... reliable\nmen and enough money.... we need\nboth.\nAnd help us by routing misrepre-\nsentation.\nQ You, OUR READERS AND EN-\nCOURAGERS, nail the lies to the doors\nof the liars....\nThe Tarradiddle that we want no\nDrama.\nThe Yarn that we want nothing but\nScenery.\nThe Whopper that we despise the\nActor.... that we wish to glorify the\nProducer only.... that our theories are\nrash innovations, are not based upon\nthe oldest and best traditions.... And\nthat special fib of the fib-mongers, that\nwe are exclusive, that we want a pre-\ncious Theatre de Luxe.... nail it\nup ! !\nWe exclude nothing except the non-\nDramatic.... the non-Theatrical; and\nthe great traditions we reverence.\nWe include all and every good form\nof Theatre in our Programme, we do\nnot exclude the worst: already we have\nchanged some of the worst theatres\ninto good ones.\nSo Trace the lies up and down the\ncities to the housedoors of the liars and\nnail them there. Do that part of the\nwork for us and we will do the\nrest.\nq And say besides that it was I who\nasked you to do so on behalf of THE\nMASK and the Dramatic Genius of\nthe World. Gordon Craig.\nFlorence 19 IS."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c072", "article_bluemountain": "bmtnaau_1929-01_01#c072", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "39", "page_fin": "39", "image_debut": 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=bmtnaau192901-01.2.29.2", "titre_corps": "PERSONALITY AND THE ARTS", "titre_sommaire": "PERSONALITY AND THE ARTS", "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": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.47", "debut_caractere": 2033, "fin_caractere_exclue": 4377, "texte": "PERSONALITY AND\no THE ARTS. o\nIs a great work of art the product\nof a great person ?\nIf so what exactly is a great person?\nWe will suppose Alexandre Dumas\nis that — if health, overflowing hearty\nspirits and vigour count. How much\nare they to be allowed to count ?\nBurns is a great poet surely. Ve-\nlasques and Rubens are great painters\nas surely. But then Heine is as great\na poet and was not robust; Giotto and\nChopin were sickly.\nIs health to be reckoned with ? —\ndoes it count or not ?\nThe answer seems to be that old\nremarkable one — yes and no.\nAnd character: — does character\ncount ? — what character ? — all, or\nonly the controlled and disciplined ?\nEdmund Kean and Henry Irving for\ninstance : — the one wild as flames,\nthe second well controlled; do both\ncount equally, or one more and the\nother less ?\nWhat should be the fear, where\nshould be the folly, if we all acknow-\nledge ourselves lacking in certain qua-\nlities and make the effort to develop\nthose qualities — and to discipline our\ndefects ?\nWe do not know what it is we\nlack. We Will not see, or, being told,\n(even by ourselves) we will not admit\nthere is any value in what we lack.\nIs that too personality ?\nDo our great personalities achieve\nwhat they hoped they would achieve ?\nAre they ever successful ?\nSome who wanted wealth (needed\nit) are poor.\nThey wanted the world's recognition\nand they pass unnoticed except by\nthose few 44 in the swim \".\nThey wanted comfort and power —\nthey seem to have little of either. And\nhealth — they are losing some of\nthat.\nLiberty of action they demanded —\nfor themselves.\nCriticism they spurned — and cri-\nticised others.\n44 I teach freedom in life -— freedom\nfrom all ties — religious, domestic,\ncivil, all says this one ; and the same\nhour insinuates that M. M. is not as\nmoral as he might be.\nIs personality able to live and deve-\nlop better in the world or in retire-\nment ? Which is easier ?\nAre we to deduct something vile\nfrom all personality when considering\nit as great, or are we to add something\n— some more understanding — to our\nown small personalities when stopped\nby great personality and forced to look\nit up and down ?\nIs great personality bound to possess\nbig qualities and big defects ?\nAH these questions puzzle us all now\nand again, and we think that to occa-\nsionally attempt to answer them is ncrt\nwithout profit."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c073", "article_bluemountain": "bmtnaau_1929-01_01#c073", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "39", "page_fin": "39", "image_debut": 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=bmtnaau192901-01.2.29.3", "titre_corps": "\"HAMLET\"", "titre_sommaire": "\"HAMLET\"", "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": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.47", "debut_caractere": 4379, "fin_caractere_exclue": 5304, "texte": "o ''HAMLET'', o\nDLBLIOPHILES, and all Who delight\nin great books produced in noble\nand beautiful format, will look forward\nwith eagerness to the appearance of\nthe magnificent new Edition of 44 Ham-\nlet \" which is being prepared in\nWeimar at the Cranach Press, the\nowner of which is Count Harry Kessler.\nFor this Edition Mr. Gordon Craig\nhas cut over a hundred blocks, on a\nrare American wood which gives a\nunique impression, and has himself\nspent some time in Weimar to supe-\nrintend their printing.\nAmong the workers at the Cranach\nPress are some of the men who were\ntrained by William Morris at the Kelms-\ncott Press,\nEvery leaf of this new 44 Hamlet \"\nis being printed by .hand on a paper\nwhich has been specially made by hand\nfor this Edition. The two types used\nhave been designed and cut by Ed-\nward Johnston, an Englishman, and one\nof the finest type-designers living.\nAltogether a superb edition is to be\nanticipated."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c074", "article_bluemountain": "bmtnaau_1929-01_01#c074", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "39", "page_fin": "39", "image_debut": 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=bmtnaau192901-01.2.29.4", "titre_corps": "FELIX VALLOTIN", "titre_sommaire": "FELIX VALLOTIN", "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": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.47", "debut_caractere": 5306, "fin_caractere_exclue": 5642, "texte": "FEL IX VALLOTIN.\nIjN page 25 we reproduce a head\nof the French actor Mounet-Sully\nby the French artist Felix Vallottin,\nwho was one of the first to revive the\nbold stile of wood-engraving with strong\nmasses of black and white.\nThe artist, not long before his death,\ngave especial permission to 44 The Mask \"\nto reproduce this engraving."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c075", "article_bluemountain": "bmtnaau_1929-01_01#c075", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "39", "page_fin": "39", "image_debut": 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=bmtnaau192901-01.2.29.5", "titre_corps": "MACBETH DESIGNS", "titre_sommaire": "MACBETH DESIGNS", "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": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.47", "debut_caractere": 5644, "fin_caractere_exclue": 5911, "texte": "MACBETH DESIGNS.\nhad been obtained from\nMr. Gordon Craig for the repro-\nduction of some of his \" Macbeth \"\ndesigns to accompany the reports prin-\nted on earlier pages of this number.\nBut as these have not reached us in\ntime, we hope to include them in a\nfuture issue."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c077", "article_bluemountain": "bmtnaau_1929-01_01#c077", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "40", "page_fin": "40", "image_debut": 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=bmtnaau192901-01.2.30", "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": 48, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 6840, "texte": "LAST WORDS.\n\nSENSIBLE PEOPLE\nD. P.\nIWJRS Kate Drain Lawson, technical director\nof the stage of the New York Theatre\nGuild, is a lady I like... not condescendingly\nspoken nor thought, but as honestly as a Grub\nStreet hack can be honest.\nI should like her if I knew her better.\nI like her as it is without having spoken to her.\nShe wanted to be a dancer, not a tech-\nnical director : that I like : she became a very\nable technical director : I like that too. She\ndoes the impossible at twenty-four hours notice:\nFve always liked that: she takes on a role at\na suggestion, — \" when no one else will \"\nand that I like too.\nIt's these sensible people I like — who\nwant to do one thing and do another. I don't\ndo that; that's why I like them and not myself.\nI do what I set out to do, ...get lunch at\none o* clock punctually for myself — up Fleet\nStreet — la mere Grub write the press no-\ntices of plays and puff the players and other\nperformers and occasionally technical directors.\nI dislike that, ...but I sometimes like them.\nI am writing a book about them all:\n— it will never be finished ; for to write that\nproperly would mean postponing my luncheon\nhour indefinitely — forgetting realities.\nAnd then I should be doing neither what\nI set out to do, nor what the so likeable Mrs\nKate Drain Lawson does.\nI read a notice all about Mrs. Kate Drain\nLawson which made me write this.\nI don't know her : I never saw her work:\n— but she wanted to be a dancer -— and is\ntechnical director to the New York Theatre\nGuild....\nGod help her.\nShe wanted to dance\n\nMORE HIGHBROW FUN\no ACOMMENT. o\nA correspondent, having read the note in the\nlast number of 44 The Mask \" on \" High-\nbrow Fun\", in which we quoted the words\nof a London journal 44 Mosquin has been des-\ncribed as \" the Irving of Russia and the title\nis Well deserved '* writes :-— * I agree in\nprotesting against such phrases.\n44 Many people like to form some cor-\nrect idea about an actor before going to see\nhim on the stage, so it is advisable that cor-\nrect statements should be made about actors\nand performers on the screen.\n44 For example, I should be pretty dis-\nappointed if before going to see Charlie Chap-\nlin I were to read in some journal that his\npathos was reminiscent of Duse at her best ;\nor that he was the Giovanni Grasso of Ame-\nrica. I would not enjoy my evening if before\ngoing to see Sir Martin Harvey I should read\nin a magazine that he was \" the Chaplin of\nEngland\nSo when I read the words you quote,\nwhich assert that *'Mosquin has been des-\ncribed as \" the Irving of Russia and the title\nis Well deserved \" I feel perfectly sick with\nthe silly side of the Press.\n\nA MEANINGLESS PHRASE\nDEMPSEY A ACTOR.\nSALARY OF £ 2000 A WEEK.\nE. G. C.\nJACK Dempsey, the ex-heavyweight boxing\nchampion of the World, made a successful\nfirst appearance as an actor at the Majestic\nTheatre, New York lost night in the play\n\" The Big Fight in which his wife, Miss\nEstelle Taylor, plays the part of a manicurist,\nstates a New York Message.\nThe play concerns the effort of Dempsey\nto regain the title which, in the play, he\nfinally wins by a knock out.\nDempsey's salary for this engagement is\nstated to be £2.000 a Week.\nTHE above item of news caught my atten-\nk tion in looking through a paper of Sep-\ntember 20th last.\nThere can be no such thing as the title\nstates, and Journalists might take rather more\ncare to write only what can be, lest journa-\nlism come to lose its splendid reputation for\nbeing clear and reah\nYou can't say \" Dempsey as actor\".\nHe is an actor or he is not one. \"As\nan actor : \" —- rather silly isn't it ? Acting is\na reality, and if you act you become actor.\nSo, gentlemen of the press, give our stage\nstill a chance.\n\nMONSIEUR SAINT E-BEUVE\nIMTIII ■■■■■■ IIW'Ifll'lllBBWWHMBP—BBKSESBMWMBtW ITU BiWllMHMHOgMMMWMMMI ■iWfcllll\" ■\nTUNE 20, 1864. At our Magny Dinner\nJ this evening.... the name of Henri Heine\nwas suddenly mentioned; .... Gautier extolled\nthe physical appearance of the German poet,\nand declared that when he was quite young\nhe was the very personification of beauty,\nmarred only by a slightly Jewish nose. 'Apollo\nwith a touch of Mephistopheles '. * Really *,\nsaid Sainte-Beuve, * I am surprised to hear\nyou speak in such a manner of a creature who\ngot all the information he could out of you,\nand then made use of it in the newspapers—a\nman who destroyed the reputation of his best\nfriends '.\nExcuse me observed Gautier quietly,\nI was his intimate friend, and never had any\nreason to find fault with him. He never said\nanything against a man unless he thought ill\nof his work*\nThis extract is from \" Edmond et Jules\nDe Goncourt \" compiled hy M. A. Belloc\n& M. Shedlock. (Heinemann, 1895).\nHere is another : —\nJanuary 1869. Princess Matilde Buona-\nparte to the de Goncourts: \" Sainte-Beuve\nhas gone over to the Temps !—our personal\nenemies ! \".\nComment. It must be a positive misfor-\ntune-—daily a challenge to the Fates—to have\nSainte or St. as a prefix to your name.\n\no A N ATOM OF TIME.o\nAN hour has sixty minutes — each minute\nhas sixty seconds ; so that there are three\nthousand six hundred seconds in every hour.\nSomething can be done in an hour, and\neven in a second.\nWhat can be done in an atom of time ?\nFor it appears that there is an atom of time.\nIn an hour there are twenty two thousand, five\nhundred and sixty atoms.\nThis I learn from that ever entertaining,\nsurprising publication \"Notes and Queries\"\nwhich is now in its seventy-ninth year.\nThis way of reckoning time is mediaeval\nand is found in the Cambridge University MS\nof the \"Cloud of Unknowing\". There we\nlearn that a point is the fourth part of an\nhour ; that a moment is the tenth part of a\npoint; an ounce is the twelfth part of a moment,\nand an atom is the forty-seventh part of an\nounce.\nA moment was therefore one and a half\nminutes, i. e., ninety seconds.\nWhen we used to speak of ' half a mo-\nment ' I suppose we mean threequarters of a\nminute.\nThat was taking time practically ; for in\nthree quarters of a minute something really\ncan be done thoroughly ; whereas in an atom\nof time at the most all one can do is to con-\nceive an entire poem — if one be Dante or\nShakespeare.\n\nBEHIND THE TIMES.\nTHE Theatre is an art and cannot be mix-\ned with business \" writes Michael\nStrange.\nWe ever doubted but suspected this and\nregret to say said so as much as*...\n20 years ago\n19\n18\n17\n16\n15\n14\n13\n12\n11\n10\n9\n8\n7\n6\n5\n4\n3\n2\n1 year ago\nAnd this year.\nMichael, go buy a watch.\n\nA FAMOUS CLOWN.\njj HE picture of Robert Bradbury (Plate 2)\nwhich illustrates Mr R. J. Broadbent's\narticle. \"A Famous Clown \" is from a photo-\ngraphic reproduction of what the author states\nto be 44 the only picture I have heard of\nBradbury \". *\nThe original is the property of the Na-\ntional Library of Ireland, and it is by kind\npermission of that Library that it is now re-\nproduced in \"The Mask\"."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c078", "article_bluemountain": "bmtnaau_1929-01_01#c078", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "40", "page_fin": "40", "image_debut": 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=bmtnaau192901-01.2.30.1", "titre_corps": "SENSIBLE PEOPLE", "titre_sommaire": "SENSIBLE PEOPLE", "signature_source": "D. P", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.48", "debut_caractere": 13, "fin_caractere_exclue": 1547, "texte": "SENSIBLE PEOPLE\nD. P.\nIWJRS Kate Drain Lawson, technical director\nof the stage of the New York Theatre\nGuild, is a lady I like... not condescendingly\nspoken nor thought, but as honestly as a Grub\nStreet hack can be honest.\nI should like her if I knew her better.\nI like her as it is without having spoken to her.\nShe wanted to be a dancer, not a tech-\nnical director : that I like : she became a very\nable technical director : I like that too. She\ndoes the impossible at twenty-four hours notice:\nFve always liked that: she takes on a role at\na suggestion, — \" when no one else will \"\nand that I like too.\nIt's these sensible people I like — who\nwant to do one thing and do another. I don't\ndo that; that's why I like them and not myself.\nI do what I set out to do, ...get lunch at\none o* clock punctually for myself — up Fleet\nStreet — la mere Grub write the press no-\ntices of plays and puff the players and other\nperformers and occasionally technical directors.\nI dislike that, ...but I sometimes like them.\nI am writing a book about them all:\n— it will never be finished ; for to write that\nproperly would mean postponing my luncheon\nhour indefinitely — forgetting realities.\nAnd then I should be doing neither what\nI set out to do, nor what the so likeable Mrs\nKate Drain Lawson does.\nI read a notice all about Mrs. Kate Drain\nLawson which made me write this.\nI don't know her : I never saw her work:\n— but she wanted to be a dancer -— and is\ntechnical director to the New York Theatre\nGuild....\nGod help her.\nShe wanted to dance"}]}, {"article_id": "bm-bmtnaau-1929-01-01-c080", "article_bluemountain": "bmtnaau_1929-01_01#c080", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "40", "page_fin": "40", "image_debut": 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=bmtnaau192901-01.2.30.2", "titre_corps": "A MEANINGLESS PHRASE : DEMPSEY AS ACTOR. SALARY OF £2000 A WEEK", "titre_sommaire": "A MEANINGLESS PHRASE : DEMPSEY AS ACTOR. SALARY OF £2000 A WEEK", "signature_source": "E. G. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.48", "debut_caractere": 2640, "fin_caractere_exclue": 3697, "texte": "A MEANINGLESS PHRASE\nDEMPSEY A ACTOR.\nSALARY OF £ 2000 A WEEK.\nE. G. C.\nJACK Dempsey, the ex-heavyweight boxing\nchampion of the World, made a successful\nfirst appearance as an actor at the Majestic\nTheatre, New York lost night in the play\n\" The Big Fight in which his wife, Miss\nEstelle Taylor, plays the part of a manicurist,\nstates a New York Message.\nThe play concerns the effort of Dempsey\nto regain the title which, in the play, he\nfinally wins by a knock out.\nDempsey's salary for this engagement is\nstated to be £2.000 a Week.\nTHE above item of news caught my atten-\nk tion in looking through a paper of Sep-\ntember 20th last.\nThere can be no such thing as the title\nstates, and Journalists might take rather more\ncare to write only what can be, lest journa-\nlism come to lose its splendid reputation for\nbeing clear and reah\nYou can't say \" Dempsey as actor\".\nHe is an actor or he is not one. \"As\nan actor : \" —- rather silly isn't it ? Acting is\na reality, and if you act you become actor.\nSo, gentlemen of the press, give our stage\nstill a chance."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c082", "article_bluemountain": "bmtnaau_1929-01_01#c082", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "40", "page_fin": "40", "image_debut": 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=bmtnaau192901-01.2.30.3", "titre_corps": "MORE HIGHBROW FUN : A COMMENT", "titre_sommaire": "MORE HIGHBROW FUN : A COMMENT", "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": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.48", "debut_caractere": 1549, "fin_caractere_exclue": 2638, "texte": "MORE HIGHBROW FUN\no ACOMMENT. o\nA correspondent, having read the note in the\nlast number of 44 The Mask \" on \" High-\nbrow Fun\", in which we quoted the words\nof a London journal 44 Mosquin has been des-\ncribed as \" the Irving of Russia and the title\nis Well deserved '* writes :-— * I agree in\nprotesting against such phrases.\n44 Many people like to form some cor-\nrect idea about an actor before going to see\nhim on the stage, so it is advisable that cor-\nrect statements should be made about actors\nand performers on the screen.\n44 For example, I should be pretty dis-\nappointed if before going to see Charlie Chap-\nlin I were to read in some journal that his\npathos was reminiscent of Duse at her best ;\nor that he was the Giovanni Grasso of Ame-\nrica. I would not enjoy my evening if before\ngoing to see Sir Martin Harvey I should read\nin a magazine that he was \" the Chaplin of\nEngland\nSo when I read the words you quote,\nwhich assert that *'Mosquin has been des-\ncribed as \" the Irving of Russia and the title\nis Well deserved \" I feel perfectly sick with\nthe silly side of the Press."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c084", "article_bluemountain": "bmtnaau_1929-01_01#c084", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "40", "page_fin": "40", "image_debut": 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=bmtnaau192901-01.2.30.4", "titre_corps": "MONSIEUR SAINTE-BEUVE", "titre_sommaire": "MONSIEUR SAINTE-BEUVE", "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": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.48", "debut_caractere": 3699, "fin_caractere_exclue": 4962, "texte": "MONSIEUR SAINT E-BEUVE\nIMTIII ■■■■■■ IIW'Ifll'lllBBWWHMBP—BBKSESBMWMBtW ITU BiWllMHMHOgMMMWMMMI ■iWfcllll\" ■\nTUNE 20, 1864. At our Magny Dinner\nJ this evening.... the name of Henri Heine\nwas suddenly mentioned; .... Gautier extolled\nthe physical appearance of the German poet,\nand declared that when he was quite young\nhe was the very personification of beauty,\nmarred only by a slightly Jewish nose. 'Apollo\nwith a touch of Mephistopheles '. * Really *,\nsaid Sainte-Beuve, * I am surprised to hear\nyou speak in such a manner of a creature who\ngot all the information he could out of you,\nand then made use of it in the newspapers—a\nman who destroyed the reputation of his best\nfriends '.\nExcuse me observed Gautier quietly,\nI was his intimate friend, and never had any\nreason to find fault with him. He never said\nanything against a man unless he thought ill\nof his work*\nThis extract is from \" Edmond et Jules\nDe Goncourt \" compiled hy M. A. Belloc\n& M. Shedlock. (Heinemann, 1895).\nHere is another : —\nJanuary 1869. Princess Matilde Buona-\nparte to the de Goncourts: \" Sainte-Beuve\nhas gone over to the Temps !—our personal\nenemies ! \".\nComment. It must be a positive misfor-\ntune-—daily a challenge to the Fates—to have\nSainte or St. as a prefix to your name."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c086", "article_bluemountain": "bmtnaau_1929-01_01#c086", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "40", "page_fin": "40", "image_debut": 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=bmtnaau192901-01.2.30.5", "titre_corps": "AN ATOM OF TIME", "titre_sommaire": "AN ATOM OF TIME", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.48", "debut_caractere": 4964, "fin_caractere_exclue": 6150, "texte": "o A N ATOM OF TIME.o\nAN hour has sixty minutes — each minute\nhas sixty seconds ; so that there are three\nthousand six hundred seconds in every hour.\nSomething can be done in an hour, and\neven in a second.\nWhat can be done in an atom of time ?\nFor it appears that there is an atom of time.\nIn an hour there are twenty two thousand, five\nhundred and sixty atoms.\nThis I learn from that ever entertaining,\nsurprising publication \"Notes and Queries\"\nwhich is now in its seventy-ninth year.\nThis way of reckoning time is mediaeval\nand is found in the Cambridge University MS\nof the \"Cloud of Unknowing\". There we\nlearn that a point is the fourth part of an\nhour ; that a moment is the tenth part of a\npoint; an ounce is the twelfth part of a moment,\nand an atom is the forty-seventh part of an\nounce.\nA moment was therefore one and a half\nminutes, i. e., ninety seconds.\nWhen we used to speak of ' half a mo-\nment ' I suppose we mean threequarters of a\nminute.\nThat was taking time practically ; for in\nthree quarters of a minute something really\ncan be done thoroughly ; whereas in an atom\nof time at the most all one can do is to con-\nceive an entire poem — if one be Dante or\nShakespeare."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c088", "article_bluemountain": "bmtnaau_1929-01_01#c088", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "40", "page_fin": "40", "image_debut": 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=bmtnaau192901-01.2.30.6", "titre_corps": "BEHIND THE TIMES", "titre_sommaire": "BEHIND THE TIMES", "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": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.48", "debut_caractere": 6152, "fin_caractere_exclue": 6439, "texte": "BEHIND THE TIMES.\nTHE Theatre is an art and cannot be mix-\ned with business \" writes Michael\nStrange.\nWe ever doubted but suspected this and\nregret to say said so as much as*...\n20 years ago\n19\n18\n17\n16\n15\n14\n13\n12\n11\n10\n9\n8\n7\n6\n5\n4\n3\n2\n1 year ago\nAnd this year.\nMichael, go buy a watch."