{"numero_id": "bm-bmtnaau-1929-07-01", "volume": "bmtnaau_1929-07_01", "ocr_sha256": "1d7975cca8946e275f1a0107a7345b6902507ab6dca8aee9ff0bb3c8ede4cff8", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1929/07_01/bmtnaau_1929-07_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1929/07_01/bmtnaau_1929-07_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01", "articles": [{"article_id": "bm-bmtnaau-1929-07-01-c002", "article_bluemountain": "bmtnaau_1929-07_01#c002", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 1", "page_fin": "couv. 1", "image_debut": 1, "image_fin": 1, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.2", "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=bmtnaau192907-01.1.1", "debut_caractere": 298, "fin_caractere_exclue": 1126, "texte": "LOVELY NANCE OLDFIELD AND HER\nEFFECTS, & THE REVEALING PO-\nWER OF TRIFLES, By Gordon Craig,\nMORE OF MLLE. RACHEL'S POSSES-\nSIONS, Being a further Translation of the\nCatalogue of the Sale held after her death.\nHANNEN SWAFFER, \" Soundest and most\nreliable English-writing dramatic critic alive\"\nby rtuhp rolrreman. _ _\nIV MYSTIFICATION , AND LORD AND\nIVI LADY BYRON, by L. C.\nLORD MELCHETT AND «• THE MASK \".\nA NOTE.\nTHE NATURAL HISTORY OF THE\nBALLET GIRL. As studied in 1847 by\nAlbert Richard Smith. (Concluded).\nAN •• EXCEEDINGLY CRUEL. UNFAIR\nAND UNSPORTSMANLIKE\" CRI-\nTIC. An Open Letter to Mr. St. John Ervine\nfrom Barrett H. Clark.\nARTICLES AND NOTES ON CHEA-\nTING THE BRITISH PUBLIC ; THE\nCINEMA AND THE SILLY-ASS BRIGADE:\nCOSTUME: AN AMERICAN VIEW OF\nTHE ENGLISH THEATRE: GOETHE. ISA-\nDORA DUNCAN, and many other subjects."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c003", "article_bluemountain": "bmtnaau_1929-07_01#c003", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 1", "page_fin": "couv. 1", "image_debut": 1, "image_fin": 1, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.3", "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=bmtnaau192907-01.1.1", "debut_caractere": 1128, "fin_caractere_exclue": 1398, "texte": "ILLUSTRATIONS\nA DESIGN BY ANGELO CARBONI FOR A STAGE SCENE. SOME SCENO-\nGRAPHIC AIDS FOR LITTLE THEATRES: THE ELEVENTH OPERA\nHOUSE. PARIS. SCENES IN THE LIFE OF THE BALLET GIRL BY HEN-\nNING, GAVARNI AND GILBERT. A FINE FOLDING PLAN OF VENICE.\nBY CORONELLI, (CIRCA 1700)."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c004", "article_bluemountain": "bmtnaau_1929-07_01#c004", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.4", "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=bmtnaau192907-01.1.2", "debut_caractere": 527, "fin_caractere_exclue": 1376, "texte": "LITERARY CONTENTS.\nFOREWORD J- s page 87\nON THE INVENTORY OF AN ACTRESS'S EFFECTS Gordon Craig ..... 89\nHANNEN SWAFFER Philip Polfreman 93\nCATALOGUE OF THE SALE OF MLLE. RACHEL'S\nPOSSESSIONS. Part 2 Translated by D. N. L. . . . 95\nTHE RAH FT GIRL: Concluded Albert Richard Smith 1847. . .100\nA NOTE UPON CORONELLI'S PLAN OF VENICE J. S 108\nCHEATING THE BRITISH PUBLIC .... John Semar 109\nPANDORA'S BOX X. Y. Z. . . . . . .110\nFINE FEATHERS . . A. C 113\nA STAGE SCENE C 112\nMISUNDERSTANDING; Some Notes on an Essay on Gordon\nCraig D. N. L 113\nCOSTUME Anon 114\nMR. C. W. BEAUMONT'S THEATRE PUBLICATIONS Anon 116\nAN OPEN LETTER TO MR. ST. JOHN ERVINE . Barrett. H. Clark . . . .117\n\" MYSTIFICATION \" and Lord and Lady Byron . . L. C 118\nTHE LONDON THEATRE as seen by an American . D. Nevile Lees. . . . . .12'\nBOOK REVIEWS. EDITORIAL NOTES. LAST WORDS."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c005", "article_bluemountain": "bmtnaau_1929-07_01#c005", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.5", "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=bmtnaau192907-01.1.2", "debut_caractere": 1378, "fin_caractere_exclue": 1785, "texte": "ILLUSTRATIONS.