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c090", "article_bluemountain": "bmtnaau_1929-01_01#c090", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "40", "page_fin": "40", "image_debut": 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=bmtnaau192901-01.2.30.7", "titre_corps": "A FAMOUS CLOWN", "titre_sommaire": "A FAMOUS CLOWN", "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": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.48", "debut_caractere": 6441, "fin_caractere_exclue": 6840, "texte": "A FAMOUS CLOWN.\njj HE picture of Robert Bradbury (Plate 2)\nwhich illustrates Mr R. J. Broadbent's\narticle. \"A Famous Clown \" is from a photo-\ngraphic reproduction of what the author states\nto be 44 the only picture I have heard of\nBradbury \". *\nThe original is the property of the Na-\ntional Library of Ireland, and it is by kind\npermission of that Library that it is now re-\nproduced in \"The Mask\"."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c092", "article_bluemountain": "bmtnaau_1929-01_01#c092", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "41", "page_fin": "41", "image_debut": 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=bmtnaau192901-01.2.31", "titre_corps": "VII Plan of Venice 1500", "titre_sommaire": "VII Plan of Venice 1500", "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": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.49", "debut_caractere": 12, "fin_caractere_exclue": 37, "texte": "VII.\nPlan of Venice 1500."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c093", "article_bluemountain": "bmtnaau_1929-01_01#c093", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "43", "page_fin": "43", "image_debut": 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=bmtnaau192901-01.2.32", "titre_corps": "IX Plan of Venice 1500", "titre_sommaire": "IX Plan of Venice 1500", "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": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 24, "texte": "IX.\nPlan of Venice 1500."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c094", "article_bluemountain": "bmtnaau_1929-01_01#c094", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "45", "page_fin": "45", "image_debut": 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=bmtnaau192901-01.2.33", "titre_corps": "XI Plan of Venice 1500", "titre_sommaire": "XI Plan of Venice 1500", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 53, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.53", "debut_caractere": 0, "fin_caractere_exclue": 24, "texte": "XI.\nPlan of Venice 1500."}]}, {"article_id": "bm-bmtnaau-1929-01-01-c095", "article_bluemountain": "bmtnaau_1929-01_01#c095", "volume": "bmtnaau_1929-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "47", "page_fin": "47", "image_debut": 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=bmtnaau192901-01.2.34", "titre_corps": "XII Plan of Venice 1500", "titre_sommaire": "XII Plan of Venice 1500", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 55, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 25, "texte": "XII.\nPlan of Venice 1500."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.1", "texte": "~—— 1111\nIB. I%/ | '• / % . T|\nJL JL JLJ— A JLi A JPh, V k-/ Ji jk.\nVOLUME FIFTEEN. NUMBER ONE\nJANUARY-FEBRUARY-MARCH\n19 2 9\n\"\" \"\n>* .tan.^aaSufwitt ?»»<• t trwMh • :•' , '. '. v > \\ lW3'\\n'/> » \\ 1 t *» t n < ~> f »*• f>r$fp > , . • r rrti 4\n. ' ■ i • ■■. ■ -., $ j '»\nANNUAL SUBSCRIPTION ftSk DE LUXE EDITION\nTEN SHILLINGS TWENTY SHILLINGS\n(post free) fT= jO /(post free)\no fc4 A °\nTWO & A HALF DOLLARS FIVE DOLLARS\nFOR AMERICA FOR AMERICA\nADDRESS: BOX 44 4. FLORENCE. ITALY.\n\nNEWS OF THE •< MACBETH *• PRO.\nDUCTION, WITH DESIGNS FOR\nSCENES BY GORDON CRAIG, at theKnickboc.\nker Theatre, New York.\nMORE TECHNICAL SECRETS OF 16TH\nCENTURY SCENOGRAPHY from the\nBook of Nicola Sabbattini.\nON SOME ACTRESSES* MEMOIRS,\nLOVE AFFAIRS. AND ON LOVE,\nObservations and Considerations by J. B.\nA FAMOUS CLOWN, ROBERT BRAD-\nBURY by R. J. Broadbent.\nOLD VENETIAN THEATRES, SOME\nHISTORICAL NOTES,\nTWO LETTERS FROM GORDON CRAIG\non the Lighting of \" Macbeth \" and the part\nof Lady Macbeth.\nNEWS OF THE ELLEN TERRY MEMO-\nRIAL, WALDTEUFEL'S WALTZES,\nNEW BOOKS, and many other matters.\n\nILLUSTRATIONS\nSIX LARGE SECTIONS COMPLETING A MAGNIFICENT PLAN OF\nVENICE 1500\nOF WHICH THE SIX PRECEDING PLATES APPEARED LAST QUARTER.\nA STAGE MODEL, 1913 BY GORDON CRAIG. BRADBURY THE FAMOUS\nCLOWN. A VIEW OF SMALL HYTHE PLACE. DIAGRAMS OF SIXTEENTH\nCENTURY SCENIC DEVICES."}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.2", "texte": "THE MASK. JANUARY-MARCH 1929\nNOTICE TO CONTRIBUTORS. The Editor is always glad to consider articles and illustrations from\nexperts in theatre history and art, which result from special research or personal experience. Where stamped\nand addressed envelopes are included, every effort will be made to return in due course rejected contributions ;\nbut in no circumstances can he hold himself responsible for safe custody or return. All articles should be\ntypewritten.\nAddress : The Editor : \" The Mask \", Box 444, Florence, Italy.\n\nLITERARY CONTENTS.\n1-OREWORD . . . . . . . . .J. S. . . . . . . page 1\nA FAMOUS CLOWN R. J. Broadbent. . . . .3\nMOLIERE'S LETTER ON HIS WIFE .... Moltere 8\nACTRESSES AND THEIR MEMOIRS . . . . J. B 10\nTHE ELLEN TERRY MEMORIAL 12\nTHE PRACTICE OF MAKING SCENES AND MA-\nCHINES ......... Nicola Sabbattini. . . . .13\nTWO LETTERS RELATIVE TO THE PRODUCTION\nOF \" MACBETH . . . . • . . Gordon Craig . . . . .18\nTHIS WORLD... THAT WORLD Percy Mackaye 20\nGENUINE GORDON George Jean Nathan .... 22\nSOME EXTRACTS FROM AMERICAN PAPERS on the\nProduction of \" Macbeth . . . . . . Various writers . . . . .23\nANOTHER BOOK ABOUT STAGE DECORATION . d. n. 1. §27\nELINOR WYLIE C 30\nL' EGLISE ST. ROCH, PARIS C .30\nNOTES OF THE PLAN OF VENICE, 1500 . . . Anon 31\nWALDTEUFEL, Two Letters on the a previous Article . Faith Compton Mackenzie &D. P. . 33\nFOREIGN NOTES. BOOK REVIEWS. EDITORIAL NOTES. LAST WORDS.\n\nILLUSTRATIONS.\nA DESIGN FOR A STAGE MODEL, 1913 . . . Gordon Craig . . Plate 1. Face 1\nSTILL VAULTING by MR. BRADBURY \" 2. \" 4\nA VIEW OF SMALL HYTHE PLACE . n 3. n 12\nA SILHOUETTE ........ Chodowiecki 8\nHEAD OF MOUNET-SULLY F&ix Vallottin . . . Page 25\nA 1500 PLAN OF VENICE. Six concluding plates .\ni\nHead and Tail Pieces from old and modern Designs."}, {"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.4", "texte": "PORTION OF A STAGE MODEL DESIGNED AND CONSTRUCTED BY GORDON CRAIG, 1913."}, {"page_pdf": 5, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.5", "texte": "The Mask\n1908 1929\n\nFOREWORD\n\nWITH this number \"The Mask\" begins its fif-\nteenth volume.\nFounded in 1908, it has, save for an in-\nterval caused by the war, carried on ever since,\nand it still stands for all that it stood for from the outset\nstill exists, as it has always existed, to serve the Theatre's\nbest interests, by serving to its utmost the Artists of the\nTheatre, stanGing by and tor the best men and the best work\nrTf # 1 1 VfV-TAAX#\n1 o our friends we have no need to say this: they\nknow it: they have seen the proofs of it through fourteen\nolumes extending over twenty years. But there are some\n/ho still enjoy directing their popguns against \" The Mask \"\ndischarging such epithets as \"precious\", \"a personal\njrgan of publicity ' and other like small missiles which,\nnegligible in themselves, at times, buzzing around, confuse"}, {"page_pdf": 6, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.6", "texte": "others who are keen to be honestly informed, and whose\nacquaintance with \"The Mask\", and the whole Idea for\nwhich it stands, is but just beginning.\nWe therefore repeat that, far from being \"precious\"\nor a \"personal organ of publicity\", \"The Mask\" champions\nthe finest creative artists wherever they are to be found:\nsupports the sanest, most active-minded, most far-sighted and\npractical men and women in the world of the Theatre; is\nalways on the look-out for good work in every branch of\nTheatre endeavour, not only of today and in any one na-\ntion, but in all periods and all lands; and, to make it clear\nto our newer readers and adherents what we are working\nfor... and against,... in what direction we are moving, we\nreprint once more, on a later page, the tenets which...\non our original principle of \"After the Practice the\nTheory\"... we published first in 1918 and again in 1923,\nand to which we still adhere.\n\nJ. S."}, {"page_pdf": 7, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.7", "texte": "A FAMOUS CLOWN\nBy R. J. BROADBENT.\n\nJ. S.\nMR. BROADBENT is already known to\nreaders of \"The Mask \"bis arti-\ncle on \"A Forgotten Harlequin \" published\nin Volume XII, 1926.\nHe is one of those patient and thorough\nI students to whom other students owe gratitude\nbecause, instead of repeating and refurbishing\nwhat others have already brought within our\neasy reach, he brings to light for us little\nunnoticed or unremembered facts and details\nabout forgotten figures or events, and so adds\nto the co-ordinated sum of our Theatre's history.\nHis book on \" Pantomime \" issued years\nago Was a valuable contribution to that branch\nof the Theatre art. His Ms. histories of the\nManchester and Chester\nly been purchased by the Corporation\nLiverpool, and his Ms histories of 18th Cen-\ntury Lancashire Theatres now have an abiding\nplace in Harvard University Library,... which\nis all to the good of the Theatre.\nBradbury, the \" famous Clown \" of\nwhom the present article treats, is so far for-\ngotten that he is not the\nDictionary of National Biography, and we\nadmire, while we are grateful to, Mr. Broad-\nbent for having made such a careful search\nfor such good stuff.\n\" The Mask \" bas many times urged that\nTheatre students and historians should con-\ncentrate their efforts on bringing the unknown\nto light and giving us a rich page or so as\nthe fruit of serious and\nrather than large volumes\n.but rearrangements of what we already know.\nThe Theatre needs more such students as\nMr. Broadbent, and we hope some of like\nquality may be already at Work, and pre-\nsently give us a few new facts and dates to\n.fill in the blanks where ignorance or\ngetfulness have long obscured the truth about\nthe Theatres's personalities and events.\n\nROBERT BRADBURY was born of\nhumble parents at Manchester,\nabout 1777. He was apprenticed to a\ncabinet-maker at Liverpool, where at the\nTheatre Royal he debuted under s. w.\nRyley's management in the December of\n1798. Bob's prodigious strength and\nremarkable activity soon brought him into\nprominence, for on the production or\n\" Harlequin in the Moon \" on Boxing\nNight, 1 798, he, as Clown, ran up the\nlattice work of the proscenium to the boxes,\nand administered condign punishment to a\nyoung coxcomb who had been disturbing\nthe performance for sor* considerable\ntime. A month later he almost terminated\nhis career by falling down one of the\ntraps, and breaking his collar-bone during\na pantomimic pursuit in \" Harlequin\nSailor.\" This accident was a lesson to\nhim, for he ever afterwards wore nine\nstrong pads about bis person in order to\ngo through those unique feats for which\nhe was distinguished,\nBradbury after leaving Liverpool,\njoined Astley at the Royal Circus, London,\nbut it was with 'longing eyes he looked\ntowards the scene of his birth, where,\nunder the management of Cimex, the\nequestrian, he appeared at the Chatham -\nStreet Circus for a brief season during\nthe winter of 1804. Two years later\nhe was principal Clown in John Cooke's\nCompany at the Olympic Circus, Liverpool,\nwhere he became a favourite, especially\nwith the irrepressible \" chummies \" at the\n\" sweeps' corner \"—the corner of the arena\nnext to the stage.\nThe winter of 1 806 saw Bob making\nhis first bow at the Theatre Royal,\nManchester, which house was then under\nthe management of Macready, father of\nthe celebrated tragedian. Here Bradbury\nmade his first appearance as Horatio in"}, {"page_pdf": 8, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.8", "texte": "\" A False Friend; or The Assassin of\nthe Rocks,\" The following year he was\nengaged at Sadler's Wells to fill Joe\nGrimaldi's place in the pantomime during\nhis absence in the country at a trial.\nBradbury became such a favourite with\nthe good folks of Clerkenwell, that when\nGrimaldi returned the proprietors told him\nthat it would not be politic to make any\nchange, and thought it advisable that\nBradbury should finish the season. \"Then\"\nexclaimed Grimaldi, \"I am ruined! \"\nHowever, on Bradbury's benefit night\nit was arranged that both Clov/ns should\nappear together ; Bradbury sustaining the\npart of Clown for the first three scenes,\nand Bradbury coming in again at the\nclose. Grimaldi soon found that the\ndoubts and fears he had experienced as\nto his popularity were groundless, for his\nreception was most cordial.\nOn February 2,1808, Bradbury\nplayed Clown in the production at the\nTheatre Royal, Manchester, of Tom\nDibdin's celebrated pantomime, \" Harle-\nquin and Mother Goose ; or The Golden\nEgg.\" The pantomime was played by\nthe stock company, and the cast included\nAtkinson as Mother Goose, Tom Ellar\nas Colin (afterwards Harlequin ), Noble\nas Avaro (afterwards Pantaloon), Miss\nHudson as Cabin Boy, York as Odd\nFish, or Water Sprite, and Bradbury as\nSquire Bugle (afterwards Clown). As\nfar as can be ascertained this was the\nfirst pantomime of any pretension played\non the Manchester stage. The pantomime\nhad originally been produced at Covent\nGarden, where it ran 1 10 nights. In\nLondon Grimaldi laid the foundation of\nthe fame of \" Mother Goose; but in\nManchester it was said that Bradbury\nnever had an equal in the motley garb.\nEarly in 1809 Bradbury returned to\nhis many Manchester friends, and in\nApril lie opened his new Amphitheatre,\nSpring Gardens, where he appeared as\nClown in \" Harleqifm Mandarin,\" in\nwhich character he also gave a Lancashire\nclog dance. He was also seen as the\nRobber of Genoa in the serious pantomime\nof \" The Robber of the Black Forest,\"\nalso in The D eserter of Naples,\"\n\" Valentine and Orson,\" and a revival\nof \" Mother Goose.\" In May he took\na benefit, during which he introduced the\nLion's Leap, and the Blacksmith's Anvil.\nIn the latter performance, he supported\nan anvil on his chest, while three smiths\nstruck upon it a merry peal as if at work\nin the smithy.\nBradbury's house, being the only\nplace of amusement open at the time,\nfully commemorated, on Thursday evening,\nOctober 26, 1809, the jubilee of\nGeorge HI. With a grand flourish of\ntrumpets, Bradbury announced the perfor-\nmance \" Jubilee !! ! Jubilee !! ! Brad-\nbury's New Amphitheatre, Spring Gardens.\nOn Thursday, October 26, 1809, will\nbe produced, for the first time, an entirely\nNew, Grand, Loyal, Burletta Spectacle\nEffusion, with truly superb scenery, dresses,\nand decorations, entitled ' The British\nPatriot; or The Jubilee of 1809.' \" In\nthis \" Burletta spectacle effusion \" was\nintroduced \" a superb hall, decorated\nwith our most splendid victories, and the\nmost brilliant transparency of our Belovea\nSovereign. Concluding with a new ap-\npropriate grand finale and chorus, written\nby Francis Dukinfield Astley, Esq., for\nthe occasion.\" All this was followed by\nanother \" new grand \" pantomime, called\n\" Zoah and Koah\" and \" A grand\ndisplay\" of horsemanship, slack rope\ndancing, \" ground and lofty tumbling,\"\n\" imitations of various birds \" <kc. The\njubil ee performances were continued several\nnights into November, the entertainments."}, {"page_pdf": 9, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.9", "texte": "THE MASK\n19 2 9\nSee page 40.\n\nPlate 2."}, {"page_pdf": 11, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.11", "texte": "including yet further new pantomimic\ndisplays, such as 44 The Magic World ;\nor The Man in the Moon,\" 44 Harlequin\nPlighlander,\" &c.\nIn my manuscript History of the\nManchester Stage (now the property of\nthe Libraries Committee of Liverpool) !\nrelated that Bradbury's piece de resistance\nwas the first production in the town (in\nNovember) of a pantomimic entertainment\nfounded on Shakespeare's tragedy of\n\" Macbeth.\" Bradbury played Macbeth,\nMr. and Mrs. Makeen (both hailing\nfrom the Royal Circus, London) appeared\nin the respective roles of Macduff and\nLady Macbeth, Williams, the tightrope\ndancer, played Banquo, while Davis, the\nHarlequin of the company, appeared as\nHecate. This was followed by yet\nanother comic pantomime, called 44 Harle-\nquin Entombed.\" Bradbury brought his\nbrief, but apparently prosperous season to\na close on Friday, December I, finishing\nup with yet one more \" new comic\npantomime,\"—this 44 Harlequin Cockney;\nor London Displayed,\" in which he appea-\nred as Clown, Lewin as Harlequin, and\nMiss Davis as Columbine.\nAt Christmas Bob went to Dublin,\nwhere at the Crow Street Theatre, he\nproduced 45 Mother Goose,\" with himself\nas Clown, Tom Filar as Harlequin, Jim\nByrne as Pantaloon, and Miss Giroux as\nColumbine. 1he music was arranged by\nTom Cooke. The pantomime, which\nwas brought out in great splendour, proved\nhighly remunerative. Th is was Bradbury's\nfirst appearance in Dublin, and for a\nperiod of twenty years he was a prime\nfavourite with local audiences. Fie at-\ntracted so much attention by his love of\ndisplay that he was called the Beau\nBrummell of all the Clowns. When he\ndrove to the theatre in his tandem, a\nperforming bear was seated by his side.\nNo wonder then that the receipts of his\nbenefit leached the high figure of £560,\nDuring the run or \" Harlequin and\nMcAer Goose,\" Bradbury met with an\naccident which might have proved fatal.\nWhile in the act of drawing himself to\nthe celling fey his teeth, he lost his hold,\nand fell a distance of twenty-two feet on\nto the stage, but without the slightest\ninjury to his hardy frame.\nAnother noteworthy occurrence was\nthat Jim Byrne, the Pantaloon of the\nstock company, and a local actor, applied\nto Manager 44 Buck \" Jones for a rise of\nsalary, and Jones had responded by diss\nmissing him. This seriously affected\nBradbury in the business of the pantomime,\nas without having been sufficiently rehearsed,\none Melly was cast for Pantaloon, with\nthe result that many of the tricks were\nbungled. Irritated beyond all endurance,\nBradbury addressed the audience, and the\nmatter was taken up by the 4J Hibernian\n1 elegraph.\" Thereupon, Jones commenced\na libel action against the newspaper for\ncommenting invidiously upon the affair,\nwhich, however, had a happy ending as\nByrne was reinstated.\nThe Eastertide of 1 810 witnessed\nthe return of Bradbury to the Manchester\nAmphitheatre, or as the Press quaintly\ndenominated it, 46 The Slaughter House\nof Care. Pie led off his entertainments\nwith feats of horsemanship, tight-rope\ndancing, and another pantomime, \" Har-\nlequin and the Miser ; or The Goddess\nof Fancy,\" with himself as Clown.\nBradbury, as usual, hit the taste of the\ntown, and was rewarded with over-flowing\nhouses. In another pantomime, called\n44 Edwin of the Green ; or Harlequin\nand the Magic,\" a very pleasing Columbine\nof the period, Mrs. Wybrow, gave new\nzest to the performances. On May 21,\nBradbury produced, for the first time,"}, {"page_pdf": 12, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.12", "texte": "another of his prolific brood of pantomimic\nentertainments, this \" a new chivalric,\nheroic, serio comic pantomime\" called\n\" Harlequin warrior ; or Jack the Giant\nKiller,\" in which both Mrs. Wybrow\nand himself shared the honours. Early\nin June, Bradbury produced \"an entire\nnew and solendid serious piece, written\nJt &>\nby a gentleman of Manchester,\" called\n\" Monteith.\" The title sounded serious\nenough, but Bradbury, who appeared as\nSt. Clair of the Isles, and Mrs. Wybrow\nas Ambrosine (f< ward of the Earl of\nRoskellyn, and in love with St. Clair \")\nimparted a pantomimic flavour to the\nperformances. The season, was brought\nto a close after the Whitsuntide holi-\ndays.\nTowards the close of 1810 Bradbury\nopened a Boxing Saloon in I emple\nLane, Dublin, where he taught boxing.\nLate in the following January the Crow\nStreet Theatre favoured its patrons with\na capital pantomime, \" Harlequin from\nthe Moon\", the rare printed book of\nwhich has a frontispiece in which Bradbury\nas Clown is depicted with an inverted\nflower pot on his head, playing antics\nwith a donkey.\nOn December 26, 1818, Bob played\nClown at Drury Lane in a short-lived,\nsatirical pantomime, entitled \" Harlequin\nand the Dandy Club.'' The non-success\nof the piece was not clue to the perfor-\nmers, but to the pantomime having neither\nspirit, nor object, or splendour of scenery\nto compensate for such, radical defects.\nAt the initial performance disapprobation\nbegan early to manifest itself, and the\ncrisis was hastened by the clamours of a\nperson in one of the dress-boxes, who led\nthe opposition. When the curtain finally\nfell, Bradbury came forward to announce\nthe pantomime for a subsequent night, but\nhe could not prevail on the audience to\nallow him a hearing. The next night he\nhad to make an apology to the public\n\" for his persevering resistance to their\nwill.\" Consequently, the pantomime was\nwithdrawn on the third night, and \" The\nSilver Arrow ; or Harlequin and the\nFairy Paribannon \" was substituted on\nJannuary 6, 1819, with Fred Hartland\nas Clown in place of Bradbury. \" The\nTimes \" said that Bob's dismissal was an\nunmerited hardsh ip, and a newspaper war\non the subject ensued in the columns of\nthe \" Morning Chronicle.\" No salary\nwas paid to Bradbury for his engagement,\nbut a benefit was accorded him at Drury\nLane, on February 5, 1819. Bradbury\nappeared at the Crow Street Theatre,\nDublin, in May, as Henry in the ballet,\n\" The Deserter of Naples.\" In the\nautumn he was at the Coburg Theatre,\nwhere he was the original representative\non the equestrian stage of Dick Turpin,\nthe renowned highwayman, whose reputed\nride to York had not then been written\nby the celebrated novelist, William Harrison\nAinsworih, who, like Bradbury, was a\nMancunian, and, what is not generally\nknown, a good amateur actor.\nThe Christmas of 1821 witnessed\nBob as Clown at the Theatre Royal,\nHawkins Street, Dublin, in \" Dick Whit-\ntington and his Cat.\" To show the\nimportance of the Clown in those days\nthere were twelve scenes in the harlequinade\nand only five in the opening. Four years\nlater Bradbury was in Scotland having\nbeen engaged by the eccentric Frank\nSeymour for the old Theatre Royal,\nGlasgow, where he produced \" Harlequin\nand Cock Robin ; or The House that\nJack Built.\" Twenty new scenes were\npainted, of which the opening and trans-\nformation scenes were very fine. The\ncomic scenes, ten in number, were all\nlocal subjects. Bradbury, of course, played"}, {"page_pdf": 13, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.13", "texte": "Clown, Joe Frimley, Harlequin, and old\nEdmund James, Pantaloon.\nIn February, 182/, \"Bradbury in as-\nsociation with another popular pantomi-\nmist, named Norman, opened the old\nFishambles Street Theatre, Dublin, as a\nsort of variety house, under the name of\nthe Sanspareil. Here ballets, pantomimes,\ntight-rope exhibitions, <&c., were given ;\nbut the venture proved a failure, and in\nJune 1828 Bradbury returned to the\nTheatre Royal, Hawkins Street, to play\nClown in \" Harlequin and Poor Robin;\nor The House that jack Built.\" This\nwas Bob's last engagement in Dublin.\nHe subsequently returned to London,\nwhere he experienced all the vicissitudes\nof poverty before he closed his eyes in\ndeath.\nMany stories are told or Bradbury,\nit is related that at one period of his\nlife he turned preacher, but subsequently\nreturned to his profession. His old rival,\nGrimaldi, stated that when he acted and\nsung at one of Bradbury's benefits the\nlatter was hissed for some gross act of\nimpertinence. \"It must have been gross\nindeed to disgust at that period '* wrote\nWalter Donaldson in his \" Recollections\nor an Actor.\" Donaldson, who knew\nboth performers, said that \" Grimaldi was\nnot particular to a shade. Besides we\nmust not place too much faith in respect\nto what one Clown says of another in\nthe same line of business.\"\n\" Boz \" has recorded in the \" Me-\nmoirs of Grimaldi \" how Bradbury came\nto be incarcerated in a private asylum at\nHoxton. The circumstances which led\nto his confinement were briefly these ;\nIt appears that Bradbury while dining\nwith some naval officers at Portsmouth\nlost a magnificent gold snuff-box, with a\ngold chain attached. Suspicion fell upon\na junior member of the company, and\nit # ©' *\nupon his portmanteau being searched the\nbox was found, together With several\narticles belonging to his companions.\nBradbury was determined to prosecute',\nand the culprit was committed for trial.\nThe relatives in their anxiety to pre-\nserve the good name of the family offered\nlarge sums to Bradbury if he would\nabandon the prosecution, but at first\nwithout avail. Subsequently they offered\nhim a handsome annuity, which after\nsome hesitation he decided to accept.\nThe next step was how Bradbury\ncould accept the money without injuring\nhimself and the one he desired to save.\nTo do this he caused the report to be\ncirculated that he had suddenly become\ninsane ; committing many acts of apparent\nlunacy, and in a short time he was con-\nveyed to the asylum. Here he remained\nuntil the purloiner of the snuff-box was\nset at liberty, there being no prosecutor\nto give evidence against him. The trial\nover, Bradbury made arrangements for\nhis own release, which was soon effected.\nA somewhat different version of the\nstory is given by Ryley in The Itine-\nrant.\" Ryiey declared that on discovery\nthe thief cut his throat, the blood from\nwhich spurted over Bradbury, some even\ngoing down his throat. This, together\nwith the horror of what had happened,\nturned Bradbury temporarily insane, and\nhe was removed to an asylum, from\nwhich, by the aid of Dubois, the pante-\nrnimist, he managed to make his escape\ni\nsome few weeks later. Meanwhile, the\nculprit had recovered from his wound and\nsailed for India before Bradbury could\nprosecute. At the time the latter denied\nthat there was any truth in the state-\nment that his insanity was all a scheme,\nfor which he had been rewarded with\nan annuity. The snuff-box, the cause of\nall the trouble, was highly prized by"}, {"page_pdf": 14, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.14", "texte": "Bradbury, not daly for its intrinsic valuf;,\nbut because it bad been presented to him\nby bis old frfersd, F. D. Astley, during;\nthe time Bradbury was in management in\nManchester.\nIn the \" Memoirs of Grimaldi \" it is\nerroneously stated that Bradbury could\nneither read, nor write, and that he died\nin 1828. Poor Bob died on July 21,\n1831, at Royal Street, Westminster, and\nwhen (according to the Church register)\nhe was aged fifty-four years. Pie was\nburied, five days later, at the expense of\nAndrew Ducrow, with whom Bradbury\nfirst became acquainted at the Olympic\nCircus, Liverpool, where the former was\nthen known as Andrew, the tight-rope\nboy. Ducrow and his company attended\nthe interment in the old burial-ground of\nSt. Mary's, Lambeth. No stone marks\nthe resting-place of the once famous Clown,\nnor is the cemetary there, it having been\nconverted into a recreation ground many\nyears ago.\n\nA SILHOUETTE BY CHODOWIECKI.\n\nMOLIÈRE'S LETTER\nON HIS WIFE\nMR. Chat field Taylor gives us ike following translation\nof this letter in his remarkable Life of Moliere\nwhich is reviewed on another page of this number of\n\" The Mask\nIt is taken from a book called ee The Famous\nComedienne an anonymous publication of 1638,\nfifteen years after Moliere's death.\nThe scene is Moliere9$ garden at Auteuil, trie time\nafter his separation from his wife, the topic his strange\nunhappy happiness. Chape lie his friend rallies him upon\nhis Weakness, saying that nothing is more ridiculous than\nto love anyone who will not respond to affection, and\nasserts that he Would feel for such a woman such contempt\nthat it Would cure him of his passion.\nThen comes Moliere's long speech, which is so like\na letter thai We believe it to have been a letter lifted by\n(he anonymous author and turned into a speech. Moliere\nend no one else could have thought, felt and said what\nis here said, thought end fell. Ed.\n| see clearly, \" rejoined Moliere,\" that you\nhave never really loved. You take love's\nsemblance for love itself. Although I might\nU J\ngive you infinite examples to demonstrate the\npower of that passion, I shall merely give\nyou a faithful account of my own troubles ,\nso that you may understand how little we are\nmasters of ourselves when once love's domi-\nnion is assured. As for the consummate\nknowledge of the human heart you say the\nportraits 1 am constantly presenting to the\npublic prove me to possess, I acknowledge\nthat I have endeavoured to understand its\nweaknesses ; but if science teaches me that\ndanger should be avoided, experience con-\nvinces me only too thoroughly that escape is\nimpossible. I judge this daily from myself.\nMy disposition is by nature extremely af-\nfectionate, and all my efforts have never\nenabled me to overcome an inclination toward,\nlove ; hence 1 sought to make myself happy,\n— that is to say, as happy as a man with a\nsensitive heart may be, — and, convinced\nthat few women are deserving of sincere\naffection, that interest, ambition, and vanity\nare at the root of ail their intrigues, I\nendeavoured to insure my happiness by the\ninnocence of my choice. 1 took my wife,\nso to speak, from the cradle, and educated\nher with the care which has given rise to\nrumours which have doubtless reached your\nears. I persuaded myself that ! could inspire"}, {"page_pdf": 15, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.15", "texte": "her with the habit of sentiments time alone\ncould destroy, so I neglected nothing to attain\nthis end. As she was still young when I\nmarried her, I perceived none of her evil\npropensities, and deemed myself a little less\nunfortunate than the majority of those who\ncontract similar engagements. Neither did\nmy eagerness diminish after marriage ; yet f\nfound so much indifference in her that I\nbegan to perceive all my precautions had\nbeen useless, and that the feelings she had\nfor me were far indeed from those my\nhappiness demanded. Reproaching myself\nwith a sensitiveness -which seemed ridiculous\nin a husband, I ascribed to her disposition\nthat which was really due to her want of\naffection lor me; yet 1 had but too many\nopportunities of perceiving my error, for the\nmad passion she contracted soon afterward for\nthe Comte de Guiehe occasioned too much\ncommotion to leave me even this appearance\nof tranquillity. So soon as 1 knew the truth,\nfinding it impossible to change her, I spared\nno endeavour to conquer myself. Employing\nall the strength of mind I could command, I\nsummoned to my aid everything that might\nconsole me. Deeming her a person whose\nsole merit had lain in her innocence, and\nwhose infidelity robbed her of all charm, I\nresolved henceforth to live with her as an\nhonourable man whose wife is a coquette,\nand who is well persuaded that, whatever\nmay be said, his reputation is not affected\nby the misconduct of his spouse. But I\nhad the mortification to discover that a woman\nwithout great beauty, who owed what little\nintelligence she possessed to the education I\nhad given her could in one instant destroy\nall my philosophy. Her presence made me\nforget all my resolutions ; the first words she\nsaid in her defence left me so convinced that\nmy suspicions were ill founded that f asked\nher pardon for having been so credulous.\nHowever, my kindness wrought no change\nm her, and in the end I determined to live\nwith her as if she were not my wife ; but if\nyou knew what I suffer, you would pity me.\nMy passion has reached such a point as to\ncause me to sympathise with her ; and when\nI realise how impossible it is for me to\nconquer my feelings for her, 1 then tell myself\nthat she has, perhaps, a like difficulty in\novercoming her love coquetry; so I find\nmyself more disposed to pity than to blame,\nNo doubt you wili tell me one must be\na poet to love thus ; yet, tor my part, I hold\nthat there is only one kind of love, and that\nthose who have not experienced such tender-\nness have never truly loved. In my heart,\nall things of this world are associated with\nher ; and so entirely are my thoughts given\nover to her that when she is away nothing\ngives me pleasure. When ! behold her,\ntransports of emotion which can be felt but\nnot descr ibed, d epnve me of all power of\nreason, and no longer having eyes for her\nfaults, I see only her lovable qualities. Is\nnot this the last extremity of folly, and do\nyou not marvel that all my reason serves\nonly to make me aware of my weakness\nwithout giving me the strength to master it? \"\n\nA WORD ABOUT ACTORS.\nGeorge Sand.\n\nlike actors, and this has often scandalized my con-\n* ventiortal friends. I have also been criticized for liking\npeasants, among whom I have passed my life. As pea-\nsants labour in the light of the sun to give us our daily\nbread, so actors, toiling at night by gaslight, give us the\nfood by which our imaginations are nourished. And this\nfood is needed by our minds, so often wearied and worried\nby the realities of life.\n\nFrom a design of\n1536."}, {"page_pdf": 16, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.16", "texte": "ACTRESSES AND\nTHEIR MEMOIRS.\nWITH SPECIAL REFERENCE TO\nTHOSE OFADRIENNE LECOUVREUR.\n\n(1)\ndo not believe some of these ladies, —\n1 Madame Sorel I am bound to believe.\nAnything else would be unthinkable. But\nwhen she compares Lecouvreur, Bernhardt\nand Duse, saying that \" everyone knows the\nmaternal agony Sarah Bernhardt suffered\nand \" everyone knows also of the passion\nwhich devoured the Duse for the great Italian\npoet d'Annunzio and when she also brings\nRachel into the group, then I pause and\ndiscover that 1 cannot believe in all these\nladies, and I think some of them have deceived\nMadame Sorel.\nOf Duse she writes : \" Elle me livra son\nsecret\nLivreris to deliver : to hand over : to\ntrust: to give up : to betray.\nIf Duse handed over her secret, that was\nto betray it — or trust it—to Madame Sorel.\nPersonally 1 have never believed in this\n\" secret \", it is so well known. If women\nhave been in love and out of it, so have\nmen, and the poets have shown us that it\ncan be a great pain, this passion. But the\npoets have been merciless only to love itself,\nnever to the human beings. Poets do not\ntake sides ; — the writers of \" Memoirs \" are\ntoo often apt to do so. Neither do all men\nor all women hand over their secret to us, for\nit is, after all, they know, part of a far\ndeeper secret,... the whole secret of life. So\n1 am forced to suppose that actresses are\nstill acting when they betray their secret to\nanother actress, so that a fable shall be\ncreated, and fools enter it solemnly in the\ntheatrical histories of the time.\nAnd so, when we come to Lecouvreur,\nwe must ask, did she confide in someone ?\n— No indeed ; it was not quite such a stupid\ncentury. She was loved by and loved\nMaurice de Saxe.(l) She was hated by and\n(1 hope) hated the Duchesse de Bouillon.\nThe Duchess is supposed to have had her\npoisoned. I believe very little of the whole\nstory.\nAdrierme is also reported to have had\nother lovers, Voltaire among them. I don't\nbelieve it.\nI suppose her to be very unlike that dear\nSophie Arnould, and quite unlike Clairon,\nGuassin, Laguerre, de Maupin, La Pare,\nDu The, Deschamps, and a hundred other\nmembers of that Pretty Theatre with which\na writer in \" The Mask \" has from time to\ntime concerned himself. (2) As for Rachel, in\nwhat does Mile. Lecouvreur resemble her\nexcept that Rachel also was a noble woman\nif a far greater actress. In Rachel's time the old\nnotion of an actress as something pretty to\nplay with was beginning to fade. The new\nnotion was coming in, — and the nation was\n\" revolt A Rachel should be above revolt.\nYet she revolted against the Comedie F rangaise.\nShe set a bad example, for first she pushed\nto get into the Comedie Frangaise.\nAnd so with these chosen lovers. First\nthe actress selects him out of some ten\nthousand others, and then, when she finds\nthat life, with love and all else that it holds,\nis not going to shape itself as she wants, she\nbegins to look distracted, then to cry, and at\nlast, falling into the arms of her dear conso-\nlatrice, she blabs her secret. So little truth\ndoes she tell that she does it beautifully.\nNever do we overhear these words issuing\nfrom her mouth to be listened to with awe\nby the confidante : —\n\" I was a fool — 1 was like a million\nothers — I was sorry for myself — I was\ndistracted because 1 was vain. I loved, oh\nyes I loved if that is to be called love —\nbut if you ask me now what love is I will\ntell you that it is so great and so good a\nthing that nothing can destroy it. You women\n\n(I) LA VIA AMOUREUSE D'ADRiENNE LECOU\nVREUR by Ceeile Sorel. Flammericn. Paris. Francs 7.50.\n(1) From whom George Sand traced direct descent by the actress\nDemoiselle de Verrieres.\n(2) See The Mask X, 4 ; XI, 1, 4; XII, 4 XIV, 2,"}, {"page_pdf": 17, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.17", "texte": "who pule about your lost lovers and lost love\nnever have loved. \"\nThe commonest word in the language is\nthe word Love : used every where by everyone\none way, another way, every way. So many\nvariations of the good thing itself have crea-\nted as many variations in the word. Yet the\nrarest thing in the world is Love.\nPearls, or stars, are rare things in their way\n— yet pearlies are not pearls, and Giro has\nnot really created a pearl, yet, though he\nmay think, and they may think, he has. Lola\nMontez and La Belle Otero were \" stars\"\nbut for all that are no stars.\nThere is nothing easy in the process of\nbecoming a real pearl... or a real star. And\nthat genuine and indestructible thing Love is\neven less easily created.\nThe charming actress, dancer or singer who\nhas talked about and written about her amours\nsometimes comes in time to take the stuff for\nlove. Perhaps they were deceived by others,\nbut they thoroughly hoaxed themselves anyhow.\nEven poets find it difficult to exactly define\nlove. Yet there is one poet (one of the least\nappreciated in England today) who tells us\nin fourteen lines quite clearly what Love is :\nso it seems fitting at this moment, when so\nmany people are writing and reading loosely\nabout the imitation, to reprint some of his\nlines about the genuine thing : —\n<s .... Love is not love\nWhich alters when it alteration finds.\nOr bends with the remover to remove :\nO no ; it is an ever-fixed mark,\nThat looks on tempests, and is never shaken.\nIt is the star to every wandering bark,\nWhose worth's unknown, although his height be taken.\nLove alters not with his brief hours and weeks,\nBut bears it cut even to the edge of doom. (1)\nAt least so says the poet, who knew. So\nI would have had Eleonora Duse speak. She\nwould have gone on: —\"You, my dear\nCecile, live in a little circle where a lot of\namourous children are playing with love ....\nand some laugh when it bites them, others\ncry out •— and a few destroy themselves.\nWith you or with me or with them it is all\nthe same. If 1am a queen, if a slave or if\na washerwoman, I may love if 1 can, and\nwin : but if i lose I may not then cry out\nagainst my lover or even against love itself,\npitiless though it seem. Only against myself\nmay I utter a word, and that word is \" You\nfool\nHere 1 am reminded of August Strind-\nberg's book telling of his battle with love,\nand called \"The Confessions of a fool \".\nNo, I neither believe nor believe in these\nactresses who confide their so sad tale, their\nso great secret to people who are to be as\n' silent as the tomb * and who within three\nor four years come out with it into the public.\nI very much prefer the nobler little actresses\nwho know how to hold their heads high and\ntheir tongues from that reclame which is the\nmost objectionable of all advertisement: \" I\nwas the only loved one of the great poet \",\nor \" I was the only one who loved the great\nmusician\" or \" The Emperor had but one\nwhom he really loved — it v/as 1\nMile. Georges is such a trull one rather\nlikes her outspoken book. Sophie Arnould\nwas so intelligent and so loVeable one almost\nregrets that she quashed her book : — one\nis grateful that La Guimard abstained. The\nvolume La Pare or La Champmesnil could\nhave concocted would have been riotous\nreading, — but one is well nigh certain that\nthe dear Lecouvreur never dreamed of \" Me-\nmoires \" nor wished any should be concerned\nwith her vie amoureuse.\nThere are actresses as well as other ladies\nwho have sense and sensibility and who do\nnot see all things in terms of reclame. Si-\ngnora Dina Galii, Madame Dejazet, seem,\nfrom their faces and their spirit, to be two\nsuch. The twenty years partner of Dina\nGalli died not long since, yet she does not\nmope to attract attention to what could be\ntwisted into a love affair by anyone who\nwanted to meddle. Dejazet, whom I always\nliken to the Galii, was of that same spirit.\nSo far as I know Rachel too was what we\ncall a lady.\nIt is so much. One of the sure signs is\nto remain silent about the matters of her\nheart.\nThis book on Lecouvreur is a bad\nexample in that it tries to rob her of that\ntitle which every woman values highly, and\ntoo many public performers and society\nwomen foolishly sell or throw away.\n\n(1) Shakespeare. Sonnet CXVI.\n\nJ. B."}, {"page_pdf": 18, "page_imprimee": "12", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.18", "texte": "ELLEN TERRY MEMORIAL\nCha irman :\nSIR JOHNSTON FORBES-ROBERTSON\nVice-Chairman :\nDAME MADGE KENDAL, D. B. E.\nHon. Treasurer\nTHE LADY MAUD WARRENDER\nHon. Organizer :\nMiSS J. M. HARVEY, 56 Manchester Street, W, I.\nTelephone: MAYFAIR 4180\nEXECUTIVE COMMITTEE\nChairman\nMISS GERTRUDE KINGSTON\nHon Secretary :\nMiss J. M. HARVEY\nHon. Treasurer\nTHE LADY MAUD WARRENDER\nHon Press Representative :\nMRS. SWANNACK\nHon. Legal Adviser :\nMiss IRENE COOPER-WILLIS\nLADY CHEATLE\nc. B. COCHRAN, ESQ.\nMISS ELSIE FOGERTY\nMISS CICELY HAMILTON\nMISS CHRISTOPHER ST. JOHN\nMISS VIOLA TREE\nNORMAN WILKINSON, ESQ. <N\nSINCE the death of DAME ELLEN TERRY\non July 21 st, 1928, there has been evi-\ndence of a strong desire that the widespread\nlove and admiration she inspired in life both\nas woman and artist, should be given some\npermanent expression.\n\" A thing of beauty is a joy for ever—\nIts loveliness increases, it will never\nPa S3 into nothingness. \"\nI his is true of Ellen I erry, hut it is rightly\nfelt that a Memorial to her will manifest the\ntruth and proclaim the gratitude of her coun-\ntry for her work in the theatre and her in-\nfill ence m the world. Ihe scheme to acquire\nas a public possession the fine old Tudor\ntimbered house where she spent a great part\nof the last 25 years of her life, and where\nshe cited, will, its promoters are confident, be\nenthusiastically approved. They are therefore\nissuing an appeal for contributions to a Me-\nmorial bund. Details are given below.\nOBJECTS OF THE FUND\n1. I O acquire Small Hyfhe PI a ce, and endow it with\nA an income suffi dent to put it in good repair, pre-\nserve it, keep up the garden, and pay the salary of a\ncustodian, one of whose duties will be to show the\nhouse to visitors who may be expected from all parts\nof the English-speaking world.\n2. TO keep two rooms (in one of which Ellen 1 erry\ndied) much as they were in her life-time, preserving\nthe atmosphere of simplicity which faithfully reflects her\ncharacter and taste.\n3. TO devote another room to the purposes of a Library,\nchiefly of books relating to the drama and the theatre,\nor which Ellen Terry's own collection will be the nu-\ncleus, and of a Museum of theatrical relics of histo-\nrical interest.\n4. 10 adapt the Bam, adjoining the house, a fine out-\nbuilding of the same date, to the purpose or a Barn\nI heatre, ** where it is hoped to institute an Annual\nDramatic Festival on a small scale during the week in\nj uly in which the anniversary of Ellen Terry's death falls.\nTHE SUM REOUIRED\nIT is estimated that this Memorial will cost £\\ a\nlarge or a small sum, according to the way the duty\nof honouring the great dead is regarded. Imperfectly not\nperfectly, done, this duly must always be. But not done\nat all, not remembered as a thing which God and Na-\nture and the Eternal Voices do require to be done—alas,\nwe see too well what k.ind of world that ultimately makes\nfor us. Carlyle.\nIT is surely not necessary to beg for the sum needed\nto keep Ellen Ferry's house as a monument to one of our\nnational glories. We believe there are few who will not\nfeel it to be a privilege to contribute to the Fund, and\nthat by February 27th, the birthday of Ellen Terry, the\nMemorial can be offered her as a present from the public\nshe loved.\nHOW TO CONTRIBUTE\nCHEQUES or Postal orders should be made payable to\nthe Hon. Treasurer, Ellen Terry Memorial Fund, and\nsent to the Hon. Organizer, Miss j. M. Harvey, 56 Man-\nchester St. London, W. I.\n* Doners should realise that only a comparatively small part of\nthis sum is needed for the actual purchase of the property. The\nheirs of Ellen Terry have no wish to profxt by this Memorial. The\ngreater part of the sum raised will be devoted to an adequate En-\ndowment Fund.\nWE reprint the above details as issued\nby the Committee, knowing that many\nreaders in distant parts will welcome this\nplan of a permanent memorial and the op-\nportunity to contribute to the Fund. Ed.\n(1) The seventy-six names of the members of the General\nCommittee are emitted here for want of space. Ed."}, {"page_pdf": 19, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.19", "texte": "SMALL HYTHE PLACE, TENTERDEN, KENT.\nTHE HOME OF ELLEN TERRY,\n1902—1928\nPlate 3.\n\nTHE MASK\n1929"}, {"page_pdf": 21, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.21", "texte": "SOME EXTRACTS FROM\nTHE PRACTICE OF MAKING\nSCENES AND MACHINES\nIN THEATRES\n(BOOK TWO),\nBY NICOLA\nSABBATTINI DA PESARO.\n\n(1)\nCHAPTER 46, HOW TO CAUSE THE\nDESCENT OF A SMALL CLOUD\nWHICH, AS IT DESCENDS,\nINCREASES IN SIZE.\nTO make a small Cloud which, while des-\ncending, ever increases in size, this rule\nmust be followed.\nA Gargame,(2-' crane, pulleys, windlass\nand cable must be constructed as was done\nabove in chapter 43 (3), and adjusted m the\nsame manner. Then take six or eight staves,,\n•J\nwhich must be of the best wood, so that, in\nbending, they may not break.\nLet these be at least an inch in diame-\nter, and from six to seven feet in length—\nThey are to be set at equal distance around\nthe principal arm of the crane, in such a way\nthat the one end of each of them may be\nadjusted to the extremity of the horizontal arm;\nand that their other ends may be secured with\nthin plates of jointed iron and nailed to the\narm.\nThen at a distance of a foot from this\njuncture, set an equal number of iron springs,\none end of each of which is to be nailed into\nthe wooden arm, each at the ooint where its\nJ2.\nstave meets the wood ; and let the other ends\nbe nailed into the aforesaid staves, one to each..\n1he office of these springs is to be to hold\nthe staves out-spread from the wood like an\numbrella when inside-out.\nHaving done this at those ends of the\nstaves which were adjusted in the extremity\nof the wooden stanchion, one will make, in the\nhead of each, a hole a third of an inch in diame-\nter, but very clean and smooth inside, so that,\nthrough it, may run a cord, which must be\nwell soaped. Then tie one end of this cord\nin the end of a stave, and, passing through\nall the holes of the others, bring it into a\nsmall pulley wheel* winch must be set in die\nwood of the aforesaid stanchion at the oppo-\nsite end from the pierced ends of the staves-\nand, running along the wood, it must pass\n-over another pulley wheel set in the end of\nthe aforesaid wooden beam ; and trie length\nof the cord mast be equal to the height of\nthe crane from its place above the sky to beneath\nthe stage, where it must be held by a person\nof good sense, taking care that the cord lie\nvery strong, so that it should not break owing\nto its length, occasioning a very great disas-\nter. Upon the outspread, staves construct\nthe cloud, which must be composed of a thin\nlinen fastened all round to the staves, without\n.any other wood in it, and painted to represent\n.a cloud.