\nA DESIGN FOR A STAGE SCENE .... Angelo Carboni . . Plate 7. Face 87\nSOME DESIGNS FOR LITTLE THEATRES . . Un Religieux Plates 8 & 9. follow 94\nA PLAN OF VENICE, circa 1700 Large folding plate . Coronelli .... Face 130\nTHE ELEVENTH OPERA HOUSE. PARIS . . Anon 129\nTHE BALLET GIRL, Scenes from her Life . . . Henning, Gavarni & Gilbert . 100-108\nHead and Tail Pieces from old and modern Designs."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c006", "article_bluemountain": "bmtnaau_1929-07_01#c006", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "87", "page_fin": "88", "image_debut": 3, "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=bmtnaau192907-01.2.6", "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": 3, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.3", "debut_caractere": 15, "fin_caractere_exclue": 1371, "texte": "FOREWORD\n\nACHEL, Mrs. Oldfield, the Ballet Girl and Lady Byron...\nall of these ladies have a place in this number.\nWe have often wondered why people collected stamps.\nOf all trivial pursuits it seemed to us one of the most trivial.\nYet you will find it is men as a rule who collect these trifles\nwhile it is women, who are always accused (and how illogically) of\nbeing the trivial sex, who do no such thing.\nDid Rachel collect such worthless things ?... or Mrs. Oldfield }\nThe catalogues of their sales and effects, which we are reprinting in these\ndays, reveal no stamps. The Ballet Girl rarely used a stamp : Lady\nByron one or two.\nThat very estimable Lady Byron, to whose character our reviewer\nbarely renders justice, where is the catalogue of the sale or where the\ninventory of her effects ? What effects had she ? We would be glad\nto possess a copy of the list, for, since we began to look curiously\ninto these things , we have come to see therein unconscious portraits\nof the ladies to whom the effects belonged.\nA wise psychologist could deduce therefrom a photographic likeness\nof the lady's soul. That is why we would see a copy of Lady\nByron's list.\nWe do know that she left a written \" Character of Lord Byron \"\ndrawn up before their marriage; we know that she left a judicial\nanalysis of Lord Byron drawn up nearly forty years later and handed"}, {"page_pdf": 4, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 745, "texte": "over to the Rev. Frederick Robertson of Brighton, full of revelations,\njudgments and curious attitudes. But, beyond an abundance of letters\nand \" disclosures we know nothing of her effects.\nSince Actresses be ever acting it follows that the wisest soul-reader\nwould be baulked by what they left behind. Effects and \" properties \"\nbeing their stock in trade, all we can deduce from their lists of fine\nlinen and purple, is that they were very effective.\nThe Ballet Girl is equally thwarting.\nSo poor Lady Byron (who never acted) is left over, and a hun-\ndred eyes will now ferret about to discover what exactly her reading\nmatter may have been.\nAt her sale was there put up and knocked down perhaps a copy of\nSouthey's \" Life of Nelson \" ?\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c009", "article_bluemountain": "bmtnaau_1929-07_01#c009", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "89", "page_fin": "93", "image_debut": 5, "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=bmtnaau192907-01.2.7", "titre_corps": "ON THE INVENTORY OF AN ACTRESS'S EFFECTS WITH SOME NOTES : WITH SOME NOTES BY GORDON CRAIG", "titre_sommaire": "ON THE INVENTORY OF AN ACTRESS'S EFFECTS WITH SOME NOTES : WITH SOME NOTES BY GORDON CRAIG", "signature_source": "GORDON CRAIG", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.5", "debut_caractere": 0, "fin_caractere_exclue": 3123, "texte": "ON THE INVENTORY OF\nAN ACTRESS'S EFFECTS\nWITH SOME NOTES\nBY GORDON CRAIG.