\nThen, the crane being in its place,, one\n•wall fold together the staves, drawing -the\nfcerd to the necessary degree. Desiring -then\nthat the cloud should descend, and increase\nsin -size, one will turn the windlass as was\nsaid .above in chapter 43, and,, while the\n-cloud shall be descending, the person who\nholds rip his hands the end of the cord shall\npull it .downwards: not however so much\n•as one sees the cloud descend, but rather\nless, so that the staves may open out propor-\ntionately, and, the cloud having ceased to des-\ncend, let the staves be yet more out spread,\n.as widely as ihey can ; thus the cloud will\nhave attained its greatest size.\nWishing then that it should return upwards,\n-and produce the contrary effect, that is, that\nifrom being large it diminish, the windlass must\nibe turned the opposite way, and the person\nwho holds the cord in his hands must, while\n: the cloud rises, at the. same time let out the\n-cord until the staves close by degrees ,as they\nwere at first, so that, consequently, the cloud\n■will have diminished.\nIn this operation one must be very careful\nrespecting the contrary direction of the move-\nrrra-nts ; thus, in lowering the cloud, it seems\n-•as if the person who holds the end of the\n■coed in his hands, must also let it out, so\nith&t the staves may open out; but, when one\n-■comes to lowering the apparatus of the pulleys,\nit is requisite that the said cord be drawn ;\nnot so much, however, as the cloud, but in\nas has been said above ; and so\nalso in making it rise; thus, for this opera-\nV lion, one must seek out a person of good\nisense.\n\n(1) Published at Ravenna in 1638. See ' The Mask\" VcL\nXI!, No. 2 ; Vol. XIV, No. 4.\n(2) A grooved upright formed of two beams clamped! together\nwith an interstice.\n(3) See 1he Mask, volume XIV, No. 4."}, {"page_pdf": 22, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.22", "texte": "Let A.B; be the gargame, and in it the\nframe or running block C.D. and the high\npulley wheel E: and let the cable be tied in the\ntipper part of the running block C. ; and pas-\nsing over the pulley E., let it be wound round\nthe windlass H.I. in F. ; and let the other end\nof the cable be tied in the lower part of the\nrunning block in D., and let it be wound\nround the windlass H.I . in the opposite direction\nin G. Let the staves be KJL., M.L., N.L.,\nand Q.L., and more if they be requisite, all\nwi th tl reir one extremity adjusted to the end\nof the wood of the arm of the running block\nO, and the other ends fastened to the same\narm in L. Let the springs set in it in\nline with the staves be distant from L. one\nloot, that is in P, ; and let the cord be tied\nin the end of one of the staves, that is in K. ;\nso that, passing through the holes of the others,\nM. N. O., it may come into the first pub\nley Q., and, running along the arm, pass\nthrough the other pulley R., being then carried\ndown below, where it must be held by a\nperson set in S., who, when the right time is\ncome, must hold the cord drawn, so that the\nends of the staves, where the cloud is to be,\nmay be folded as closely as possible to the\nwood, so that in this manner the linen of the\ncloud shall be reduced in size. Then, while\nthe windlass is being turned on the side,\ncausing the running block to descend, the\nperson set in S. must pull the cord, but not\nm Jfkf degree, so that the tips of the staves\nK.M.N.O. should never spread out; for this\nreason care must be taken that his pulling\nmay always be preceded by that of the wind-\nlass in such degree that, as the ends of the\nstaves T.V.X.Y. are outspread, the extreme\nedge of the cloud Y. may come to rest on\nthe level of the stage Z, so that what has to\nbe done shall thus be accomplished.\nIn making it reascend the windlass will\nbe turned in the opposite direction, and the\nperson who is in S. will draw the cord as\nhe did in causing the cloud to increase, but\nwith a movement equal to that of the wind-\nlass ; thus the cloud will be made to dimi-\nnish io its original size.\nCHAPTER 47, HOW A CLOUD CAN\nBE MADE TO MOVE CROSSWISE.\nSHOULD one need in the Intermezzi to\nmake a cloud move cross-wise, one will\nact in the following way.\nTwo gargami will be made similar to\nthose described in chapter 42, but so long\nthat they may project four feet on either\nside beyond that distance which the cloud\nis to travel.\nThese will then be fixed behind the sky\nat the same height as the cloud is to be, set-\nting them crosswise, distant from one another\nat least two feet; let them be parallel and\non the same level. Having adjusted these,\na wooden beam is to be passed through\nthem which must project equally in either\ndirection : that is, on the side of the Scene\nit must be as long as the distance to which\nit is desired that the cloud shall project,\nand it must be made to project the same\ndistance behind the scene if space allows ;\nif not, it is to be adjusted by means of a\nbalance weight.\nAfterwards, at those points which pass-\nthrough the gargami, pieces of wood must\nbe set Ox the same thickness as that which\nis to support the cloud, that is two at each\nintersecting point, one on the one side and\none on the other ; and let these be carefully\nfitted into the wood so that they may not\nhind er the sliding movement which must take\nplace in the grooved beams here as in the\ngrooved beams described in chapter 44.\nHaving done this, one will set at either\nend of the grooved beams two windlasses, one\non either side, which must be set at the same\nlevel as the grooved, beams; and let these ex-\n\nFigure 1."}, {"page_pdf": 23, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.23", "texte": "ceed by at least a foot and a half at either\nend the distance between the two gar garni,\non each side, so that the cords which are\nto serve to make the cloud run along may be\nwound round them ; and these cords must be\ntied on the wood, two 011 either side ; that\nis, in the points which correspond with the.\ntwo gargami; the other ends being wound\nround the windlasses. And the said cords\nmust be as long as is the distance to the\ncross-beam which supports the cloud when it\nshall be in the position whence it will com-\nmence to move towards the prearranged li-\nmit ; and likewise with the other on the other\nside. And on the opposite side one will\ntie an equal number of cords which must be\nof equal thickness, winding them round the\nother windlass.\nThen the cloud will be constructed at the\nend of the aforesaid wooden arm ; but let it\nbe adjusted at its centre to the arm, so\nthat, as it runs along, the point of jointure\nmay not be visible. Then, so that it may\nmove easily without impediment, one will set,\nat the opposite end of the arm, a weight suffi-\nciently heavy to counterbalance the cloud and\nmaintain its equilibrium.\nWhen the time comes to make the cloud\nrun along, if it is on the right side, the wind-\nlass set upon the left must be turned, win-\nding in the contrary direction that on the\nright, so that, by this means, the cloud will\nadvance from that side ; and, wishing to make\nit resume its former position, one will turn\nthe windlass on the right, letting out the one\non the left, so that in this way it will return\nto its original place.\nLet the two horizontal beams be A.B. and\nCD. and the cross beam traversing them be\nE.P. so adjusted that the distance is equal from\nE to G on the side of the cloud, and from\nF. to H. on the other, and let the distance\nfrom G. to hi exceed two (feet f), And\nlet the two small pieces of wood be inserted\nin the cross-beam supporting the cloud in\nI.K. on one side and L.M. on the other:\nand let the windlasses be N.G. and P.O.\nand let the ends of the cords be tied in R.\nS. on one side and 1 .V. on the other; and\nthe ends of these cords be fastened to the wind-\nlasses, each one independently ; that is, those\nof R.S. to the windlass N.O. in X.Y. ; and\nthose of the length of wood T.V. to wind-\nlass P.Q., which is on the other side, be\ntied in Z &.\nWishing, then, to make the cloud run\nalong, one will, if desirous that it move to-\nwards the side N.O., turn the windlass N.O.,\nletting out the other P.O.; and so, contrariwise,\nwhen one wishes to make it return to its\noriginal position.\nCHAPTER 48, ANOTHER WAY\nIN WHICH A CLOUD MAY BE\nMADE TO MOVE CROSSWISE.\nTHERE is also another way in which a\ncloud may be made to move crosswise;\nthat is, by means of a lever, which has its\nfulcrum set in the middle, in line with the\nmiddle of the scene, at the height at which\none wishes the cloud to move ; but it would\nbe a difficult matter for some past of the\nlever on the side which sustains the cloud\nnot to be seen. However, it has seemed\nwell to me to indicate this method.\nCHAPTER 49, HOW TO ARRANGE\nTHE DESCENT OF A CLOUD WHICH\nDIVIDES INTO THREE PARTS, AND\nTHEN, IN RISING, UNITES IN ONE.\nSO to arrange that a cloud, in descending,\nmay divide into three parts and then, in\nreascending, reunite in one, the following\nprocedure is adopted.\nA crane must be made similar to that\ndescribed in chapter 43, (l) but, in this one,\nthere must be added, to the first wooden\narm which supports the principal cloud, ether\ntwo wooden arms or lesser length, one to be\nset on one side and the other on the other\nside with their lynch pins.\nThese must be fastened to the principal\n\nFigure 2.\n\n(I) Dee The Mesh XIV. 4."}, {"page_pdf": 24, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.24", "texte": "wooden upright, described above, oa the\noutside, with sliding rings, so that they can\nopen out and fold up closely to the said wood-\nen arms attached to the principal wooden\nupright. And, in the parts below the lynchpins,\nthey will be fastened with an eyelet which\nturns in the hinges which are to be set m\nthe movable wood supporting the projecting\narm ; that is, on the outer side of the crane\nplumb below some flexible thin metal plates.\nThen construct three clouds ; but let that\nwhich is to be set in the middle be half\nas large again as the others which are to be\nat the sides, so that they may be hidden\nbehind it.\nAfterwards fasten each cloud to the ex-\ntremity of its wooden arm, in such a way\nthat those which are at the sides may be\nhidden within the principal one. Having\ndone this, one will take two pieces of wood,\na foot in length, and will set a pulley wheel\nat one end of each, and the other ends will\nbe nailed into the extremities of the wooden\narms which support the two small clouds,\nthat is, the ends towards the movable metal\nplates, but in such a manner that, while the\nsaid wooden arms are opening out, their\nmovement may not be impeded.\nTake then two pieces of rope and let\nthe end of one be nailed or strongly tied to\nthe extremity of one of the wooden arms\nwhich supports a small cloud ; that is, near\nto the said cloud on the inner side; and\nthen let it pass through the pulley wheel\nthat was set in the small wooden arm as was\nsaid above, bringing it down below the stage.\nThe same is to be done on the other\nside, then uniting both the ropes which have\nbeen carried below, so that this shall serve\nto cause the clouds to divide.\nWhen all this has been done one will\ntake two cords, and tie or nail the end of\nthe one into the wood on the opposite side,\nwhere the other end of the other cord was\nhed, causing it to pass through one of the\ntwo pulley wheels which must be set above\nthe principal wooden arm which supports\nthe large cloud ; and then make it pass down\nbelow as was done with the others aforesaid.\nThe same is to be done on the other side,\nmaking the ends unite together, as was said\nrespecting the first, corning down beneath the\nstage ; and these are to serve to reunite the\nsaid clouds.\nLet the crane be A. B. C. D. and the\nwooden arm C. D. be to sustain the principal\ncloud, and the other two wooden arms F. G.\nand H. G. to support the other two clouds\nF. H. which wooden arms are to be joined\ninto the wooden arm C. D. each independently\nwith the movable hinges of metal in G.\nLet there be nailed into the wooden arm\nC. D. at a little distance from D. two pieces\nof wood in K., which must project at least\nthree feet on either side, as in I and L; and,\nat their ends, there must be set a pulley\nwheel at either end, i. e. in 1 and L. Then\nlet the ropes be H. I. on one side and F. L.\non the other, and let one end of them be\ntied to the wooden arm F. G. in F. and\npass through the pulley wheel L. coming down\nbeneath the level of the stage M. N. in O.\nAnd let the other be tied to the wood H. G.\nin IT. and, passing through the pulley wheel\nI come to unite with the other end L. O.\nAnd let tnere be two other cords of which\nlet one end be tied in F., the end of the\nwooden arm, that is in the part towards the\nwooden arm C. D. and similarly the other\nin H.\n\nFigure 3 a.\n\nFigure 3 b."}, {"page_pdf": 25, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.25", "texte": "'I hese • unite in two pulley • wheels set in\na runnel above the wooden arm C. D. in P.,\nand, running over this, let them pass through\nother two pulley wheels near to the little\ncross bar of wood I. L., coming down to\nunite in R., as in the first figure. When\none wishes to put this system in practice,\ntwo persons must be set below the level of\nthe stage M. N. one of whom will hold the\nend of the rope O and the other R.\nShould it be desired that the cloud should\ndivide while the projecting arm is being lower-\ned, the person who holds the end of the rope\nin O will pull downwards as far as S.; the\none who holds the end R. will let it run\nout as far as T, as in the second figure, so\nthat consequently the wooden arms F. G. and\nH. G. will open out and the three clouds\nC. F. H. will be seen.\nif it be desired that they close again one\nwill cause the person who holds the end T\nto pull the rope down as far as R., and the\none at S to let out the rope at O, so that\nin this way the three clouds will return to\ntheir original place as in the first figure.\nCHAPTER 50, HOW FROM THE\nSKY, WITHOUT THE USE OF A\nCLOUD. A PERSON MAY BE LOWERED\nWHO, ON REACHING\nTHE STAGE LEVEL, CAN IMMEDIATELY\nWALK AND DANCE.\nWHEN it is requisite in the Intermezzi to\nlower a person from the sky without\na cloud the following method is to be\nadopted.\nA crane will be made similar to those\ndescribed above in the other chapters, but,\ninstead of the wooden arm which supports\nthe cloud, one will in this case set in the\nprincipal wooden beam, inside the gar game,\nan iron rod of such thickness that it can se-\ncurely support the weight of a man.\nThis must have its projecting arm of the\nsame iron, and at the end of it one will set\na resting perch in the form of a saddle, but\nas small as possible; and this must be so\nsecure that the person who is to be lowered\ncan sit astride it comfortably. And a stirrup\nmust also be added, the leg-piece of which\nshall be as long as the leg of the person ; and\nit must be adjusted in such a way that he\ncan set his heel in it, and not the toe, so that\nhe shall cover not only the stirrup with his foot,\nbut also the stirruo-strap with his leg.\nA A\nDesiring then to carry out what has been\nsaid, the person is to be mounted upon that\nlittle saddle, holding his heel in the stirrup.\n1 hen lower the projecting arm with a slow\nmovement, and, when the stirrup shall have\nreached the stage, he will dexterously remove\nhis foot from it, opening his legs somewhat\n1 kJ kJ\nso that the projecting arm may descend beneath\nthe stage through an aperture which is to\nhave been prepared for that purpose, in the\nsame moment as the figure will begin to dance\non the stage.\nLet the Gar game be A. B. and the pro-\njecting arm C. D. ; and. let the parts C. D.\nand C. E. be termed of iron bars proportioned\nto the weight that they must sustain, as was\nsaid above: and let the person be F. G. set\nin the little saddle in C. and with a foot in\nthe stirrup in G.\nWishing then to produce this effect of\ndescent upon the stage the projecting arm must\nbe lowered to the level of the stage, and, so\nsoon as the person shall have reached this,\nhe will quickly remove his foot from the\nstirrup G., the projecting arm being lowered\nbeneath the level of the stage H. I. through\nthe aperture K. L. until it reaches M. N. 0.\nimmediately reel using the aperture in the stage,\nso that in this manner the person will be\nable to dance at once upon the stage, and\nwhat was required will have been accom-\nplished.\n\nFigure 4."}, {"page_pdf": 26, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.26", "texte": "TWO LETTERS\nFROM GORDON CRAIG\nRELATIVE TO THE\nPRODUCTION\n\nLADY MACBETH\nPARAGRAPHS FROM A LETTER ADDRESSED BY THE\nARTIST TO THE ACTRESS PLAYING THE ROLE\nTO me it seems that Lady M. could not\nbe in a room with a group of people\nwithout they all began to live with eight\ntimes their usual intensity — every one, when\nshe came in, glowed — and, as she went,\nthey went out like electric lights dying down.\n\" She was the centre of a big social\ncircle of people — as it is, on the stage we\nsee her the centre of a circle of five hand-\nmaidens — two butlers — a messenger and a\nlot of awkward spear hearers — and what\nis that for us ?\n\" A second thing : It seemed to me that,\nalthough the centre of it all, she never ap-\npeared in the centre — she hugged the sides,\nher eyes alone focus the centre and there,\nshe saw to it, stood husband — a man with\nsome poetic fancy in his speech, but a quite\ndull and awkward, melancholy sort of crea-\nture — with a knack of strength — physical.\n\" The play seems to me always to suffer\nin representation because we see two centre\nfigures.\n\" 1 would have it —• if possible — one\ncentre dull and the other always hugging the\nwalls vivid.\n\" Before five minutes our minds would\nbe asking, \"this man — this boor — what is\nhe? What's he so much in evidence for?\nWhy is he here at all ? — and before another\nthree minutes were gone we should be search-\ning the shadows for his reason — i. e.,\nLady M. We should from then onwards be\nALERT — we should be waiting breathlessly\nto catch the glint of her eyes — and when\nshe did ever advance, we should long for\nher to stay, so attractive she is; and yet\nalways she goes.\n\" Is something like this possible with\n» 1 \"1\nyou ? 1 don't know how it is, but she seems\nto me pretty rather than handsome; seductive\nrather than compelling; in fact I cannot find\nher even once compelling in the masculine\nsense of the word. She seems to have\nBernhardt's voice when. was talking\nto Armand in 'La Dame aux C. Are we\nagreed? I cannot hear her calling on Ah\nye spirits' in the voice of Siadons but in\nthe voice of C arm He gone a bit crazy.\n\" Drunken if you will, but not devastating\nWhat ' Spirit' that she calls on ever came\nto any one in response to an order thrilled\nwith mere intensity — but a spirit might be\nwooed. It is just possible. Are we\nagreed ?\n\" Can you speak such a passage with your\neyelids covering your eyes ?— in ecstasy —\nsensual — and immense ?\n\" But to answer questions.\"\n\" I had planned a scene for your first en-\ntrance : with a small room, little door\nbolts — key — bed (no fireplace, alas S) — the\nmessenger to knock, not blurt in unordered.\n\" Have no thoughts of murder exactly in\nyour head and no feelings of that when you\ngreet that company of guests why bother\nabout that — time for that....\n\" Scene before banquet.\nDon't let them hamper you witn a scrap\nmore material, cloth, brass, gold, cloaks\nthan you feel attractive in —be 1 hat to tne\nfull, ) beg of you, and one-half the troubles\nof this play are removed.\n\" A different beauty — Don't be too erect\n— Bend — listen, not with straight head, but\nwith head well cocked on one side at M.\nwhen he's murdering 1 mean: it s almost\njaunty she is : \" how easy is t . She almost\ndrawls charmingly. I d not even oblige you\nto wear a big cloak. Select the loveliest\ngrey and grey-white furs for some part of\nAct 1, and the loveliest pieces of gold fine\nspun stuff for Act 2-3 — the Indian gold\ncloth is good.\n\" Did it ever occur to you to dress up in\na more or less modern dress —. I'm not\nignorant of the latest 1928 thing, but 1 mean\nthose swathing dresses of 1913 or thereabouts.\n\" You don't want to force the modern,\nbut you could let it slip out couldn't you ?\nand thus make one feel the woman was a\nreality."}, {"page_pdf": 27, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.27", "texte": "\" Don't laugh — because though I know 1\nam rather a good stage manager, i am quite\naware already that 1 know nothing about\nladies' dresses — so you mustn't laugh.\n\" By the way ....\n\" Where a setting doesn't seem to feel\nright to you, I beg of you not to bother\nabout it. Settings are of No ACCOUNT',\nscenery is rubbish, they never have been or\nwill be of account, where an actress is there\nto attract,\n\"If you attract (plus the bit of makeup\nand scarf and rings to explain that you ARE\nLADY MACBETH) no one will even look at\nwhat scene you are in.\n\" I have not been able to give you my\nbig staircase in the sleep-walking scene —\nget my book ' Towards a New Theatre,' and\nflatter me by looking at that design. It's not\nbad for me.\n\" But 1 have given you, a stairway.\nPillar\n<;.... ? enters here\n? a halting place\n<. .. . ? scene for sleep-walking.\nExits here . . . .>\n\" Now 1 am afraid 1 may horrify you by\nthe drawing I've made of Lady M. herself\nduring her sleep-walking — and which has\ngone to Mr. Tyler along with the other\ndesigns. Because it's ugly. It makes her\nugly — it makes her untidy — she slops along\nin straw slippers, slipped into night after night.\nShe is not impressive, she is merely almost\ndaft and uncouth.\n\" I've seen a woman of 45 — grey, old-\nlooking as 80, walking as in sleep or plodding\nalong — voice as that of a drunken\nman — growling continually like a dog :\nTRAGIC as a Shakespeare thing is tragic:\nAs a Japanese ghost picture is tragic : . . . .\nget some to look at.\n\" And if 1 saw such a perfectly enchanting\nwoman like Lady Macbeth of Act 1 changed\nto a horror of Act 4, I should feel I was\nlooking at something Shakespearean.\n\nLIGHT AND SHADOW\n\nA LETTER TO RICHARD BOLESLAVSK Y (I)\nRELATIVE TO THE LIGHTING OF THE SCENES\no DESIGNED BY CRAIG FOR MACBETH o\nBQLESLAVSKY ! The more i say the more\ndifficult for you — and embarrassing.\nThe less I say the better you'll do it — for\nyou know my likes and when you don't\nyou've got heaps of ideas of your own. bo go\nahead and don't bother your head with * Am\nI doing as Gordon Craig likes ' — 1 SHALL\nlike it. i am so happy you are doing this.\n\" In the murder scene something like this.\nThe fog to sink slowly during the scene.\nTry to keep it cold, queer and horrible\nlooking. Tiy to sink the darkness as a veil\nsinks. Then, during the time the murder is\nbeing done, during some seven to eight\npages, allow a slow but deliberate descending\nof shadow, not a lowering of light.\n\" Try to cast shadows of the screens on\nthe backcloth, or whatever is back of them.\nNever mind which way they go, but get\nthem to help the unreality of the situation.\nDon't fabricate the shadows, let them come\nif they will and can, while you are lighting\nthe whole scene. Try to colour each\nscreen with green, blue, or grey. If you\ncan't, then vary the colours to suit yourself\n— but no red or orange. Do not allow\nspotlights — but if possible give Macbeth\nand Lady Macbeth places where they can\nbe sure to find light if a very wonderful\nbit of face-play is born. Can you have\nsome good reflectors if they should be need-\ned? Possibly they will not be needed at\nall, but I fancy some such lamps to rake the\nfloor so that the actors paddle up to the knees\nor ankles in a bath of one colour, and another\ncolour, a darker one, higher up. However, I\nhave none of my designs with me now, no-\nthing to go by ... .\n\" In the bridge scene, if possible, 1 want\nsome silent wind instrument which will blow\nthe damn cloaks like the deuce, but it s to\ncome on and oft in gusts, not regular, and\nalso to blow a leaf, or a paper, — something\nto just give a sense of air, anyhow, for the\nscene's sake. Let the light bear on the left\nside of the bridge — on the right side\npretty indigoish and ugly day. Let it be gay\n\n(i) Formerly of the Moscow Art Theatre and now the Director\nof the American Laboratory Theatre."}, {"page_pdf": 28, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.28", "texte": "and light, only the indigo on our side very\nominous. Basta. The witches descend by a\ntrap if it can be neatly done — in a flash —\nit's the last thing folks will expect. It goes\nwell in this melodrama. YOU could help to\nmake it lovely. (Don't kill tire witches),\n\" Seme more needless talk by hi. G. C.\n\" That passage seen outside the room\nwhere Duncan is supping to be lighted as\nnearly as possible according to tire design.\nMake it feel like a passage — net a room.\nIf possible get the shadow as indicated and\nhere again, as in the murder scene, do let it\ndescend slowly. Let the edge be rather\nsoftened before it begins to come down.\nInside the door let the red be brick red and\nnot that damned vermilion or carmine. I'm\nnot sure that a passing of stray reddish light\nto make a sort of curved passage of light on\nthe floor now and again would be at all bad.\nSee that Lady Mac keeps on pulling the\ndoor to — she must never mind the unrea-\nsonableness of it. Light should flare and go\nout as they sit and talk --- and when it flares,\na bit of silence.\n\" In the big scene to be used for the last\n\"O\nscenes — once break across it with your\nlight, another time break it into three for the\n* ¥\ntop space seems to me a bit empty. 1 sug-\ngest try it anyhow. What.\n\" In the banquet scene the baldichino\nwhich covers the table of the guests is the\nplace from which the light comes most of\nall, or seems to come let's say. Keep it red\nand the places round it orange ; around them\nindigo, and die out at the edges. Lights\ninside baldichino red and yellow mixed, and\nlet the stuff (painted) of the baldichino show\ntransparent so as to increase the richness of\nits red and gold.\n\" I forgot to tell Ross this, very important:\non the floor should be a rich sold and black\nK.J\ncarpet spread right along under table and\nchairs. A ceitic pattern on the carpet is as\ngood as any other. Ross has a book of these.\n\"if in doubt about a good extra light to\nthe baldichino put one bang down on it from\nabove. (Not fences but supposed to be light\nand shadow for a garden. Can't draw them.)\nBut you can make the light spit out.\nAlthough played like a melodrama I do hope\nthese supper people, the guests, will each\nact like a real guest of Delmonico's at a\nsupper given by Mr. Hoover. Do see that\na real nice supper is served. No art will\ndo in this extremity, but Mr. iyler inviting\nthem each night to a supper would do it\nRIGHT.\n\" Look at the original drawings if in\ndoubt. They say much more than I could\nwrite. So I won't say any more. Only\nbless you, and he as bold as you like.\nSeptember 2 ! sf, 1923. Germany.\n\nE. G. C.\n\nTHE MACBETH PRODUCTION\nIN NEW YORK.\nKNOWING that many readers in all parts of Europe,\nas well as farther afield in India, Australia, tlgypt,\nChina and Japan look t° \" The Mask \" to bring them\nnews of salient end significant events in the Theatre oj\ntoday, we have collected for them a few extracts from\nthe many accounts of the production of i( Macbeth at\nthe Knickerbocker Theatre, New York> including two\ncontributions, of especial interest, received from Mr. Percy\nMackaye and Air. George jean Nathan, on the art of\nGordon Craig. Eld.\n\nTHIS WORLD... THAT\nWORLD\nA COMMENT ON THE ART\nOF GORDON CRAIG\nBY PERCY MACKAYE\nTL YEARLY two decades ago, Gordon Craig\nwrote to me : \" I am sending you two\nlittle etchings — called Drama, (2) called\nThe Temple: This world — that world.\"\nin essence, those \" little etchings \" epito-\nmize his own vast gift to the theatre of our time.\nTo the Drama of tangible world\nCraig has opened the Temple of the intan-\ngible — that inner world of Imagination for\nwhich the theatre, at its noblest, is the\nsupreme instrument. This he has done by\ninventing a new vesture of expression: a\nquivering garment of light. and plastic form\ndevised to reveal (not to hide, or to decorate)"}, {"page_pdf": 29, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.29", "texte": "the immanent moods and symbols naked in\nthe dramatist's mind.\nTo the poet in the theatre, therefore,\nCraig has brought a new hope of liberation,\na quickening faith that the creatures of his\nmind may attain to their true birthright on\nthe stage. For the poet as dramatist is\nconcerned, first of all, with an inner theatre,\nunseen. Every play he conceives creates its\nown playhouse — a new organism, within.\nBut, without,in every era, he must needs\nconform, in part, to a crystalized, static stage,\ncast in the moulds of elder dramatists' dreams.\nSo the seen forms of the theatre have slowly\nevolved — from /Eschylus to Ibsen — by the\nmaking, breaking and re-making of such moulds.\nBut now, in our time, Gordon Craig\nbrings us his marvelously plastic art, rendering\nthe Theatre contemporary with all times and\nresponsive to all dinamic dreams of the\nDramatist. So, as creative Director, he re-\nconciles the age-long oppostions of two\nworlds — \" this world, that world \" — and\nreveals Drama in the place of its origin — •\nthe Temple of the Unseen.\nLike the dramatic poet in the theatre,\nCraig then is concerned with the dynamic\nheart of a Mystery: a burning altar, dedi-\ncated to the most high gods — not to the\nlesser acolytes -— of Human Passion, in all\ntheir majestic repertoires of Comedy and\nTragedy: an altar, whose central fire of\nwhite faith, ignited long ago in a golden\nage, has never been extinguished by the\nbreath of cynic confusion or by the turbid\nfluctuations of fashion.\nCraig utterly believes. That is why an\nage of half belief stands in awe of him.\nCraig believes in an art, rigorous in disci-\npline, whose goal is not sensation, but sen-\nliency: an ever-increasing keenness to the\npoignant arrows of Impersonal Beauty.\n\" I hope \" — he writes to me, in another\nletter, \" 1 hope some one will write an essay,\nserious and calm, in which the thoughts of\ndivine beauty are shown to be free from\nvulgarity and sensuality, and free from the\ncontemplation and delight in our own personal\nlittle oddnesses: free from the Sumurum\n\" love \" as from the Gaiety Girl \" love \" ;\nin fact, free from all \" love \" except the real,\nold, sweet and terrible thing, which because\nof its grandeur and awfulness becomes part\nof the divine thought.5'\nMuch has been written about Craig's\nmeans or expression—his technique of lighting,\nof directorship, etc. Much less has been\nwritten of his aims of expression, as hinted\nin this quotation of his own words. Those\nwords are not the language of Broadway;\nyet lovers of Broadway who would seek a\nclue to the greatest theatre genius of our age\nmay well find it in those words. During\nthe last decade, Broadway itself has been re-\nvolutionized by disciples of Craig, and today (i)\na \" designment \" by Craig of Shakespeare's\n\" Macbeth\" is announced for Broadway\nproduction, thanks to the gallant initiative of\nGeorge Tyler.\nBut as Shakespeare, the poet in the theatre,\nis creatively inseparable from his plays, so\nCraig has always maintained that the master\nproducer in the theatre must be inseparable\nfrom his productions of the dramatic poet;\nmust \"be, indeed, the personal focus and\nexecutive of his own impersonal designs. It\nremains then to be seen how \" Macbeth \",\nwith \" Craig \" himself left out, may project\nin New York the ideal of Craig, who per-\nsonally stays in Europe.\nHowever that may be, the emergence of\nGordon Craig — out of an aloofness of years\nalready legendary — into the glare of Today,\nhere in living spirit amongst us,is itself a\nmilestone in theatrical history. More than to\nthe public, more even than to the \" theatre\nartist,\" so termed, Craig's designment of\n\" Macbeth\" is a portent greatly significant\nto the dramatist. For now, as in the past,\nti.e ja 1 cxi!use remains liouse of plays ;\nand if the poet, as play - maker, shall ever\nagain in his art rise to the stature of the\nauthor of \" Macbeth\", it will be, in no\nslight measure, because to our more chaotic\nage the unswerving vision of Gordon Craig\nhas revealed through his art that harmonious\nfusion of two worlds wherein .the poet of the\ntheatre attains his noblest growth.\nNot less, but more, because our America\nis a democracy, should we honour the true\nmonarch.s of Imagination. In that kingdom,\nwhich he himself lias called \" the only\nrealm of true freedom\", we salute the ge-\nnius of Gordon Craig, with \" Long live the\nKing.\"\n\"W\n(1) Mr. Mac Wye, writing before the event, refers here to the\ndesign® for the \" Macbeth \" performances, Ed."}, {"page_pdf": 30, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.30", "texte": "GENUINE GORDON\nBY GEORGE JEAN NATHAN\n(I)\nTHE mere hint of Gordon Craig in the\nDouglas Ross production of \"Macbeth\"\n.—it is simply a hint, as Craig has con-\ntributed only a few sketches and sugges-\ntions— is yet sufficient to indicate to all\nand sundry the distance that separates the\nfather of modern interpretive scenecraft not\nonly from the mass of contemporary scenic\nentrepreneurs but also from his own hundred\nand one offspring and imitators. These few\nflashes of .Craig thus revealed must prove\neven to one hitherto unacquainted with his\nwork what those of us who have followed\nhis enterprises for many years have maintained,\nto wit, that here is the one and only authentic\nscenic artist of the modern theatre.\nThe main difference between Craig and\nall the other workers in stage pictorial design\nis that he is an interpreter of drama in terms\nof scenery and its adjuncts whereas the others,\nsave when they try rather pathetically to copy\nhis method, are simply and purely fabricators\nof settings externally suggested by the dramas\nthey adorn. Craig's settings come out of the\nbody and texture of a drama; those of his\ncontemporaries are visited upon a drama.\nThe latter do not work toward an interpreta-\ntion of a play so much as toward a mere\noutward projection of it. Their settings are\noften beautiful.and often superficially effective,\nas the settings of a revue or musical comedy\nare beautiful and effective, but they contribute\nlittle or nothing toward the illumination of the\nheart and soul of a drama. It is a common\nphenomenon of the theatre to find an audience\nloudly applauding a piece of scenery when\nthe curtain goes up and before the play itself\nhas actually begun. That is an occurence\nappropriately strange to the theatre of Gordon\nCraig!\nSo much has been written of Craig and\nhis theories, both by others and by myself,\nthat it is unnecessary to toy with repetition.\nThe story of the man proceeds naturally and\nforcibly out of a contemplation of the efforts\nof all the other scene designers presently\nactive in the world theatre. These simply\ngrope* more or less blindly after what Craig\nactually accomplishes, that is, those designers\nwho are to be taken at all seriously. Ger-\nmany, for instance, is full of his followers,\nsome of them ~~ craftsmen like Ernst Stern,\nAlfred Roller and Ludwig Sievert, the first\nin particular—of an exceptional aptitude, but\nnone of them quite succeeds in achieving the\nends that Craig achieves. They grasp his\ntheories and his methods in outline but\nseldom in content. They sometimes get the\neffects they desire by Craig's means but 1\nhave yet to see one of their productions that\ndid not here and there in its course collapse\neither because of an ill assimilation of the\nCraig principles or because they have injected\nfaulty side theories of their own into their\ngeneral appropriation from Craig.\nCraig thinks of scenery and of a parti-\ncular drama at one and the same time. The\ngenerality of his colleagues give us the im-\npression of thinking of the drama first and\nthen, sometime later, of the scenery. Thus,\nwhere Craig becomes .a dramatist within a\ndramatist the others strike one as dramatists\nsitting astride the shoulders of dramatists.\nThere is always an open space, so to speak,\nbetween their backgrounds and the play itself;\nthe two do not flow together smoothly as\none. The backgrounds of Craig never for a\nmoment dissociate themselves from a play;\nthey whisper the text even as it is being\nspoken by the players; the orchestration is\nmeticulously and gracefully exact. There is\nnever a self-assertive, obstreperous note, as\nin the case of the others. He devises setting\nand appurtenances something after the manner\nof a soil musical accompaniment.\nCraig's contributions to the local presen-\ntation of Shakespeare's tragedy may, as I have\nsaid, be taken only as fragmentary samples\nof his technique. To judge the artist accu-\nrately, one must know him not from such\nmere suggestions but from his own personal\ndirectorial control over them. This \"Macbeth\"\nis given to us with the man himself four\nthousand miles away. He simply drew a\nfew pictures and indicated a few colorings.\nThe real Craig \" Macbeth\" thu s remains\nwith him in his far-off Italian Genoa.\n(1) A further Note cn the \" Macbeth \" production by Mr Na-\nthan vill be found among seme short Extracts cn the subject from\nvarious sources reprinted cn pege. 23-4. Ed."}, {"page_pdf": 31, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.31", "texte": "SOME EXTRACTS FROM THE\nAMERICAN JOURNALS.\nTHE Macbeth directed by Douglas Ross\nwas a notable production, but notable\nin a different way from the production of\n\" Wings Over Europe \".\nThe magnificence was in the mounting.\nGordon Craig's wonderful designs were taken\nand used in such a way that they became\npart of an actual, not an ideal theatre.\nGordon Craig's great invention, it seems\nto me, consists 'in making the stage more\ndimensional than it has been — he uses\nplatforms, bridges, stairways in almost every\nscene of Macbeth, and by doing so he gets\naction on more than one plane.\nIf that were all that Craig's designs helped\ntoward it would be a great deal, but he also\ngives a grand setting for Shakespeare's fantasy\nand poetry.\nThree or four of the settings were mag-\nJ W/\nnificent achievements in themselves: there\nwas the scene where Macbeth with the\nWierd Sisters stands as in a Cathedral in\ninferno ; there was the scene where Duncan\nis received by Lady Macbeth before a castle\nwhich seems to be the iast, the remotest\nplace to which Duncan can come in his\nkingdom, and there is the scene in Macbeth's\ncastle where Lady Macbeth, holding a lamp,\npasses up and down the sta.ii way and across\na level — a place of shadows where one\nsleeping and two waking people seem to move\nin a vault.\nAnd the costumes provided are fine\nenough to go with so grand an action as that\nof Macbeth.\nBut the play is, first of ail, a reel tal of\nverse against a background of violent action;\nthe great scenes are all in soliloquy. It is\nobvious, then, that as much attention should\nbe given to the enunciation of the verse as\nto the mounting of the scenes. This has not\nbeen done. The verse is repeated so that\nit is heard and understood, and heard and\nunderstood as verse, and that is something.\nBut it is not repeated with any real regard\nfor the music of the lines.\nLyn Harding, for instance, says his great\nlines without, apparently, an inner feeling for\nsuch music as\nte Pluck from the memory a rooted sorrow/s\ni * ' i * Sf\nHe soliloquizes as if the situation had\ngiven him the cue — not as if an event had\nstartled him into a sort of clairvoyance that\ncomes out in accents that have been set to\na deep music. Florence Reed has this\nadvantage over Lyn Harding : her great scene\nis in prose, her voice and movement in the\nsleep-walking scene were deeply mournful.\nBut in the spirited scenes she did not render\nthe woman who through some element of\nwill, intellect, or imagination dominates her\nhusband. The most adequate delivery in\nthe whole play was Percival Vivian's, in the\nporter's great prose fantasy.\nPaclraic Colium in The Dial, February 1929.\nTHE George Tyler production of \"Macbeth\"\nis chiefly noteworthy for the share that\nGordon Craig has had in it. It isn't a big\nshare, unfortunately, for Craig has contributed\nsimply a tew designs for settings and costumes,\nbut, even so, it is big enough to give Ame-\nricans an inkling that there may he something\nmore to dramatic backgrounds than they have\nhitherto believed.\nThis is no place to go into an extended\nessay on Dr. Craig's art; I assume that you\nhighbrows who devour this magazine are\nsufficiently familiar with at least the elementals\nof it. But this may yet be the place to\nreiterate that, in the estimable Gordon\nof Genoa, the modern theatre has its\ngreatest genius of scenic designs and that, if\nyou wish to sample a snifter of him, an\nevening at the Knickerbocker Theatre will\n*D\ndo you no harm.\nThe difference between Craig and his\nfollowers is the difference between Amerigo\nVespucci and Hendrik Willem Van Loon,\nwho, nevertheless, is a very decent fellow.\nCraig is the pioneer in vital interpretation o!\ndrama in terms of settings and their properties;\nthe others — some of them skilful enough —\nmerely rattle their little shiny tin sheets in an\neffort to cuckoo his thunder.\nThe influence of Craig has been felt\nwherever there is a theatre modern enough to\nboast a men's washroom with open plumbing.\nThat influence in many cases has been filtered\nthrough designers who have defeated both it\nand themselves because of a vainglory that\nhas impelled them to distil it through moil-"}, {"page_pdf": 32, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.32", "texte": "keyshines oi their own. But, corrupted or\nleft unadulterated, it has done more to realize\nthe potential strength and beauty or the stage\nthan any analogous influence in its time.\nOne regrets that Craig himself did not\ncome over here to supervise and direct this\n\" Macbeth \". I hen we should have had some-\nthing, my boys, to talk about. But we may,\nnone the less, be grateful for small favours.\nA sample, after all, is better than no-\nthing. So run around to the Knickerbocker,\nsmile prettily upon Impresario Tyler as you\npass through the lobby, and pleasure yourself\nwith an education, in some authentic scenic art.\nGeorge Jean Nathan in Judging the Shows.\nTHIS \" Macbeth \" should certainly not be\noverlooked by students and Shakespea-\nreans.\"\nBurns Mantle in the New York Daily News.\nGEORGE C. IYLER IS a gam the hero of\na line endeavour in the theatre .. . For\nMr. Tyler's production there is only praise\nio offer . . . First, the choice of a great play,\nsecond, inducing the most famous scenic ar-\ntist of our time to design the sets, and then\ndrawing together as fine a cast of players as\nmight have been available.\"\nRank Lea Snort in the Christian Science Monitor.\nMR. CRAIG S designs are a constantly\ntunning exhibit, a haunting and beau-\ntiful background instinct with every stark and\nsoul tossed mood of the play.\"\n1he New York Times.\nNOi the least oi the personal triumphs\nin this revival is the one scored by\nGordon Craig in designing for the first time\nthe settings for an American production\nlhe monumental, savagely temperamental ge-\nnius of this son of Dame Ellen Terry wrought\nscenic marvels upon the Knickerbocker stage,\nand the audience, seeing, was not slow °to\nappreciate the beauty his brain had conceived.\nNot spectacular, not built to amaze, his set-\ntings simply give this excellent cast of players\na worthy stage whereon they may run the\ngamut of human passions.\"\ni\nThe New York Evening Journal.\nTHE point of departure for this \" Macbeth \"\nof Mr. George Tyler as a part in his-\n\" annual presentation of famous masterpieces\nwas the designs by Mr. Gordon Craig.\nWhat we see at the Knickerbocker is-\nscenery taken from the designs he sent, but\nnot actually created under his eye and\nhand.\nThat Mr. Gordon Craig is one of the\noutstanding geniuses in the history of the\nworld theatre is obvious.\n.... he has been a seed, an upheaval, a\nlight and power in the art or the theatre, not\nonly on its visual side but with regard to the\nwhole production. His influence is evident\nin the modern Russians, in Reinhardt, in\nGranville Barker and lesser men in England,,\nin Mr. Robert Edmond Jones and Mr. Nor-\nman-Bel Geddes snd other designers in Ame-\nrica, in Spain, in Italy, in the whole modern\ntheatre.\nborne have fed their talents with his\nsubstance, some have turned it into paying\nenterprise. Everyone who knows anything\nabout the modern theatre knows this ....\nThere are those who say that it was not\nethical, or something of the kind, for Mr.\nGordon Craig to turn over his designs to\nanother man and not come over and see them\nthrough himself, and that he is therefore sub-\nject to be judged by the result. But this\nis nonsense ; he has as much right to sell his\ndesigns to a producer as the dramatist has to\nsell his play or as the costume designer to\nsell his plates — so long, that is, \"as the\nproduction does not claim to be his, which\nthis does not and need not try to do.\n.... The design tor the castle scenes, the\nking s arrival and afterwards the circumstan-\nces of his murder, I thought superb\nit is only too easy to imagine that in the\nwhole sheaf of designs that Mr. Gordon Craig\ncreated, there were many beautiful motives\nand elements that are not even suggested in\nthis production as we see it.\nStark \\ oung in 1he New Republic."}, {"page_pdf": 33, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.33", "texte": "HEAD OF MOUNET-SULLY.\nEngraved by Felix Vallottin."}, {"page_pdf": 35, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.35", "texte": "ANOTHER BOOK ABOUT\nSTAGE DECORATION\n\n(1)\nMR. AlfrediKnopf,\" whose * energy has in\na brief time given bin a notewor thy po-\nsition among tne younger publishers, has is-\nsued this work in two handsome and well\nprinted volumes.\nBut it is a pity that, if Mr. Knopf wish-\ned to publish a costly book on recent work\nin the 1 heatre, his usual perspicacity should\nhave deserted him, and that he should have\nsquandered his money, and the time of his\ncapable staff, on perpetuating the remarks of\nanyone so incompletely qualified to deal with\nthe subject as Mr. Samuel j. Hume.\nIt is true that on the title page there ap-\npears also the name of Mr. Walter Rene\nFuerst; but were Mr. Fuerst himself genuine-\nly well-informed, surely he would hardly be\nfound in this collaboration with Mr. Hume.\nSpace does not permit of treating fully\nof this publication, which indisputably brings\ntogether a considerable amount of matter rela-\ntive to the Theatre of recent years and of\ntoday ; but, for those who have followed the\nNew Movement with any intelligence, the\ntone adopted by the authors to the work of\nMr. Gordon Craig is in itself sufficiently\nindicative of the temper and quality of the\nwhole.\nIt is not of course a damning attitude....\nunless faintly to praise be indeed that; it is\nrather a benignly patronising attitude , the at-\ntitude of one who cites words and ideas, of\nwhich he has obviously no remote understan-\nding, with the desire to show us that his own\nsuper-intelligence net only grasps, but win-\nnows them and finds them wanting ; implying\nthat, though the passages quoted may be well-\nintentioned, he himself holds other views, sees\nthe matter in a clearer light; is, in fact, the\nsuperior.\nThe extent to which Mr. Craig is quo-\nted or paraphrased is lavish; and the Quota-\nJL A •' t\nlions are so firmly embedded in the text, the\nindications of quotation so slight and easily\nover-looked, that one reads long passages\nwhich would raise one's opinion of the intel-\nligence of Messrs Fuerst and Hume did one\nnot then find it is Craig one is really reading,\nand, at the end or a column or so, hear the\njudicial voices of the joint authors gently in-\nsinuating that of course this is all very well,\nbut assuredly this man is absurd, incoherent,\nincomprehensible ; still, they imply, they, with\ntheir penetrating intelligence and trained un-\nderstanding, can perceive his drift and good\nintentions, and will do their best on his\nbehalf as intermediaries between him and the\ngeneral public.