\nf< The English were prompted by no other Principle,\nin burying Mrs. Oldfield in Westminsten-Abbey, than\ntheir good Sense. They are far from being so ridiculous\nas to brand with infamy an Art which has immortalized\nan Euripides and a Sophocles A Voltaire.\nmil \\\\msKsmssmmsamm\nLOVELY Nance Oldfield was born on\na day unrecorded in the year 1683,\nat a house in Pall Mall 61, London ; she\nbecame one of the most famous of English\nactresses and she died, poor Mrs. Oldfield,\non Monday October 23 rd of the\nyear 1730, at No. 60, Lower Grosvenor\nStreet, Hanover Square, a new-built house,\nin the same old London in which she had\nbeen born.\nIn 1731, Mr. William Egerton (3),\nbrought out his \" Faithful Memoirs \"\nof her \" LIFE \", and also of her\n\" Amours and Performances \" (Price 3s.\nStitched ; 3s. 6d. Bound !).\nHe calls her \" justly celebrated and\nthe most eminent of her time \" and on\nthe title of his book adds this pretty piece\nfrom Rochefoucault : \" The great pains\nwhich the LADIES of this age take to\ncommend VIR TUE, is sometimes a shrewd\nsign that they take but very little to\npractice IT. And, the greatest Part of\nthose complaints against their Neighbours,\nare owing to the Want of Reflection upon\ni lipm cp|\\/pc\nOf all this (and I like it all) I like\nmost the \" 3s. Stitched; 3s. 6d. Bound \".\nTo think that one could get a nice oc-\ntavo bound in good young calfskin, tool-\ned, gilt, and all the rest of it, for six-\npence in 1731, makes me unleash a\nsigh for 1731 again.\n<J Dear Mrs. Oldfield was not a sain-\nted lady : no one could make a joke at\nher expense as they could about Queen\nElizabeth. Mr. Egerton says that she had\namours on the title page, he says it;\nbut she was dear Mrs. Oldfield and her\namours were Nance Oldfield's.\nI mean she was kind and clever, al-\nways tried to please and always tried not\nto hurt.\nDuring her life, the great-great-grand-\nfather of my old friend Drury Pervil acted\nas property-man in the theatre where she\ndid perform in that Theatre Royal in\nDrury Lane. Later he came (at his own\nrequest) to act as stage-door keeper.\nSome historians deny this, but surely\nhis descendant should know, and he asserts\ndefinitely that his great - great - grandfather\nwas property master or man at the theatre\nwhen Mrs. Oldfield acted her many parts\nthere, and he it is who has left us a care-\nful list of those parts.\nEgerton gives us in his \" Faithful\nMemoirs \" a list of her effects. A si-\nmilar list of the great Rachel's effects\nappeared in The Mask• (l) It interested\nme and perhaps you.\nOn reading these two lists, Rachel's\nand Oldfield's, I felt as I did when look-\ning through the effects of Ellen Terry,\n\n(1) Probably The George Tavern, or one of the\nadjoining houses.\n(2) \" Friday, October 23 \", writes Egerton, but I\nmake it out to have been a Monday.\n(3) Edmund Curll, the famous grub, who had his\nbookshop next door to Will's Coffee House, in Bow\nStreet, Covent Garden, who was not liked is not\nliked yet when he liked could write.\n(1) It is continued in this number and will be com-\npleted in the next. Editorr"}, {"page_pdf": 6, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 3532, "texte": "sold at Christie's. I felt that all these\npretty things, each having a history, should\nhave that history told, their portraits taken,\nand thus, through word and picture, tell\ngently more of the tale of Ellen Terry or\nof Nance Oldfield than we shall ever get\nin the gusty emotional way.