\nLet us listen to Messrs Fuerst and Flume\nin this kindly role for a few moments : -—\n\" Craig is not only up in arms against\nthe dancer, hut above all against the actor \"\nHere follows a long extract from Mr. Craig's\nwritings in which he points out that \" in order\nto mak.e any Work °f ari d is clear we may\nonly work those materials which we\nmay calculate\"; \"That, then, which the\nactor gives us, is not a work of art The\nauthors have in no way understood Mr. Craig;\nthey have evidently not read all that he has\nwritten on behalf of the actor, not understood\nthe way he has sought to free the actor,\nevoking the periods when the actor was not\nthe mere mouthpiece of the playwright. They,\ninstead, snapping up a single, and misunder-\nstood, passage, declare senlentiously, \" It b\nhardly necessary to point out the\nmisunderstanding which is at the bottom of\nsuch a theory as this '.\nProceeding to mis-paraphrase Mr. Craig,\nthev write \" : —\n\" If Craig considers e Divine Movement '\n\" as the basis and origin of the theatre, and\n\" then later tells us that in the beginning the\n\"theatre consisted in combats between animals,\n\" it seems that we might with justice and\n\" quite logically ask Craig to explain how,\n\" and in just what way, an elephant is better\n\"fitted to express this \"Divine \"\n\" than man — the human body. We must\n\" not demand too much logic \" (oh kindly igno-\n\n(!) TWENT IE TIT CENTER Y ST AGE DECORA TION\nHi Walter Rene Fuerst & Scmuel J. Hurre, iciih cn Introduction\nby Adolpke Apple. Alfred Knopf\\ 2 Volt. Price five Guineas."}, {"page_pdf": 36, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.36", "texte": "ramuses) \"from one who loves to express\n\" himself in paradox, and we mast at the\n\"same time accustom ourselves\n\" ' thus-spakc Zarathustra ' manner Then,\nquoting a passage in which Mr. Craig, [ore-\nseeing a time when, \"No longer would there\nbe a figure to confuse us into connecting ac-\ntuality and art ', they conclude: \"One\n\" Would do Craig an injustice in disputing or\n\" discussing such an argument as this. His\n\" point of view is thai of the savage who,\n\" never having seen a theatre nor a play\n\" ted, believes thai the actor filled on the\n\" stage has been actually assassinated, and\n\" rum to his assistance\nCan you beat it ?\nWhy yes, tor these two ineftabl.es soon\nout-do themselves.\nTo express or represent movement, then,\n\"we must substitute for man automaton\n\" more or less immobile. Craig claims to have\n\" made certain experiments in this field in an\n\" effort to construct a mechanism capable\n\" expressing rhythm. So far, he says, he has\n\" only succeeded in expressing the simplest\n\" rhythms. It will be thousands years before\nthe great movements can be grasped; in thai\nfar, dim future this art born of movement\n\"will be the final and universal belief\n\"Let us be just:we see here, pushed to\n\" excess and loaded with paradox, a postulate\n\" of the art of the theatre..und. so weiter.\nWhen the egregious couple come to facts\narid dates they are no less fatuously misin-\nformative.\nIhe chapter on \" Reinhardt and Stylized\nRealism \" opens as follows : — \" day\n\" on which Max Reinhardt presented first\n\" Shakespearean production marked a\n\" stone in the history of the modern theatre.\nI hat event Was the production of\n\" speares \"A Midsummer Night's Dream'\nat fhe N eu.es Theater, Berlin, the 31 si\n\" of January 1905.With first\n\" stroke Reinhardt completely revolutionized\n\" the theatre of his time\nComment on this is superfluous, but a\npointer towards the truth of things might be\nfound by the intelligent m an article entitled\nReinhardt & Co. \" published in \"\nMask \" 192/, in which the author, Mr. Galli,\nwrites, of this period : \" And then began the\ncomplete Craigizaticn of the great Firm of\nReinhardt \".\nHere again is a striking passage, which\nappears to have slipped its moorings, being\nlocated in the chapter on \" Adolphe Appia .\n\" ...for the last twenty years Craig has\n\"had what Appia lacked, a personal organ\n\"of publicity almost exclusively del )oted to\n\" propaganda for the Craig cult, 1 his of -\n\" ficial organ. The Mask, founded 1908.\n\" has now with the last issues reached \" Vol.\n\"12 bis \" (strange how the actor-mind can\n\" never rid itself of superstition). Here, in\n\" the pages of this interesting magazine, Craig\n\" has been free to express personal views\n\"on all matters pertaining the theatre and\n\"on many others much less relevant.\n\" the World loves a fight and The Mask\n\" Craig has given it to them. Sometimes\n\" person and sometimes behind the transparent\n\" veil of some bizarre pseudonym he has\n\" tied his verbal guns on battleships and non-\n\" combatant rowingboals alike. So long as\n'c he has stuck to the rowing-boats and ligh-\n\" ter craft he has come off excellently, but\n\" now and then some heavily-armed battle-\n\" ship lipe Shaw, or an armoured cruiser like\n\" Ervine, turns and takes a pot at him, with\n\" the result that the guns of Rapallo are tem-\n\" pcrarily out of commission. All this has\n\" produced a continuously amusing and enter-\n\" laining show for the side-lines, and the world\n\" of the theatre has talked and laughed and\n\"'more important still,has read\".\nNow to reply to the many errors in this\nsingle passage would be to waste valuable\n<S» '.y\nspace ; but one or two of the more obvious\nmay be mentioned.\nIt was not the \" superstition \" of the\n\" actor-mind ' , as assumed by the authors to\nabide in Mr. Craig which decided the harm-\nI 1 * f ' \\ / 1 V£ I 1 ■ >• f\nless eupneuism or V olume yvli his for\n\" Volume XIII \" while that volume was run-\nning. It was the strong feeling expressed by\nvarious well-wishers utterly unconnected with\nthe stage, and heartily supported and advo-\ncated by the Mask's London representative,\na business man moving in a world of busi-\nness men. Mr. Craig was not consulted, and\nprobably, like the rest of the public, saw this\ninfimitesmal joke, viewed by Messrs Fuerst\nand Hume as a portentous indication of inhe-\nrent superstition in the \" actor-mind \" for the\nfirst time when he received his January 1927\n\n(I) Evidently written in 1927 while that volume was being\npublished."}, {"page_pdf": 37, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.37", "texte": "number. But then Messrs Fuerst and Hume\nappear to conceive of Mr. Craig as brooding\ncontinually upon Thewith the unre-\nmitting solicitude of a male penguin ; whereas,\nthough he usually contributes generously, it\nis others who hatch out the quarterly egg,\nand years go by during which he never sets\nfoot in The Mask Offices, or even in Flo-\nrence, where it is produced, and where it\ncontinues to appear punctually, whether he\nhimself be in Copenhagen, London, Paris or\nBerlin.\nAgain, the term \" a personal organ of pub-\nlicity \" is somewhat of a misnomer for a\njournal which, through fourteen volumes, has\ngathered and published a considerable bulk\nof writings of men of many periods and many\nnationalities, from the sixteenth-century Sab-\nbattini to the twentieth-century W. B. Yeats;\nfrom the Hungarian Alexander Hevesi to the\nIndian Coomaraswamy; and on all subjects from\nthe No Dances of japan to the Private Theatres\nof the time of Louis XV ; from the old.\nSpanish performances to the productions of\nShakespeare in India.\ntry and keep your mental footing, gen-\ntlemen, a little better ; the blind falling into\nthe ditch arm in arm is a comic rather than\na pretty sight.\nNow about Mr. Fuerst personally I know\nnothing, except that I do not highly esteem\nthe literary company he keeps, which eviden-\nces no great perspicacity on his part: but\nabout Mr. Samuel j. Hume I am better in-\nformed, and, to get a true angle on his state\nof mmd and its public expression through the\nHouse of Knopf, a few earlier biographical\nC•1 9 *\ntacts will prove illuminating.\nAbout the year 1909 Mr. Hume, a husky\nj oung American from somewhere out west, was\nseized, .inexplicably, with a desire to enlist\nas a student of the Art of the 1 heatre and\nto to that end, admitted as a pupil of\nMr. Gordon Craig. He therefore commenced\nwriting ardent letters, as have done, and doubt-\nless will continue to do, many of his com-\npatriots, representing himself as earnest, wil-\nling, modest, obedient, and loyal, and begging\nto be given a chance.\nWestern persistence, as manifested in many\nletters, won. He was given a chance.\nHe arrived in Florence to begin the most\nelementary training and to make himself useful;\nm such simple ways as might be appointed him..\nBut unfortunately the goods were not up\nto the previous representation : Mr. Hume\nproved capable of very little, which was,\ndoubtless, his misfortune rather than his fault.\nHe was impervious to ideas of art: he\nis apparently still impervious : he was unwil-\nling t© submit to that discipline without which\nno organization can exist: he showed little\n-aptitude ie-r the small tasks assigned him:\nhe could not even be credited with being\n41 willing and punctual \" for he was rather dis-\nconcertingly on the slack side; and neither\nthen, nor since, did he prove himself loyal\nat heart to the master whose service he had\nvoluntarily entered.\nHowever, he proved so impermanent that\n\"the inconvenience he caused was but transi-\ntory. His ardour soon flickered out, and with-\nin .a very short time he had drifted away\nfrom ihe leader for whom he had avowed such\n.strong allegiance.\nHe left no gap. Everybody assumed he\n■had recovered from that brief abberation which\nbad induced him to suppose he wanted to\ndevote his life to art; that he had realized\nIiow misplaced he was there, and how com-\npletely equipped for the life of a western\nranch.\nThey were mistaken.\nMr. Hume, however little endowed by\nnature for the artist career, was an alert Ame-\nrican, a genuine go-getter. Fie possessed in\na marked degree that acquisitiveness which\ncharacterises so many of his countrymen.\nDuring the brief period when he had cut\ncardboard for models, or heated the glue-pot,\nor stood at a switch behind a model-stage\nawaiting the order to turn it on or off, he\nhad noted with satisfaction that some very\nnatty little effects seemed easy of production\nby the juxterposition of a few neutral-tinted\nsteps or columns, the turning on of a coloured\nlight, and he decided that to produce effects\nin the \" New style \" was as easy as falling\n•off a log. Accordingly, before long, back\nin his native States, he was playing just these\nlittle tricks, braced and flattered by the unfor-\ntunate credulity of his compatriots, touchingly\n-eager in regard to what they conceived to\nhe manifestations of \" high art \".\nNow, remembering Mr. Flume's antece-\ndents, it is legitimate to wonder whether, when\n.ihe appears before his public as an apostle\nand exponent ol the Art of the Theatre, his"}, {"page_pdf": 38, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.38", "texte": "tongue is permanently in his cheek, or whe-\nther he has deluded himself as he has deluded\nothers into thinking that his little mechanical\nstale copy-cat arrangements are any expres-\nsion whatsoever of art.\nWe have all seen children pick flowers\nand stick them in the ground to make a gar-\nden, and for an hour it may look quite pret-\nty ; but, having no roots, all quickly withers,\nhas no propagating power, and leaves only\nan untidy mess.\nMr. Hume's stage productions are much\nof the same futility. They are vapid imita-\ntions of something which he has observed;\npresent some momentary artificial semblance,\n(reproduced without perception or understan-\nding of the basic truth and vitality of which\nsuch phenomena were but single and fugitive\nexpressions) of another man's ideas,\nRemembering all this it is the more dis-\ntasteful to see Mr. Flume behaving in a\nmanner which so little becomes him towards\nthe master to whom he was never loyal, but\nwhose past kindness to him he has exploited\nby every kind of imitative stunt for years past.\nThe second volume of Mr. Knopf's pub-\nlication is comprised wholly of reproduc-\ntions of the works and designs of various\nscenographers and producers. Mr. Craig's\nwork here is so conspicuously absent that the\nauthors themselves have felt constrained to\nmake the best of a bad business by explai-\nning how regrettable it was that Mr. Craig\ndid not see his way to allowing any of his\nwork to be reproduced.\nI hey did not give the true explanation,\nwhich was simply that Mr. Craig saw no reason\nto give his work without remuneration to enable\nMessrs Fuerst, Hume and Knopf to profit by\nit: for, if you come to think of it, it a\nprofitable way of producing a volume of\ndesigns, .....to get all the artists to concede\ntheir work without charge to fill such a vo-\nlume, so that the compilers of the text and\nthe publisher may sell it for a handsome\nprice. The other artists were evidently more\nsheep-like in their attitude than Mr. Craig, for\nMessrs Fuerst, Hume and Knopf have roped'\nthem in to the tune of 387 illustrations.\nI he whole work is well printed, and in\nthat sense does much credit to the House of\nKnopf: but Mr. Knopf would be well ad-\nvised, next time he aims to publish an expen-\nsive work on the Theatre, to get a man whose\nwork is worth a costly settting to write and\nedit it tor him, and to make sure he gets a\nup-top one. 1 understand iVir. Cseorge Jean\nNathan has a chair in his building. Whv\ndid Mr. Knopf not consult Mr. Nathan before\nbringing his money and his excellent publishing\nprestige to this association with Mr. Fuerst\nand Mr. Hume ?\n\nd. n. l.\n\nEd.\nP. S. & N. B. - J he above signature is not to be\nterpen as wtiat j\\'/r. Blums calls a *' bizarre pseudonym \"\nof Mr. Craig, he having neither inspired nor read the\npreceding review, nor, we believe, \"seen as yet this five\nguinea WOT!? of Messrs Fuerst & Hume,\n\nELINOR WYLIE.\nC.\nNOTHING will be more sad to some than the passing\naway of the lovely writer Elinor Wylie. — Did some-\nthing try to enshrine her that she died ?...\n0 she is neither good nor bad\n•But innocent and wild!\nEnshrine her and she dies, who had\n1 he hard heart of a child.\nNever was I so astonished as when, having read her\nbooks with so much beauty in them, 1 came to see a\nportrait of her with so much beauty in it.\n{he longing for beauty by beauty, that is a little too\nmuch for us to contemplate — in this world where lon-\nging for what we haven't is the most we can all do.\nI he world loses far more than it has realized in losing\nthis fine being.\n\nL'EGLISE ST. ROCH. PARIS.\nC.\nIf was close upon two o'clock in the morning that 1\nleft the vivid and delightful company of the director\nand creator of the Russian Ballet and some of his devo-\nted friends and found myself descending the Rue St. Roch|\nAs i came to the turning where stands the old churchy\ni eglise St. Roch, f too turned out of my way five paces\nand stood facing the entry.\nAll was muddy as well as silent and seemingly very omi-\nnous, the doors inreatemngly closed... grey black : and 1 said\nto myself and to the doors more or less aloud, 44 It was you\nwho closed and refused to admit the body of Mile. Rau-\ncourt when she was brought here for burial\nSteadily the doors replied, 44 Yes — but only her body\nand saluting, I turned and passed down the street and\ninto my hotel."}, {"page_pdf": 39, "page_imprimee": "31", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.39", "texte": "Rolewinck, Venice 1480.\n\nSOME NOTES ON THE\nFLAN OF VENICE. 1500.\n\n/n our last number we issued the first six\nplates of the 1500 Plan of Venice, with\nsome Notes about this. We now issue the\nremaining six plates, and give here some\nnotes on some oj the early Theatres of Venice.\nI HERE were sixteen Theatres in Venice\nbuilt between the years 1637 and 1699....\ntherefore all built after this plan was made.\nThe Plan serves merely as the best survey\nof the ground on which those Theatres came\nto be built.\nNAME OPENED\n!. I eatro San Cassiano 1637\n2. Teatro S. S. Giovanni e Paolo 1639\n3. i eatro San Moise 1639\n4. 1 eatro Novissimo 1641\n5. Teatro S. S. Apostoli 1649\n6. 1 eatro Sant'Apollmare 1651\n7. Teatro San Salvatore 1661\n8. Teatro Ai Saloni 1670\n9. Teatro Sant'Angelo 1677\n10. Teatro S. Giovanni Grisostomo 1678\ni1. Teatro Canal Regio 1679\n12. Teatro Alle Zattere 1679\n13. Teatro Altieri 1690\n14. Teatro Santa Marina 1698\n15. Teatro San Fantino 1699\n16. Teatro S. Moise (Private\nIheatre in Calie Lunga) 1699\n1. TEATRO SAN CASSIANO.\n§ HE Church of San Cassiano is named on\nour plan and is found in Plate III.\nLength 2, height 23.\nNear this church was the Teatro.\n2. TEATRO SAN GIOVANNI E PAOLO.\nHE plan of this Theatre was first shown\n1 in \" The Mask \" volume XIII, No. 3,\n(1927).\nPosition. La Lande, in his 18th century\nplan of Venice places it on the western side\nof the second calk from Rio di S. Giustina.\nHe marks its position with a plan of a theatre.\nIn his list he tickets it \"II Teatro \". La\nLande can be curiously incorrect.\nGalvani says that it stood near the Calls\ndella Testa and Rio della Panada Verso the\nFondamenta Nuove.\nV/e know so much, for the Fondamenta\nNuove is long and takes in fifteen to twenty\n\" blocks as we call them today : over 650\nmetres anyhow. What we need to do is to\nplace it more exactly.\nLalande s Plan and Galvani's words are\nat loggerheads.\nIf we believe Galvani, then the spot on\nwhich the 1 eatro San Giovanni e San Paolo\ncame to be built in 1639 (i.e., 139 years\nafter this big plan of Venice was engraved)\nis that which is to the near left of the Church\nof San Giovanni e San Paolo across the\nCanal which runs down its side and over\nwhich we see two budges crossing. (Plate V.\nLength 7, height 24).\n3. TEATRO SAN MOISE, 1639.\nPLATE IV. Somewhere between Length 9\nand 13 and width 4 and 7.\nFhei e was a 1 eati o San Moise and\nclose by a Sala del Ridotto San Moise.\nHabnit, in his Piantadella Citia\ndated (I believe) about 1850, places the two\nbuildings just south of the Church of San Moise\n(Length 4, height 7 on our Plate IV).\nBut when I was in Venice about 1923\nit lay where I have indicated above.\n4. TEATRO 'NOVISSIMO' 1641.\na HIS theatre only existed for six years,\nwas built of wood, was close to the\nChurch S. S. Giovanni e Paolo on the spot\nwhere later was built la there-\nfore in our Flan it is on Plate V., Length 1\nheight 25."}, {"page_pdf": 40, "page_imprimee": "32", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.40", "texte": "5. TEATRO S.S. APOSTOLI, 1649.\nTHERE were two Theatres of this name.\nThe first in a large house in Calk\nde' Proverb] ossia Calle Larga. Here were\ngiven comedies. The secono. m a\nin Calle dell' Oca where musical drama was.\ngiven. Roughly, Plate VLength 17*\nheight 22.\n6. TEATRO SANT' APOLLINARE, 1651.\nj\\, good-sized Theatre in the Corte Pe-\ntrxana near the Calls which leads to the iro.~\ngheilo of San Benedetto (Plate 3, Length 7,\nheight 27).\n7. TEATRO SAN SALVATORE, 1661.\nTHIS theatre is situated in the Parish of\nSan Cassiano. Plate III, about Length\n23, height 4-5.\n8. TEATRO AI SALONI, 1670.\nTHIS was a little Theatre in the parish\nof S. Gregorio. Plate IV, Length 16,\nheight 8.\n9. TEATRO SANT' ANGELO 1677.\n[N the Parish of Sand Angelo, Plate III.\nLength 12, height 29.\n10.TEATRO S.GIOVANNI GRISOSTOMO 1678\nTHIS Theatre was built in 1677 by the\nnoble family Grimani and opened in 1678\nwith the opera \" Vespasiano\" by Maestro\nPallavicino.\nit was called in 1730 \" the true Phoenix\nof Theatres \". Its name changed a few times :\nit became Teatro Gallo and then Teatro Ma-\nli'oran. It was altered and restored in 1834\nafter designs by the architect Salvador!.\nIt will be found on Plate V., Length 15,\nheight 23 precisely.\n11. TEATRO CANAL REGIO, 1679.\nsmall playhouse built by Marco Moro-\nJ~\\ smi quite near the church of S. Giobbe,\nthis theatre will be found in Plate III,\nLength 22, height 15.\n12. TEATRO ALLE ZATTERE, 1679.\nf\\ very small Theatre where Marionnettes\n■+\\ performed. Almost impossible to place\nbut apparently Plate II. Length 12 & 11,\nheight 2 & 3.\n%aJ\n13. TEATRO ALTIERI. 1690.\n|N the garden of the Palazzo Altieri.\nPosition not satisfactorily identified.\n14. TEATRO SANTA MARINA, 1698.\n/\\ private Theatre not far from the Teatro\nSan Giovanni Grisostomo (No. 10) in\nthe Contrada S. Marino near i Miracoli.\nPlate V., about length 17, height 21.\n15. TEATRO SAN FANTINO, 1699.\nF\\JEAR the spot where today La Fenice\nstands, ...about length 14 to 10,\nheight 32 of Plate HI.\n16. TEATRO SAN MOISE, 1699.\n/V private Theatre in Calie Lunga S. Moise ,\nwhich is on Plate IV. Length 6 to 16,\nheight 4 to 5.\nIJESSDES these sixteen more or less important\nplayhouses of the 17th century there was\na tealrino of Murano, 1660, a icatrino of\nDolo 1697. Ihe i eatro San Benedetto erected\nin 1788 by the Grimani family, architect Fran-\ncesco Costa of Pad ova : the Teafcro San Luca,\nerected 1629, destroyed by fire in 1750 and\nrebuilt in the same year by the architect\nPietro Chezia : the 1 eatro Fenice built 1791 -2\nby the architect Antonio Selva : the Teatro\nS. Samuele, erected by the Grimani family\nin ! 688 : the I eatro a! Malcantori, 1639-1748:\nthe I eatro ai Mendicanti built by Torelli,\n1640-1747 : and then a few small private\ntheatres in Palaces. One of these Michael\nKelly visited when a boy.\nPompeo Molmenti, in his \" Sioria\nrsezia neila Vda F^rivata'' gives the following\nfacts about the \" theatre of wood constructed at\nVenezia by Palladio \" which \"was opened\n\" February 28 1565 \" ; and relates that it may\nhave been due to the complicated construe-\n\" tion of the theatrical decoration and me-"}, {"page_pdf": 41, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.41", "texte": "\" chanism, and to the exigencies of the actors\n\" and collaborators that the Vincenzian archi-\n\" tect wrote to his fellow-citizen Vincenzo Ar-\n\" naldo:\" I have finished making this\nblessed theatre in which I have done penance\nfor all the sins I have committed or may\nyet commit. On Tuesday next the tragedy\nwill be recited there. If your lordship could\nsee it, I would urge you to come because it\nis hoped that it will be a rare thing.\"\nThat the inauguration must have indeed\nbeen a \" rare \" occasion can be well estimated,\nwhen the building was by such an architect,\nand the decorations by Federico Zuccheri di\nSant'Angelo in Vado, (who, Vasari records,\nmade twelve great designs, each seven and a\nhalf feet square), and the Venetians such\nlovers of the theatre that it is recorded as\nhabitual that they \" climbed on the walls,\nbroke in the doors, traversed canals \" \" to get\nin where some famous actor was performing.\"\n\"No record \" continues Molmenti, remains\nto us of the details of this \" representation,\n\" nor even the titles of the others which must\n\" subsequently have been given in this wooden\n\" theatre .... but they must have been spectacles\n\"of regal magnificence, such as could he\n\" staged by none but the Compagnia del la\n\" Calza di Venezia and the Academici\n\" Olimpici di Vicenza .... \"\nTcmenza states that the building of Pal-\nladia was destroyed by the fire which in\n1630 burnt down the Monastery delle Carite,\nwhich gives some clue to its position.\n(1) This letter is given by Temenza in his \" Vite dei piu ce-\nlebri architetti e scultori Veneziani. M.S. Venezia \" MDCCLVIII.\n(2) Parabosco. 44 11 prime libro delie Lettcre famigiiari p. 52.\nVenezia, 1551.\n\nWALDTEUFEL\nTWO LETTERS RELATIVE TO\nTHE NOTE PUBLISHED IN THE\nLAST NUMBER OF \"THE MASK\"\n\nFROM \"THE SKATERS\" TO \"MY DARLING\"\n\nClR:—\n4 4 What's wrong with Waldteufel ? \" asks D. B. in\nthe last number of The Mask,\n44 Nothing at all \" is my reply, putting on another\nrecord. I have just played The Skates, to which D. B.\nsays he would like to dedicate a v/hole book, 44 three\nhundred and sixty-five romances It is certainly one of\nthe best waltzes ever composed, and I think most people\nagree on that. It has been recorded many times; the\nversion I have is played by the Paul Godwin Orchestra\non a Brunswick record. Now I am listening to the\ncheerful Esiudiantina, beloved of the nineties, and on the\nreverse of this record is Lcs Sirenes, as alluring as its title.\nThis is an Electron record from the Edison Bell Company.