\nAnd this catalogue of Mrs. Oldfieid's\neffects is almost better than a life ill-told\nas some vain admirer would tell it, for we\nare spared the self-portrait of the admirer and\nwe get the admired. And on each item,\nif we like to linger, we can suppose many\ngentle things according to our mind's heart\nor if the mind be without a heart,\nwe can speculate alone in the frost.\nThat \" gold snuff-box, set with Bril-\nliants and Rubies \", catches my eye.\nWhen was it first seen and touched by\nher ? what was she saying ? and in what\nseveral situations, after it was hers, did\nher mind and hand turn to it ? I won-\nder, did she at seven o'clock each even-\ning, always place her light hand on it\nand, raising it, carry it from her dressing-\ntable to her boudoir or her theatre? And\nwhy ? Did the brilliants always remind\nher of the same thing or of several things ?\nDid it inspire her versatile wit or did it\nbring calm to her noble character ? What\nsize and weight was it ? Did it ever\nfall ? What did she say then ? And\nfalling, as she stooped to recover it, did\nshe not once strike her forehead on the\nknob of the door, and of this stunning take\nto her bed ? Did she there, next morn,\nturn, put out her hand not find it near\nand whisper, \" Where is my box ? \"\nAnd was there a long hunt for it until\nthe wretch was found beneath the sofa,\nwhere it had slipped, pushed by her heel,\nas she tried to recover herself at her fall ?\nAnd as it came in and her face lighted\nup, did not my Lord Fitz Geralton (coming\nin too) take the joyful look as harbinger\nof his coming and once more grow\nvain ?\nTell us then the story of a woman s\neffects all the lesser details that\nwe may learn to see and hear the woman.\nI had not heard of night jewelry be-\nfore though most of the world knows\nit, I suppose. So that coming upon \" A\nPair of Ruby Night-Ear-Rings, set with\ngold\", in the list of effects, had a pretty\nsound. \" Pier and chimney glasses \"\ninto which she had looked such clear\npools of joy where are they now ?\n\" Carpets of the nicest sort \" over which\nshe passed, and which she saw, and felt\nbeneath her feet. What has happened\nnot only to these nicest carpets but to\ntheir \" Memoirs \" ? Wandering back to\nPersia, their souls are heard saying to the\nhundreds of fellow carpets who never tra-\nvel from Teheran, \" I was the carpet of\nthat justly celebrated and most eminent\nactress, Mrs. Nance Oldfield, and no one\nin London has cared to hear, to inscribe,\nand to remember the lovely things I know\nof her. Her regard for Lord Hxxxx is\nvaguely known ; her love for me is lost\nentirely - and we never fell out; never\nanything passed between us but was a joy.\nShe admired me spoke of me of\nmy expression and colour. She was grieved\nif 1 was wounded by any clumsy spur, and\nwhen a dish of tea tipped up and fell\non me, she was instantly down on her knees\nto put all right again.\n\" And what of that look she once gave\nme when returning at night alone, after\nthe play ? It was the twenty-seventh of\nFebruary 1730. She opened her door\nand came in with lights. To the whole\nroom she spoke little nothings, but full\nof love and then departed, crossing light-\nly over me to her inner room, closing\nthe door. Only the moon was left to\nsprawl over us all as it rose above the"}, {"page_pdf": 7, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 3033, "texte": "straight roof of No. 22, across the way.\nAh ! What a Lady ! You have none\nsuch in this abominable Persia of yours \".\nBut really carpets talk better than this\nand Hans Andersen or Valentine Vox\ncould have given a more Persian accent\nto its voice.\nNo laces are recorded as having been\nin Mrs. Gldfield's sale; yet, \" As the\nnicetye of her Dress was her Delight\nwhen living, she was nicely dressed after\nher Decease, being by Mrs. Saunders\nDirection thus laid in her coffin : she had\non a very fine Brussels-lace Head, a\nHolland Shift, with tucker, and a double\nRuffle of the same lace, a pair of new\nKid-Gloves, and her body wrapped up in\na Winding Sheet \", records Egerton.\nWhat a number of important facts\nshould come down to us with the record\nof a fine woman's lace ! Endless should\nsuch records be of such a woman —-\nand never unassociated with some trinket,\nsome book, vase, or wearing apparel. Yet\nbarely does a biographer tell us of these\nthings of things so very near and dear\nto her.\n1 have two lovely little silver labels\nhung on chains, with the words \" Whis-\nky \" \" Brandy \" cut on them. With\nthese two labels are engraven on my mind\npicture after picture of a lady quite un-\nknown to you, a Madam Taylerren, but\nfamous in Vienna some hundred years ago.\nI have the record of the several times a\ncertain visitor saw these labels what\nshe did to them where they came\nfrom what she said as she opened a\n- certain black and gold cupboard door.\nAnd having the labels and knowing all\nthis is like having two living things which\n. speak to me of this lady.\nChopin's pencil-case perhaps exists\nor the watch-chain given him on Monday,\n. December 21, 1850 in Majorca but\nwhere is the little picture, where the tale,\nof what he did and said when he touched\nthese two relics, so that they shall live\ntheir life and not be deadly mementoes\nof death ?\nHere stood Louis XVI on the day\nwhen the mob burst into the gardens of\nVersailles \", the guide of the Palace will\ntell you. I really can't believe that, for\nhe doesn't know. And besides, the pic-\nture is too big ; neither did the Palace\nlook like that in 1789, nor were the\nsounds the same ; the light was not the\nsame, nor the trees, nor anything. But\nshow me the cane he was carrying ; tell\nme the whole history of that trifle ; and I\nshall then come rather nearer to King\nLouis maybe even at that memorable\nmoment in 1 789.\nAnd now are you tired with all this\ntalk of relics ? I am.\nFROM WILLIAM EGERTON\n(CURLL'S) BOOK\nMRS. OLDFIELD having bequeathed\nher Dwelling-House and Furniture\nto her son CHURCHILL, and directed her\nExecutors to turn and Estate\nand Effects into ready\nconvenient Speed,l thought it would not\nprove unacceptable to my Readers to give\nthem an Inventory of some of her nicest\nCuriosities, &c. because it may in a great\nmeasure confirm the Delicacy of her\nTaste, and shew her judgment in a few\nparticulars foreign to her Profession, where-\nin she was truly a Non Pareil.\nMEDALS, STATUES, PICTURES,\nJEWELS, & C.\nFifty Two Silver Medals.\nSeventy One Gold Counters."}, {"page_pdf": 8, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.8", "debut_caractere": 0, "fin_caractere_exclue": 2992, "texte": "STATUES.\nTwo Marble Bustoes.\nHer Son Churchill in Marble.\nThe Earl of Strafford, a whole Length,\nfinely carved in Ivory, by Mr. Gibbons.\nA Dog curiously performed in Marble.\nThe Judgment of Paris, a Basso Relievo,\nin Ivory.\nA Venus in Brass.\nSeveral fine Heads in Agate Onyx, for Seals.\nA Parcel of Silver Roman Medals.\nA Five Guinea Piece of K. GEORGE 11.\nA TWO GUINEA One with -\nSix different pieces of Gold.\nTwo Gold Snuff-Boxes ; one set with\nBrilliants and Rubies.\nPICTURES.\nThe E. of Essex, by .\nBradshaw's Head, by Cooper.\nA fine History Piece, by Ricci.\nSeveral Landscapes and Battle-Pieces.\nA Sea Triumph, by an Italian Master.\nTwo Dutch Sea Ports, by Brughill.\nVenus and Adonis, by Luca Jordano.\nA View of Plymouth by ncres.\nThe Royal Family of STUART, after\nV andyke.\nAnna Bullen's Head.