\nI don't pretend to have a complete collection of\nWaldteufel discs, but I have enough to prove that the\nFather of the Modern Waltz has not been neglected by\nthe recording companies in their response to the new po-\npularity of the traditional dance. Surely it is a sign of\ngrace that the jazz-ridden public is reaching out for the\nrhythmic curves of this divine dance ? Of course the\nwaltz as danced nowadays is comparatively a poor affair\n— gone is the intoxicating whirl — but steps are invented\nnow with more than half an eye on middle-age, and the\ntrue Walt?. is the dance of Youth. Yet even Youth\ndoes not want to get hot and breathless now ; rapture is\ndead in the ball-room. Even if the girl is willing, what\nmodern young man would risk one collar for her ?\nAs D. B. says, disgracefully little is known of Emil\nWaldteufel, beyond the fact that he was born at Stras-\nbourg, and was Master of Music io Napoleon III, and\nthat he is credited with having introduced the modern\nwaltz into France. The Waltz first appeared at A1 mack's\nvery tentatively, as early as 1815. I? was known as the\n4 mazy waltz ', and not much favoured, probably because\nLady jersey, the tyrannical patroness or Almack s, had\nlately brought over the Quadrille from Paris, and it was\nas much as your ticket was v/orth to want to dance any-\nthing else.\nSo the 4 mazy ' waltz lay in wait for the arrival of\nWaldteufel on the scene in the 1850's when it became\nthe rage of Paris and London and the despair of the\nPuritans. Nowadays it is only on the ice that Waldteufel\ncomes into his own again. What is more glorious than\nan orderly crowd of perfect skaters waltzing to — The\nSkaters ? *\nThe god-like inevitability of those exquisite curves,\nthe rapturous swirl, the enchanting rhythm, the torch-lit\nfaces, and ecstasy not denied —- what is there more satis-\nfying than this ? The Scalers must have been inspired\nby some such scene and the result is a wonderful combi-\nnation of sentiment and high spiritis. The skated waltz,\nso popular now, persuades us that after all, life is not so\ncompletely fiatchested as it sometimes seems.\nBefore I end — on a tender note — let me beg D. B.\nto hear some good modern gramophones, so that he will"}, {"page_pdf": 42, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.42", "texte": "not talk of music which 4 defies * the gramophone. No\ndecently recorded music need defy it. That the gramo-\nphone is still in a state of evolution is true, and at any\nmoment some new and marvellous invention may supersede\npresent principles, but in these days, to talk about defiance\nis to talk in ignorance ; and it seems all wrong that D. B.\nshould be doing this.\nHere is my tender epilogue.\nFresh and shining from His Master's Voice, a new\nrecord has just arrived. It is played by Marek Weber\nand his orchestra, and it is the loveliest old waltz imagi-\nnable —My Darling, by Emil Waldteufel.\nFaith Compton Mackenzie.\n\nIsle of Jethou, Guernsey, C. I.\n\nA REPLY FROM D. P.\nD. P.\nClR\nHave I anything to say, you ask. Wei!, hardly\nanything : only I am D. P. not D. B. and as sensitive as a\nkitten about it. Once a slip, twice merely a blunder;\nbut five times does Mrs. Compton Mackenzie Bevil me\ndown.... and I a Pevil.\nBut I like to know that there really are some good\ngramophones. I have only a cheap one. It has a cu-\nrious name.... 44 Pathe Twin \", if I remember aright.\nWhy 44 Twin \" I was not able to discover.\nI he records are good. 1 have only sixty-nine; and\nthe needles are the usual needles, ten different kinds,\nMrs. Compton Mackenzie will I expect agree with me\nthat the bamboo needles do not compare for delicacy with\nthe newest German tadpole needle.\nPeople in London pretended never to have heard of\nthese tadpoles;.t. as one of the two Black Crows says,\n44 they are so soft \" ;... the needles, not the Londoners.\nStill I hold to it that there is something still in music\nwhich can be said to 44 defy \" the gramophone — if to\nwalk some million miles away from it gives any slight no-\ntion of defiance.\nBut I am so ignorant of so much, as Mrs. Compton\nMackenzie hints ; and surely I more than anyone feel that\nit is 44 all wrong that I, talking in ignorance, should\nuse the word 14 defy when I mean only that music seems\n44 unaware '* of the existence of the gramophone,\nI or were it really aware it would stoop lower and\nstill lower and, amiably I hope, oblige.\nOf Emil Waldteufel I have recently learnt more.\n44 The Skaters 44 Estudiantina *'.... I so regret I haven't\nthree hundred and sixty-five clays for the romances to get\ndotted down ; —• but I can we!! suppose that in days to\ncome producers — those flamboyant scenical fellows like\nMr. Gordon Craig.... (with all respect I say it) — will\nsome day drag in Waldteufel to prop up some production\nof Cymbeline or Coriolanus, using a 44 loud speaker \" —\nnot in ignorance but innocently — innocently.\nFleet Street.\nLondon.\n\nFOREIGN NOTES.\n\nGLASGOW.\nEd.\nA Glasgow correspondent sends us the following extract\n* from an article hy 44 Lime \" published on January 18,\n1929 in the 44 Glasgow Evening News ; and we are\nglad to bring it to the attention of our readers who have\nprobably also heard at times the scoffing term 44 precious\napplied... by its enemies and the enemies of ell that is\nmost vital in the theatre... to 44 The Mask\n\n||N several occasions I have drawn attention here to\nmerits of 1 he Mask, the magazine which has the best\ninterests of the theatre, and particularly the British theatre,\nat heart, and over which Gordon Craig is the presiding\ngenius. I do so again.\nAt a time when the British theatre has no leader, no\ngreat actor, no great producer, no great active dramatist—I\nsay so advisedly, bearing in mind the fact that Bernard\nShaw is still alive — The Mask supplies that lead as\nnearly as it can within its power, the power of the prin-\nted word. It is the touchstone and the suane.\nI once had a heated argument with two leading mem-\nbers of the Scottish National Players as to how much they\nwere actually doing to encourage the art of the theatre.\nI said that if they were really concerned with the best\ninterests of the theatre and were not merely playing at.\ntheatres they would be selling The Mask in the auditorium.\n1 hey scoffed at that, fhe Mask, they said, was precious.\nPrecious! What a word from people who were\nshortly .to deck their programme sellers out in monk's gowns\nand cowls !\nBut it was sufficient to show how far we are from\nbeing a force in the theatre, how far the Scot has to travel\nbefore he begins to be an original thinker in the theatre.\n\nW H Y~Y O U SHO U L D BU Y T H E~\\I\"ASK\nT 1i.iin.i IN II mini IMII IMIIIIIW II IHWI II ■■nn— n.mumHI ■» m mum , mump JBJ,\nRUI the impression of The Mask being precious is not\nconfined to the Players alone ; it is the stock-in-trade\nanswer of those who have only a half-interest in the theatre.\nOf course, they talk in ignorance. They have not read\nthose biting, often hard, common-sense comments that adorn\nits eno-pages ; they do not know that its book reviews are\namong die best written in English, just because, again,\nthey are so shrewd and so well-informed ; that its format\nmakes it a delight to handle ; that it is quick to put its\nfinger on the 44 stunt \" ; and they do not reflect that just\nbecause it is the mouthpiece of Gordon Craig it is worth\ntaking for that alone.\nThe Glasgow Evening News. January 18 - 1929."}, {"page_pdf": 43, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.43", "texte": "BOOK REVIEWS.\n\nMOLlbRE - A BIOGRAPHY by\nH. C. Chatfield-Taylor, Liit. D. Duf~\nfield & Co. New York J 928.\nPrice Four Dollars.\nTHIS is the second edition of the\nbook which was published in 1906,\nso it is twenty-two years old and as\nfresh as a daisy. I am not necessarily\nthe right man for the Editor to have\nselected to write this review for I am\nquite foil about Moliere and am en-\ntirely enchanted by Mr. Chaifield-\nTaylor's work. Not only his work\non Moliere but also his work on\nGoldoni.\nThe original preface to the book\nis retained and in this one finds detailed\nreference to the interesting illustrations\nof the first edition which are unfor-\ntunately omitted from the present volume,\nThere is a frontispiece showing the\nhead of Moliere by Pierre Mignard\n— a hypnotising portrait — and there\nis a little portrait of him in words —\nit is quoted from De Vize; 44 Elomire\ndid not speak a word. / found him\nleaning on my counter in the attitude\nof a man who dreams. His eyes\nWere glued upon two or three persons\nof quality who were bargaining for\nlaces and he appeared attentive to\ntheir conversation: for the movement of\nhis eyes indicated that he was searching\nthe depth of their souls for the things\nthey did not say : I believe, however,\nhe had a memorandum book and that,\nhidden by his cloak* wrote down,\nunseen, the most pertinent things they\nsaid. One is inclined to think of\nMoliere, at least I often do, as re-\nsembling Garrick, in that he was\nalways talking, chattering, brilliantly\namusing. One knows of course that\nit was peace with him — as De Vize\nsays 44 he did not speak a word\nSo like a man of dreams; but anything\nmore unlike a dreamer than Moliere\nis not to be found. The Stage and\nthe Drama, which deals, and which\nmust deal, with realities, demands that\nthe Dramatist shall be a very real\nperson indeed — a Politician may\ndream before a Dramatist may. I\ncan imagine it to be the most painful\ntask that a man of imagination can be\nset — that of having to write dramatic\nmasterpieces to amuse the world, and\nanyhow to please the Public ; and it\nwas Moliere's chief boast that he\nwrote to please. And so, when he\ncame to think of his wife and her\napparent heartlessness, the fact of her\nhaving \" the art of pleasing me entirely\ncverweighed the trifling little defects\nsuch as being a coquette, not entirely\nsincere nor so very kind.\"\nMr Chatfield Taylor, in his enthu-\nsiasm for the literary quality of Mo-\nliere, is driven to belittle the acting qua-\nlity of the Italian scenarii, which after\nall were the basis of the playwright's\ntraining. As he alludes to the famous\nIsabella Andreini as being the sister\nof Francesco Andreini, whereas she\nwas his wife and partner in the com-\npany of the Gelosi, it would appear\nthat Mr Chatfield Ta ylor either made\na bit of a slip or has not given the\nsympathetic study to the records of the\npre-Shakespeare and pre-Moliere com-\npanies which they are now beginning\nto obtain from other scholars. Mr Tay-\nlor treats of Moliere's develooment\nA\nfrom improvisation to literary form as\nbeing an escape from Italian leading\nstrings and tutelage, 44 except for bare\nsuggestions in the way of plots If\nMoliere's genius rose 44 superior to Ita-\nlian z&nyism there wras continuity\nand not a break in his flight.\nMoliere's life was divided naturally\ninto three parts : the years of his ge-\nneral education (1622-1643) in which\nhe obtained the best training of his\ntimes ; the fifteen years of apprentice-\nship to his profession (1643-1658),\ntwelve of these being spent in the pro-\nvinces as a wandering player ; and the\nlast fifteen years of success in Paris\n(1658-1673), during which he enjoyed\nthe steady patronage of his king for\nwhom he worthily played the cour-\ntier's role.\nMr Chatfield I aylor deals excel-\nlently with these periods and gives\nspecial chapters to the study of the\ndramatist as a poet militant, to his\ntheatrical and domestic life, to The\nMisanthrope as a reflection of the pri-\nvate sorrow of that life, to the cam-\npaign against quackery, to Moliere's\nfriendships, and to his 44 histrionic\nplays—-the purely stage plays conceived\nprimarily to amuse an audience.\n1 he final chapter, in which the dra-\nmatist is reconciled to his wayward\nwife, Armande Bejart, after over four\nyears of separation, and in which the\ndeath of Madeleine Bejart, the actress\nwho discovered his genius and remai-\nned throughout her life his comrade\nand adviser, and the death a year later\nof Moliere himself are recounted, is so\nfull of human interest that it needs but\ntelling straightforwardly, as Mr Taylor\ntells it.\nIt is of course utterly impossible for\nanyone, even Mr. Chatfield-Taylor, to\nwrite of Mme. Moliere quite truthfully,\nbecause, if I don't misquote, \" to the\nsuperiority of another one can put up\nno defence but that of leve \". Since\nMoliere put up that defence of love\nonly, what he felt must be the supe-\nriority of Mme. Moliere. Then the\nposition could be nothing very awful,...\nso where are we?\nSince it is impossible for man and\nwoman to understand each other,... or\nlet us say well-nigh impossible,... and\nsince the misunderstanding of these two\nwas the tragedy of the life of Moliere,\nhow can any historian be expected to\nclear up things ? There is no clearing\nup because there is nothing to clear up.\nMme. Moliere has been taken far\ntoo seriously by the historians, and that\nis probably due to the fact that her\nhusband took her a little too seriously.\nAfter he was dead she lived for another\nthirty years or so, and, what is more,\nmarried again. How can you take\nanybody seriously who is quite as\nfunny as that ?\nMme. Moliere has to live and likes\nto live, but it is none the less funny that\nthis great creature Moliere, who pours\nout to millions of us the very thing we\nwant to know v and hear, was quite\nunable to pour out anything that\nMme. Moliere wanted to hear, have,\nknow, feel or like. And Mme Moliere\nwas the chief actress ; she was open to\nan inspiration we suppose ; — she\ncould, we imagine, have touched the\nheights that at least Rachel touched ; —\nbut no, she is an insignificant person,...\nwhich is hard luck on Mme. Moliere.\nAdded to this, scurrilous writers de-\nvoted the last years of her life to\nannoying her, and Moliere himself must\nhave annoyed her whilst he was alive.\nHow troubling this thought is.\nElsewhere in this number can be\nread a letter written by Moliere about\nhimself and his wife. It is supposed\nto be written by someone else, but is\nobviously a letter by Moliere, quoted\nword for word. Mr. Chatfield-Taylor\nwill not commit himself to say so as\nemphatically as 1 do here; he says\n44 so touching are the poet's Words, so\nreplete with true sentiment and feeling>\nthat some have believed them to be\ntaken from an actual letter written to\nhis friend by the poet himself.\""}, {"page_pdf": 44, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.44", "texte": "I must find a little fault with Mr.\nChatfield-T ay lor, because if I don't I\nmight fall to gushing about this book\nwhich delights me so much ; and one\nthing I would ask him: why it is he\nmust speak of the morality of theatrical\npeople as not an easy cause to defend\nwhen it is as easy to defend the\nmorality of the theatrical people as\nof any other people. I had thought\nthat v/e had got so far in our under-\nstanding, and even a bit further in our\nsympathy. True, 45 the morality of\ntheatrical people in an age of license\nis not an easy cause to defend but,\ninstead of 4 theatrical people ', Mr.\nChatfield-Taylor must allow me to\ndelete and alter to 4 any people'.\nI cannot quite agree with Mr.\nChaifield Taylor when he speaks of\nMoliere's resentment towards the fa-\nculty of medicine, and that it was\nthis resentment which caused him to\nilluminate so many of his plays with\nso much fun. I think it may have\nbeen likely that he felt no resent-\nment towards Doctors until they were\nparticularly rude to him. It is much\nmore likely that all his jokes about the\nDoctors were taken by the handful\nfrom the Comedie Italienne because\nthey were such good stuff for an\nevening's entertainment. His portfolios\nmust have been packed with these\ncentury-old Italian jokes about Doctors\njust as they were packed with jokes\nabout everything, including dramatists. I\nthink it is never really safe to try and\nread the feelings of a dramatist from\nwhat his characters are made to say\nbecause the dramatist has so strongly\nthat faculty for putting himself — throw-\ning himself — into another person's\nbeing and of hopping out again as\nnimbly; so it is an error to stop and\ncriticise him for making a fool of\nhimself when he is only pretending to\nbe a doctor of Medicine for three-\nquarters of an hour.\nAlthough it is welinigh impossible\nto write about Moliere's domestic life,\nit is none the less most interesting to\nread of it, and indeed to read of it\nover again and again. Whether, when\nwe come to read of the private life\nof Mr. Bernard Shaw, Moliere's will\nseem at all dull, I don't know, but\nI am afraid that Moliere's will seem\na bit black beside it.\nThere are no jaeger tints in Mo-\nHere — all is sunrise, sunset and black\nnight. I here is nothing made about\nhim, planned about him, except his\nplays, and no one can discover the\nplans of them : — if we could we\nshould again be able to write good plays,\nfor you will never find anyone reading a\nplay of Moliere's who does not exclaim,\nand exclaim with the delight of a\nchild — this is a play —• this is lovely.\nThe book contains a splendid chro-\nnology, besides a bibliography and the\nnecessary index.\n\nWILLIAM CONGREVE. Edited\nWith an introduction by Bonarny Dobree.\nOxford University Press, London :\nHumphrey Milford. Price 2j— each\nvolume.\nN«IIN w nil ■IIIIIWI. HI III,IIII'IN\nIT seems almost incredible that in\n* the two tiny volumes, each of five\nhundred odd pages, you get the whole\nof William Congreve's works, and all\nfor the price of ... and here I am\ngoing to get jolly angr}'. It is the\neighth time in the last year that I\nhave come across copies of the World's\nClassics kindly sent in for review and\nwithout a single intimation as to how\nmuch the dear little volumes cost.\nOne would imagine that they were\nde luxe volumes of which the prices\ndare not be mentioned lest they\nfrighten everybody. But here is\nperhaps the most popular library in\nthe world, and nowhere does it state\nhow cheap these volumes are. How-\never, I am going to have a shot at\nguessing what the price should be, and\nif I guess too low and if by doing\nthat I spoil the market for the Oxford\nUniversity Press, it is the Oxford Uni-\nversity Press's fault. I guess that they\ncost one shilling and ninepence a vo-\nlume ; now if they cost four shillings\nor even three shillings and sixpence the\ncouple of hundred people who on read-\ning this will besiege Amen Corner on\nor about the second of April, will be\nso enraged on discovering that the vo-\nlumes are more than I have hinted they\nare, there will probably be a riot in\nthe Squared).\nWhy aren't they more practical at\nthe Oxford University Press? Every-\nbody seems practical there ; I have seen\nthem and so I can vouch for it. Mr.\nGerald Hopkins himself looks a power\nof practicality — a colossus of good\nsense, and 44 The Mask \", voicing Pub-\nlic Opinion, has made it clear to\nMr. Hopkins etc. etc. over and over\nagain that the price should be on each\nvolume, and yet nothing is done. Must\none write to 44 The Times\" about it?\nAnyhow Congreve is worth one shilling\nand ninepence in this form, „on this\npaper and bound in the excellent little\ncover with the unspeakably awful design\non the back.\nA really good, ordnarily good,\ndesign is quite as easy to get as an\nextraordinarily bad one, so the Oxford\nUniversity Press must forgive me for\nbeing so untactfully frank about such\na trifle. It's the Oxford University\nPress that's the point, and this design\nwould not even be seen on one of the\nGeneral Post Office's penny stamps.\nThe Congreve volume contains sur-\nprisingly lovely things.\n(1) To avoid this calamity we have en-\nquired and supplied the price, and give it\nabove. Ed.\n\nVOLPONE. Adapted by Stefan\nZweig. Translated by Ruth Langner.\nGeorge allien and Unwin Ltd. Lon-\ndon, Price six shillings.\nhaven't added the name of the\n•* English author of this book because,\nthough the real author is Ben Jensen,\nhe has been adapted by Stefan Zweig\nand Miss Ruth Langner has translated\nhim back again into English. I sup-\npose it is all right to adapt and re-\ntranslate and so forth, since it may be\nuseful to the stage, but why have they\nprinted it ? To print it is treason :\ntreason against Ben Jonson, unfair on\nZweig if profitable to Langner.\nVolpone, the original play by Ben\nJonson, may need furbishing up in\norder to make it a good play, and,\ncertes, it may take a foreigner to do\nit, and he at perfect liberty to do\nwhat many other foreigners have done\nwith our literature for so, many years :\n—i. e}. to change the whole thing and\nto make it up-to-date : but it would be\nmuch better to call it something else and\nto omit Ben Jonson's name altogether\nthan to adapt quite so freely as ail\nthat.\nI have read the first few lines and\nI don't want to read any more ; not\nthat I doubt that the thing, if staged,\nmight go very nicely, adapted in this\nfree way and translated back again into\nEnglish ; but because I am sufficiently\na lover of a fine artist to be offended\nto the bones by such treatment. The\ntreatment I allude to being the dragging\nin of Ben Jonson's name : that's all.\nIt is trying to get on in the world by\nsaying 44 Oh yes, I know Jonson quite\nwell; I also know the Birkenheads *. It\nleans towards this sort oi thing; so I for\none don't know Mr. Zweig and don't\nwant to know him : besides, I am off\nto my Restaurant.\n\nTHE MEMOIRS OF J. M. Dent,\nWith some Addition by Hugh R. Dent.\nJ. M. Dent & Sons. Price 7/6 net.\nIT is a fine story, this of the tenth son\nof a fine-natured but humbly situa-\nted man who, starting from the very smal-"}, {"page_pdf": 45, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.45", "texte": "lest beginnings, made himself a power\nin the publishing world ; spread good\nbooks around in editions accessible to\nall, in ever increasing numbers; built\nup a great business; shared in many\ndisinterested public projects; and lived\nhis own life and had the friendship of\nmany of the most interesting personali-\nties of the time, to the full.\nIt was a life of expansion and ac-\ntivity from first to last. The man was\nwhat we call a dynamo, and his force\nseemed always seeking fresh channels\nthrough which to pour.\nBrought up in the strict atmosphere\nof Quaker Darlington, the boy's ear-\nliest passion was the theatre, which he\nhad to visit by stealth and which he\neven had some idea of adopting as a\ncareer until convinced that the lame-\nness with which he was afflicted from\nhis childhood would disqualify him even\nfor a 44 Walking-on gentleman \".\nA 44 complete dullard at school\nhe yet formed an early habit of rea-\nding which never left him; and the\nfact that his 44 first employment was as\na kind of messenger-boy and ticket-\ncollector to an Art Exhibition \", and\nhis next, apprenticeship to a printer as\n44 an all-round workman \", early gave\nhim the bent towards that which was\nto be his life work.\nA mere glance down the chapter\nheadings indicates on what wide and\n<expanding lines he worked ; how the\nsmall early enterprises extended into\n/Aldine House and the Letchworth estab-\nlishment, and the Canadian house; and\nhow the multiform activities of any alert\nand serious publishing house were starred\nby such admirable special features as\n44 The Temple Library the 44 Temple\nShakespeare the 44 Mediaeval Towns\nSeries(planned during one of his\nvisits to Italy, a country he intensely\nloved) : and the great 44 Everyman *\"\nseries, which began years ago giving us,\nfor what he called the 44 democratic\nshilling a long and delightful series\nof the literary treasures of the world.\nThe Memoirs were written by him-\nself 44 without any idea of publication \",\n44 meant to be treated as a personal\nletter from the author to his intimate\n; but Mr. Hugh Dent, long his\nfather s devoted and efficient colleague,\nand now Chairman of the great Firm\nwhich his father founded, has done\nwell to share with a larger public this\nstory of his father's life.\n\nIT'S SMEE by George Shelton,\nErnest Benn Limited, Price 5/- net.\nD. P.