\nThe Holy Family, after Raphael.\nA Fine Flower-Piece.\nKing George I by Kneller.\nA Madonna with Angels, by Muratti;\nwith some other very neat small Paintings in\nOil, and India Pictures.\nThree Gold Watches, two Repeaters, one\nby Hubert, one by Poy, and another finely\nchased.\nA Gold Equipage finely chased.\nA Gold Smelling Bottle.\nSix Gold Stay-Buckles and Tags.\nSeveral very fine Sets of China, Japan'd\nand Gilt, with a large Quantity of the rich-\nest old China.\nTwo very fine Antique Vases.\nFine India Chests, Cabinets, Etc.\nThree Gold Medals of Q. Anne and\ntheir present Majesties.\nA Roman Wolf, Antique.\nA Gold Repeating Watch and Chain,\nenriched with Brilliants, Rubies, and Lapis\nLazuli.\nTwo fine Pieces of after 7e-\nniers.\nTables of Marble, Agate, and Jasper.\nA Curious French Repeating Clock by\nDelander.\nA fine Riding Equipage embroidered\nwith Silver.\nA Set of wrought Dressing Plate.,\nJEWELS.\nA Necklace with 37 Garnets, and a\nDiamond in each.\nA Fine large Pearl Necklace.\nA Seed Pearl Necklace.\nA Large Brilliant Ring.\nA Brilliant Weighing 11 'A Grains.\nA Diamond Necklace, containing 34 Bril-\nliants.\nTwo Seals set with Brilliants and Lapis\nLazuli.\nFive Brilliant Crochets.\nA Pair of Brilliant Ear Rings,, contain-\ning 8 large and 12 small Diamonds.\nA Pair of Brilliant Ear-Rings with Eme-\nrald . Drops.\nA Pair of Brilliant Ear-Rings with three\"\nDrops each.\nA Cross with; exceeding fine Emeralds,\nset with small Brilliants.\nFive Diamond Crochets.\nA Diamond Buckle with Rosen.\nAnother, with 24 Brilliants.\nA Locket set with Pearl.\nThirteen Brilliants unset.\nA very fine Yellow Brilliant Ring.\nA small enamelled Brilliant Ring &nrr\nFour Others. \"\nA Pair of RubyNight-Ear-Ri set\nwith Gold.\nA Pair of large Garnet Ear-P ;an(j\nDrops.\nA Cross and Couland of the, <§ame<\nAn enamelled Picture of vkp. vm*®. >nl.\nry • f v-, illC piCSI Jill\nisang or trance.\nAnother, of a Nobleman,, Gold.\nBesides these Curiosities -she had at prel tty\nCollection of Books, m French & EkdisFi;\na large Quantity of Plate; Beds and Chairs\nof Damask Chmts and Needle-Work; Fin e\napestry ; Pier and Chimney-Glasses* Scon -\nces, branches and Lustres; Carpets of thi i\nnicest Sorts; in short the wlhole Ft'irniture of"}, {"page_pdf": 9, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 786, "texte": "her House was adjusted in the most elegant\nand fashionable manner.\nPage 209 to 212.\n\" Memoirs of the Life of Mrss Oldfield\nWilliam Egerton, 1751, London.\nI think that those who have spoken ill\nof Mr. Curll a hangdog name as-\nsuredly should they ever read this life\nof Mrs. Oldfield, should pause then and\nconsider carefully whether perhaps the men\nwhom he damned were not just a bit more\n\" scurrilous \" than silly old Curll of whom\nMr. Thomas Amory could say with gra-\ntitude that \"he brought me to the play-\nhouses and gave me a judicious account\nof every actor. He understood these\nthings well. No man could talk better\non theatrical subjects \".\nIt is much to say of anyone for\npeople like Curll, Sarcey, Swaffer, talking\nwell on theatrical subjects, are not to be\nmet with every day."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c012", "article_bluemountain": "bmtnaau_1929-07_01#c012", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "93", "page_fin": "93", "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=bmtnaau192907-01.2.8", "titre_corps": "TWO DEFINITIONS", "titre_sommaire": "TWO DEFINITIONS", "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": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.9", "debut_caractere": 788, "fin_caractere_exclue": 1392, "texte": "TWO DEFINITIONS.\nTHE ART OF THE THEATRE.\nTHIS TERM •• ART OF THE THEATRE \"\nIS TAKEN TO MEAN THE PICTORIAL\nPART OF A STAGE PICTURE. THAT IS\nTHE INCORRECT WAY TO TAKE IT. THE\nTERM MEANS THE WHOLE RESULT AS\nHEARD AND SEEN ON THE STAGE :\nPLAY - MUSIC - SCENE - ACTING - DAN-\nCING - LIGHTING - SINGING - ALL. THE\nPLAY-MAKING TAKEN ALONE IS A CRAFT :\nDANCING A CRAFT : EACH PART IS\nA CRAFT. TAKEN TOGETHER THEY FORM\nA WHOLE, AND THAT WHOLE TODAY GOES\nBY THE NAME OF THE THEATRICAL ART.\nPLAYWRIGHT.\nPLAYWRIGHT SHIPWRIGHT WHEEL-\nWRIGHT.\nA WRIGHT IS PLAIN ENGLISH, AND MEANS\nA WORKMAN: A WORKMAN WHO IS\nCRAFTSMAN."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c013", "article_bluemountain": "bmtnaau_1929-07_01#c013", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "93", "page_fin": "94", "image_debut": 9, "image_fin": 10, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.9", "titre_corps": "HANNEN SWAFFER : BY ONE WHO ADMIRES HIM", "titre_sommaire": "HANNEN SWAFFER : BY ONE WHO ADMIRES HIM", "signature_source": "Philip Polfreman", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 9, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.9", "debut_caractere": 1394, "fin_caractere_exclue": 2984, "texte": "HANNEN SWAFFER\nBY ONE WHO ADMIRES HIM.\n\nT was once in London, and, though my\ni particular occupation is far removed from\nthings theatrical (as a matter of fact I'm\na farmer), I have a particular liking for\nthings theatrical and I study them.\nI have never known how a theatrical\ncritic could find anything interesting to\nwrite about the London theatre today, and\nthis is why 1 have such an admiration for\nHannen Swaffer. He is fairly well hated\nby the theatrical profession but no one\nknows why. I, who know lots of thea-\ntrical people, do not know why; neither\ndo they. I've asked them. All they\ncan do is to splutter.\nThe first time I heard Swaffer's name\nsome time about 1920 I think, I took\nit to be an assumed name. I read his ar-\nticle and saw a portrait of him and still\nfelt assured certain in fact that no\nsuch person ever existed. I had a notion\n(absurd as it may sound) that it was a\nname under which Dr. J. M. Bulloch\noccasionally wrote. I then saw it again\nand passed it by. Then, as I say, I was\nonce in London, and, being amongst thea-\ntrical people and, hearing six or seven all\nSwaffering around cursing Swaffer\nsneering at Swaffer by-playing about\nSwaffer I thought for a moment and,\nat a lull in the commotion, asked, \" Who\nis Swaffer? \". A roar went up. It dazed\nme, but before long I discovered that I\nhad been supposed to have made a smart\njoke 1 suppose I said it so naturally.\n\" That's knocked him \", thought one\nof the roarers. \" That's a good 'un \",\nfelt another. \" Who's Swaffer ? \" Ha,\nha, ha \".\nBut I had meant what I had said.\nI had meant to say, \"I do not know"}, {"page_pdf": 10, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.10", "debut_caractere": 0, "fin_caractere_exclue": 3203, "texte": "Mr. Hannen Swaffer ; I don't even know\nif he is an important critic. I have heard\nhis name, but who is he ?\n€J 1 was asking, obviously, for infor-\nmation, but 1 was not enlightened. In\nLondon that is the last thing one must\nlook to be. 1 was merely emotionated\nI felt I knew not what.\nThe mere thought of Swaffer stirred\nthe whole room curiously... but the peo-\nple in it all failed to give me his measure\nor his portrait. They always do. Some\none may have even said \" Old Swaffer\nthereby showing that at any rate he\nwas held in a far-off sort of toleration by\none of them but I fear that no one\nshowed the slightest affection for him\nsome of his fellow journalists were present.