\n|HIS is a very nice little book ; not\nonly nice because it is little, but\nat least 4 it s thatIt reminds me\nrather of a book of reminiscences of\nan actor of the eighteenth century who\nplayed as a boy with Garrick at Drury\nLane and who wrote a most melan-\ncholy lot of recollections, and his name\nI think was Everard. This book\nreminds me of that book because, in\none hundred years from now, there\nwon't be many laughs left in this one\nalthough there are so many of them\nin it now. Mr. Shelton writes the\nbook with his memory filled with the\nrecollections of those people who knew\nwhat Shelton was talking about when\nhe mentioned the name—44 Mr. Toole\";\nwho remembers that name now ? of\nwhat is it significant ? what will people\nto-day find funny in the following\nanecdote : —\n\"On one occasion, while Toole\nwas at the Old Ship Hotel, Brighton,\nBleackley came to see him, and, as\nthey very often did, they began talking\ntogether about their ailments. Said\nBleackley * Johnny, I'm terribly bo-\nthered at night. I can't get to sleep/\n4 Oh,9 said Toole ; 4 I can give you\na splendid prescription that will send\nyou off to sleep at once.' 4 For\ngoodness sake I 9 cried E. O., as he\nhe Was called. 4 What on earth is\nit ? 9 4 It's a copy of my Remini-\nscences I 9 said Toole.\"\nWe who can remember Toole find\nit very charming ; we who remember\nhis face and his voice begin to laugh,\nbut in one hundred years they will\nfeel as I always feel when I read the\nrecollections of Everard. When Mr.\nShelton asks Mr. Toole for another\npound a week on to his salary — Mr.\nToole replies 44 I'll see you damned\nfirst\"; of course we get the whole\npoint of it when we know Toole,\nShelton, London and the rest of it; but\nin fifty years from now there won't\nbe a smile left in it.\nIn this book George Shelton has\nonly painted an inch thick; he has\nforgotten to lay it on large enough for\nthe centuries which are coming. But\nit will be something for him to be in\nthe company of Everard, for there is\na certain quality in both of these books\nwhich is always dear to us and always\nquietly makes its little point, and I\nam not so sure that it is not a triumph\neven to make a little point with a\ncouple of centuries between you and\nyour silent audiences.\nThere are a number of things that\nI could say about this book which I\nam itching to say and may not, because\nit is nine to one that they would hurt;\nand yet I feel nothing but liking\ntowards the Actor who I met once\nand talked with at Barnstable ; I shalL\nnever forget the genial personality.\nOccasionally I said a word or two,\nbut Shelton's kindness and goodness\nbeamed and filled the place to the\nrafters. It was the Bar we were in ;\nwe had lost the train, or rather he\nhad ; I wonder if he will remember ?\nand curiously enough I remember\nthinking at the time — when Shelton\ncomes to write his memoirs what a\njolly book it will be; how it will\nsparkle; how we shall all roar with\nlaughter, and, what is more, what a\nprofundity of thought and feeling will\nbe behind it all; and it is these things\nthat I want my readers to look to find,\nI labour under a disadvantage : —\nI have known the writer — that ad-\nvantage will be memorable in my re-\ncollections to the end ; it is long since\nI saw him, for my beat is between\nRed Lion Court and the little Restau-\nrant, which I do not intend to advertise\nhere in spite of its excellent Mixed\nGrill; but then if I were to meet\nShelton tomorrow, he might remember\nmy face but would not remember my\nname ; and yet, as perhaps my readers\nalready know, mine is an honoured\nname in the Profession — although one\nof my ancestors who bore precisely\nthe same name was Stage Door\nKeeper at Drury Lane as those who\nturn to the histories can ascertain fcjr\na certainty; and, though the other\nancestors never rose higher in the world\nof the stage than to carry banners,\nwhen they weren't carrying bucklers,\nstill we were rather celebrated for\nalways having our own opinion on\nwhat Mr. Macready did and what\nMr. Charles Kean should do, and I\nthink it is from these self-opinionated\nones of the stage of yesterday that I\nhave inherited a certain flair for my own\nopinion. It is probably that in Barnstable\nGeorge Shelton noticed this and pre-\nvented me from butting in by keep-\ning up a fire of conversation, and\nit is probably because of that that I\nam getting my own back again here.\nBut my opinion is that it is an excellent\nlittle book this, and far more readable\nthan some of the large books on the\nart of the theatre whose authors I will\nnot name.\n\nORIGIN AND DEVELOPMENT\nOF LIGHT OPERA by Sterling\nMackinlay. Hutchinson & Co. First\ncheap edition, Price 10/6 net.\nTHIS book was already fully re-\nviewed and warmly praised in its\nfirst and more costly edition in \" The\nMask\", Volume XIV, No 2 (1128).\nThe present editition, at the moderate"}, {"page_pdf": 46, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.46", "texte": "price of 10/6, is Welcome because it\nbrings a useful and well illustrated\nwork within the reach of many students\nwho may have been debarred from\nbuying the first edition.\nMr. Mackinlay tells the story of\nLight Opera in many lands and many\ncenturies. Beginning with the stage of\nancient Greece and Rome, and touch-\ning upon Egypt and the East, he\ntakes a birdseye view of the subject\nfrom mediaeval Europe down to mo-\ndern times, inclusive of England and\nAmerica, France, Italy, Spain, Ger-\nmany, Austria, Russia and Scandinavia.\nThe pages are full of history and\nhistorical figures; there are many anec-\ndotes, both serious and amusing, of per-\nsonalities and events; musical criticisms,\nplots of operettas; and glimpses of com-\nosers, librettists and other figures of\nphe operatic world crowd the pages,\nt Mr. Mackinlay's book, moreover, is\nwell planned in that it shows briefly the\ndevelopment of scenery and lighting, of\norchestral and musical forms, masks,\ncustoms, and the theatre itself, from\nancient times to the present.\nMany illustrations.... nearly fifty....\nenliven the whole, and we recommend\nthis entertaining, and now inexpensive,\nbook, to all who wish to learn more\nof the genesis, development and back-\nground of light opera.\n\nTHE WHITE WALLET by Pa-\nmela Grey (Viscountess Grey of Fallo-\ndon). Designs by Stephen Tennant.\n/. M. Dent & Sons. Price 5/- net.\nTHIS Anthology of prose and verse\ncontains many good things, though\nno particular plan seems to have gui-\nded the compiler in the selection of\nthe extracts.\nDrawn from many ancient and mo-\ndern sources, perhaps too much pro-\nminence has been given to the writings\nof T. W. FI. Crosland, quotations from\nwhose writings far out-number any\nother author.\nBut where did the compiler find the\nversion she gives of Blake :\n\" The angel that presided o'er my birth\nSaid, little creature born for joy and mirth,\n\" Go, live without the help of anything on\nearth \" ?\nWe had always known it as\n\" Go, love without the help of anything on\nearth\nWe like the following old advertise-\nment, cited by Macaulay :\n\"Although it is Wrong, I must frankly confess,\nTo judge of the merits of folk by their dress,\nI cannot help thinking an ill-looking hat\nIs a very bad sign in a man for all that.\nEspecially now as James Johnson is willing\nTo touch up old hats in style for a shilling,\nAnd give them a gloss of so silktJ a hue,\nAs makes them look newer than when they\nwere new\nAltogether a very pleasant little col-\nlection of miscellanies to have upon\none's shelf.\n\nTHE EVERYMAN SERIES.\n/. M. Dent & Sons. Price 2j- net.\n[HE recent volumes issued bring this\ncelebrated collection up to 822\nvolumes, and we note that the bind-\ning, paper and general excellence of the\nbooks keep to the established standard.\nSeeing another work by Defoe among\nthese latest volumes reminds us that\nthe second greatest book by Defoe is\nnot yet in this series, ...\" Moll Flan-\nders \"... and the Everyman series will\nnot be complete without it.\nAmong the latest volumes issued are:\n44 The Plain Speaker \", William\nHazlett.\nThe Rubaiyat of Omar Khayyam\nand Six Plays by Calderoix* translated\nby Edward Fitzgerald.\nEighteenth Century Plays selected\nby John Hampden.\nA Tour through England and Wales\n(2 volumes) by Daniel Defoe.\nGrace Abounding, and The Life\nand Death of Mr. Badman, by John\nBunyan.\nA New Book of Sense and Non-\nsense, edited by Ernest Rhys.\n44 Marriage \", (an old tale which\npleased Sir Walter Scott), by Susan\nFerrier.\nJorrocks, Jaunts and Jollities, by Ro-\nbert Smith Surtees.\nMore Tales from Hans Anderson.\nCastiglione's 44 The Courtier \" trans-\nlated by Sir Thomas Hoby.\nSir John Mandeville's Travels.\n\nEDITORIAL NOTES\nJANUARY: FEBRUARY: MARCH:\n\nTHE CREDO OF THE MASK\nSINCE ITS FOUNDATION\no1908- 1 9 2 9 o\nAS many are reading 44 The Mask \"\ntoday who Were not doing so in\n1918 when we first printed the fol-\nlowing 44 Declaration of Belief \", or\nin 1923 when we reprinted it, ttfe\nhold it to he of value to reprint it\nonce again in this fifteenth volume,\nto clear any misapprehensions and to\nconfirm once more the principles to\nwhich, now as then, We adhere.\nIHJEED THE MASK make any pro-\n* testations of faith this year?...\nYou know its beliefs. Do you think\nthey will change today ?... Why should\nthey ?\nNothing is more easy than that it\nshould remain staunch to its Cause.\nIt is a Cause which, when it bears fruit,\nwill bring a little benefit to every-body.\nBut as that Cause is always being\nmisrepresented and belittled by those\ncurious folk who seem to want the\nworld to stand still so that they may\nmake a remark and ten per cent, let\nus once more rehearse the Creed.\nq THE MASK BELIEVES in The\nTheatre and in The Drama whether\nwritten, acted, sung or spoken.\nq THE MASK BELIEVES in it alU\nq THE MASK BELIEVES in the Ac-\ntor and in the Actress.\nQ IT BELIEVES in the Marionnettes;\nand in Masks.\nq IT BELIEVES in Sceneries and\nsics and in Dancing, in Dancers, Musi-\ncians, Scenographers and Dramatists,\nif; BELIEVES in every blessed or cursed?\nthing that ever was, is or shall be in\nThe Theatre.... if Theatrical.\nq BELIEVES in The Theatre of Eu-\nrope and in the Theatre of Ame-\nrica. Not alone in one local Thea-\ntrical group.\nq BELIEVES in, and venerates, the\ngreat Asiatic Theatre.\nq IT BELIEVES in the FUTURE\nOF THE THEATRE .... not alone\nin the future of a phase of the Lon-\ndon, Paris, or Honolulu Theatre, but\nin the whole.\nq IT LOVES AND ADORES all that\ncan be called The Theatre.\nq IT IS ENTRANCED by the 44 Thea-\ntrical. \" Which some day is to become\nthe Theatrical without inverted com-\nmas.\nIT LOVES the dust and the rags\nand the paint and the daub and dirt\nof the Old fTheatre.... its ancient\nsmell.... its strange air.... its queer\nways.... ALL.\nHOW SHOULD \" THE MASK \" NOT\nLOVE IT ALL ?"}, {"page_pdf": 47, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.47", "texte": "€J As for those who misrepresent \"THE\nMASK tell them from me that we\nknow our own Mother, and what she\nexpects of us, and that no one but\nshe shall dictate to us our duty.\nq THE THEATRE is our Mother. Its\narms encircle the Globe. It is not Pa-\nrochial.... not hypocritical.... not pa-\nthetic.... not pious.... not puffed up....\nstarched or spotless. Not a piece of\nVirtue without any goodness, but\nHuman.\nIts faults become ours.\nDo you suppose we shall not love\nthese faults.... What ?\nOr do you suppose either that we\nshall tolerate them in ourselves for\nlong.... What ?\nIf our Home is not quite as perfect\nas that of the other Muses it can be....\nand so it shall be.\nGive us time to put it in better\norder....\nGive us bricks to build the founda-\ntions of a new one.\nSend no more incompetents to our\naid.... send no more advice, no more\nweak-kneed patrons.... send us more\nsolid assistance if you will.... reliable\nmen and enough money.... we need\nboth.\nAnd help us by routing misrepre-\nsentation.\nQ You, OUR READERS AND EN-\nCOURAGERS, nail the lies to the doors\nof the liars....\nThe Tarradiddle that we want no\nDrama.\nThe Yarn that we want nothing but\nScenery.\nThe Whopper that we despise the\nActor.... that we wish to glorify the\nProducer only.... that our theories are\nrash innovations, are not based upon\nthe oldest and best traditions.... And\nthat special fib of the fib-mongers, that\nwe are exclusive, that we want a pre-\ncious Theatre de Luxe.... nail it\nup ! !\nWe exclude nothing except the non-\nDramatic.... the non-Theatrical; and\nthe great traditions we reverence.\nWe include all and every good form\nof Theatre in our Programme, we do\nnot exclude the worst: already we have\nchanged some of the worst theatres\ninto good ones.\nSo Trace the lies up and down the\ncities to the housedoors of the liars and\nnail them there. Do that part of the\nwork for us and we will do the\nrest.\nq And say besides that it was I who\nasked you to do so on behalf of THE\nMASK and the Dramatic Genius of\nthe World. Gordon Craig.\nFlorence 19 IS.\n\nPERSONALITY AND\no THE ARTS. o\nIs a great work of art the product\nof a great person ?\nIf so what exactly is a great person?\nWe will suppose Alexandre Dumas\nis that — if health, overflowing hearty\nspirits and vigour count. How much\nare they to be allowed to count ?\nBurns is a great poet surely. Ve-\nlasques and Rubens are great painters\nas surely. But then Heine is as great\na poet and was not robust; Giotto and\nChopin were sickly.\nIs health to be reckoned with ? —\ndoes it count or not ?\nThe answer seems to be that old\nremarkable one — yes and no.\nAnd character: — does character\ncount ? — what character ? — all, or\nonly the controlled and disciplined ?\nEdmund Kean and Henry Irving for\ninstance : — the one wild as flames,\nthe second well controlled; do both\ncount equally, or one more and the\nother less ?\nWhat should be the fear, where\nshould be the folly, if we all acknow-\nledge ourselves lacking in certain qua-\nlities and make the effort to develop\nthose qualities — and to discipline our\ndefects ?\nWe do not know what it is we\nlack. We Will not see, or, being told,\n(even by ourselves) we will not admit\nthere is any value in what we lack.\nIs that too personality ?\nDo our great personalities achieve\nwhat they hoped they would achieve ?\nAre they ever successful ?\nSome who wanted wealth (needed\nit) are poor.\nThey wanted the world's recognition\nand they pass unnoticed except by\nthose few 44 in the swim \".\nThey wanted comfort and power —\nthey seem to have little of either. And\nhealth — they are losing some of\nthat.\nLiberty of action they demanded —\nfor themselves.\nCriticism they spurned — and cri-\nticised others.\n44 I teach freedom in life -— freedom\nfrom all ties — religious, domestic,\ncivil, all says this one ; and the same\nhour insinuates that M. M. is not as\nmoral as he might be.\nIs personality able to live and deve-\nlop better in the world or in retire-\nment ? Which is easier ?\nAre we to deduct something vile\nfrom all personality when considering\nit as great, or are we to add something\n— some more understanding — to our\nown small personalities when stopped\nby great personality and forced to look\nit up and down ?\nIs great personality bound to possess\nbig qualities and big defects ?\nAH these questions puzzle us all now\nand again, and we think that to occa-\nsionally attempt to answer them is ncrt\nwithout profit.\n\no ''HAMLET'', o\nDLBLIOPHILES, and all Who delight\nin great books produced in noble\nand beautiful format, will look forward\nwith eagerness to the appearance of\nthe magnificent new Edition of 44 Ham-\nlet \" which is being prepared in\nWeimar at the Cranach Press, the\nowner of which is Count Harry Kessler.\nFor this Edition Mr. Gordon Craig\nhas cut over a hundred blocks, on a\nrare American wood which gives a\nunique impression, and has himself\nspent some time in Weimar to supe-\nrintend their printing.\nAmong the workers at the Cranach\nPress are some of the men who were\ntrained by William Morris at the Kelms-\ncott Press,\nEvery leaf of this new 44 Hamlet \"\nis being printed by .hand on a paper\nwhich has been specially made by hand\nfor this Edition. The two types used\nhave been designed and cut by Ed-\nward Johnston, an Englishman, and one\nof the finest type-designers living.\nAltogether a superb edition is to be\nanticipated.\n\nFEL IX VALLOTIN.\nIjN page 25 we reproduce a head\nof the French actor Mounet-Sully\nby the French artist Felix Vallottin,\nwho was one of the first to revive the\nbold stile of wood-engraving with strong\nmasses of black and white.\nThe artist, not long before his death,\ngave especial permission to 44 The Mask \"\nto reproduce this engraving.\n\nMACBETH DESIGNS.\nhad been obtained from\nMr. Gordon Craig for the repro-\nduction of some of his \" Macbeth \"\ndesigns to accompany the reports prin-\nted on earlier pages of this number.\nBut as these have not reached us in\ntime, we hope to include them in a\nfuture issue."}, {"page_pdf": 48, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.48", "texte": "LAST WORDS.\n\nSENSIBLE PEOPLE\nD. P.\nIWJRS Kate Drain Lawson, technical director\nof the stage of the New York Theatre\nGuild, is a lady I like... not condescendingly\nspoken nor thought, but as honestly as a Grub\nStreet hack can be honest.\nI should like her if I knew her better.\nI like her as it is without having spoken to her.\nShe wanted to be a dancer, not a tech-\nnical director : that I like : she became a very\nable technical director : I like that too. She\ndoes the impossible at twenty-four hours notice:\nFve always liked that: she takes on a role at\na suggestion, — \" when no one else will \"\nand that I like too.\nIt's these sensible people I like — who\nwant to do one thing and do another. I don't\ndo that; that's why I like them and not myself.\nI do what I set out to do, ...get lunch at\none o* clock punctually for myself — up Fleet\nStreet — la mere Grub write the press no-\ntices of plays and puff the players and other\nperformers and occasionally technical directors.\nI dislike that, ...but I sometimes like them.\nI am writing a book about them all:\n— it will never be finished ; for to write that\nproperly would mean postponing my luncheon\nhour indefinitely — forgetting realities.\nAnd then I should be doing neither what\nI set out to do, nor what the so likeable Mrs\nKate Drain Lawson does.\nI read a notice all about Mrs. Kate Drain\nLawson which made me write this.\nI don't know her : I never saw her work:\n— but she wanted to be a dancer -— and is\ntechnical director to the New York Theatre\nGuild....\nGod help her.\nShe wanted to dance\n\nMORE HIGHBROW FUN\no ACOMMENT. o\nA correspondent, having read the note in the\nlast number of 44 The Mask \" on \" High-\nbrow Fun\", in which we quoted the words\nof a London journal 44 Mosquin has been des-\ncribed as \" the Irving of Russia and the title\nis Well deserved '* writes :-— * I agree in\nprotesting against such phrases.\n44 Many people like to form some cor-\nrect idea about an actor before going to see\nhim on the stage, so it is advisable that cor-\nrect statements should be made about actors\nand performers on the screen.\n44 For example, I should be pretty dis-\nappointed if before going to see Charlie Chap-\nlin I were to read in some journal that his\npathos was reminiscent of Duse at her best ;\nor that he was the Giovanni Grasso of Ame-\nrica. I would not enjoy my evening if before\ngoing to see Sir Martin Harvey I should read\nin a magazine that he was \" the Chaplin of\nEngland\nSo when I read the words you quote,\nwhich assert that *'Mosquin has been des-\ncribed as \" the Irving of Russia and the title\nis Well deserved \" I feel perfectly sick with\nthe silly side of the Press.\n\nA MEANINGLESS PHRASE\nDEMPSEY A ACTOR.\nSALARY OF £ 2000 A WEEK.\nE. G. C.\nJACK Dempsey, the ex-heavyweight boxing\nchampion of the World, made a successful\nfirst appearance as an actor at the Majestic\nTheatre, New York lost night in the play\n\" The Big Fight in which his wife, Miss\nEstelle Taylor, plays the part of a manicurist,\nstates a New York Message.\nThe play concerns the effort of Dempsey\nto regain the title which, in the play, he\nfinally wins by a knock out.\nDempsey's salary for this engagement is\nstated to be £2.000 a Week.\nTHE above item of news caught my atten-\nk tion in looking through a paper of Sep-\ntember 20th last.\nThere can be no such thing as the title\nstates, and Journalists might take rather more\ncare to write only what can be, lest journa-\nlism come to lose its splendid reputation for\nbeing clear and reah\nYou can't say \" Dempsey as actor\".\nHe is an actor or he is not one. \"As\nan actor : \" —- rather silly isn't it ? Acting is\na reality, and if you act you become actor.\nSo, gentlemen of the press, give our stage\nstill a chance.\n\nMONSIEUR SAINT E-BEUVE\nIMTIII ■■■■■■ IIW'Ifll'lllBBWWHMBP—BBKSESBMWMBtW ITU BiWllMHMHOgMMMWMMMI ■iWfcllll\" ■\nTUNE 20, 1864. At our Magny Dinner\nJ this evening.... the name of Henri Heine\nwas suddenly mentioned; .... Gautier extolled\nthe physical appearance of the German poet,\nand declared that when he was quite young\nhe was the very personification of beauty,\nmarred only by a slightly Jewish nose. 'Apollo\nwith a touch of Mephistopheles '. * Really *,\nsaid Sainte-Beuve, * I am surprised to hear\nyou speak in such a manner of a creature who\ngot all the information he could out of you,\nand then made use of it in the newspapers—a\nman who destroyed the reputation of his best\nfriends '.\nExcuse me observed Gautier quietly,\nI was his intimate friend, and never had any\nreason to find fault with him. He never said\nanything against a man unless he thought ill\nof his work*\nThis extract is from \" Edmond et Jules\nDe Goncourt \" compiled hy M. A. Belloc\n& M. Shedlock. (Heinemann, 1895).\nHere is another : —\nJanuary 1869. Princess Matilde Buona-\nparte to the de Goncourts: \" Sainte-Beuve\nhas gone over to the Temps !—our personal\nenemies ! \".\nComment. It must be a positive misfor-\ntune-—daily a challenge to the Fates—to have\nSainte or St. as a prefix to your name.\n\no A N ATOM OF TIME.o\nAN hour has sixty minutes — each minute\nhas sixty seconds ; so that there are three\nthousand six hundred seconds in every hour.\nSomething can be done in an hour, and\neven in a second.\nWhat can be done in an atom of time ?\nFor it appears that there is an atom of time.\nIn an hour there are twenty two thousand, five\nhundred and sixty atoms.\nThis I learn from that ever entertaining,\nsurprising publication \"Notes and Queries\"\nwhich is now in its seventy-ninth year.\nThis way of reckoning time is mediaeval\nand is found in the Cambridge University MS\nof the \"Cloud of Unknowing\". There we\nlearn that a point is the fourth part of an\nhour ; that a moment is the tenth part of a\npoint; an ounce is the twelfth part of a moment,\nand an atom is the forty-seventh part of an\nounce.\nA moment was therefore one and a half\nminutes, i. e., ninety seconds.\nWhen we used to speak of ' half a mo-\nment ' I suppose we mean threequarters of a\nminute.\nThat was taking time practically ; for in\nthree quarters of a minute something really\ncan be done thoroughly ; whereas in an atom\nof time at the most all one can do is to con-\nceive an entire poem — if one be Dante or\nShakespeare.\n\nBEHIND THE TIMES.\nTHE Theatre is an art and cannot be mix-\ned with business \" writes Michael\nStrange.\nWe ever doubted but suspected this and\nregret to say said so as much as*...\n20 years ago\n19\n18\n17\n16\n15\n14\n13\n12\n11\n10\n9\n8\n7\n6\n5\n4\n3\n2\n1 year ago\nAnd this year.\nMichael, go buy a watch.\n\nA FAMOUS CLOWN.\njj HE picture of Robert Bradbury (Plate 2)\nwhich illustrates Mr R. J. Broadbent's\narticle. \"A Famous Clown \" is from a photo-\ngraphic reproduction of what the author states\nto be 44 the only picture I have heard of\nBradbury \". *\nThe original is the property of the Na-\ntional Library of Ireland, and it is by kind\npermission of that Library that it is now re-\nproduced in \"The Mask\".\n\nAll Rights reserved. March 1929.\nD irett ore-responsabile Antonio Maraini.\nTipografia L. Franceschini - Firenze."}, {"page_pdf": 49, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.49", "texte": "MASK 1929.\n\nVII.\nPlan of Venice 1500."}, {"page_pdf": 51, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.51", "texte": "IX.\nPlan of Venice 1500.\n\nLTHE MASK 1929."}, {"page_pdf": 53, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.53", "texte": "XI.\nPlan of Venice 1500.\n\nTHE MASK 1929."}, {"page_pdf": 55, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192901-01.1.55", "texte": "XII.\nPlan of Venice 1500.\n\nnili A/ASK i<)2g."}]}