\nI left the house as ignorant as ever who\nSwaffer was or might be. No one in\nLondon, in that circle, ever makes anything\nclear. As an example of this there\nwas an actor present whose work 1 had\nnever seen. I wanted to know about it.\nNo one enlightened me. Yet I Was there\nto meet him ! !\nA year later, i met Swaffer ca-\nsually and then 1 began to read his\npages in The Daily Express. It is far\nand away the best conception of London\ntheatricals that you get on that page. I\ncannot say exactly why but I guess\nit is because Swaffer is intelligent never\nsatisfied with himself always hopeful\nabout the stage expecting nothing\nutterly sceptical but distinctly full of hope,\nelse he had died in three years of such\nexperience. Swaffer has an unfortunate\nserious love for the stage unfortunate\nfor him fortunate for us so what-\never he may purpose to write is to be\nwritten by him to the noblest ends. Yet\nSwaffer is obliged to witness daily the cun-\nning antics of a crowd of professionals all\nbent on deceiving themselves and one another\nfrom meanest motives and thereby degrading\nthe British Theatre. And these people are\nthe riff-raff who have the audacity to hate\nand despise Hannen Swaffer. Even oetter\nmen and women in the theatre indulge\ntheir blind prejudice against this critic\nThey don't like his personal touch. I\nthink that men like Denis Neilson Terry,\nHenry Ainley,... to select two representative\nnames,... understand his worth. Then\nthere is Binnie Hale who has drawn his\nportrait admirably. And there are a few\nothers. It is of course never exactly\npleasant, nor does it conduce to an enthu-\nsiastic liking for a critic, to be sharply\ncriticized by him. But what is a keen\ncritic for, if not to say what he thinks ?\nWhat is a clever one for (and a clever\njournalist) but to make his critiques and\nhis notes readable and entertaining?\nSwaffer is not only readable and en-\ntertaining, he is generally correct. When\nhe announces that £ 1 70,000 has been\nlost in eighteen theatres in 1928, when\nhe tells us that \" Journey's End \" was,\nin February last, making a profit of £l5OO\na week, we can rely on his information;\nand, with the exception of George jean\nNathan, he is easily the soundest and\nmost reliable English-writing dramatic critic\nalive.\nAnd it is useful to know these things\nso that, when we are told that certain\nmanagers never have losses, we can refute\nit, and when we are told that managers\nhave not enough to risk anything oh a better\nclass of work we know that's not true\neither.\n\nPhilip Polfreman."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c015", "article_bluemountain": "bmtnaau_1929-07_01#c015", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 11, "image_fin": 11, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.10", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "Allan Carric", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 11, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 1073, "texte": "IN 1649 the third volume of a charming\nwork on Perspective appeared in Paris\nwritten by \" tin religieux de la Compagnie\nde Jesus\nThis good man dealt with every concei-\nvable branch of perspective ; and though un-\nreligioux did not when he came to the ques-\ntion of perspective in Theatres bolt as though\nSatan were after him. He went on and\namused himself and amuses us.\nrT\"lHis first platey he tells us represents how\nto make a scene change thyee times by\nmeans of triangles.\nIt is quite obvious to us without mot e\nexplanation how this is done. Each triangle\nturns on its own central pivot fixed above and\nbelozv.\nHe put four triangles three feet behind\nthe cut architectural opening AB and CD\n(plan a. b. and c. d.J. On the flat side e.\nf. (repeated) a building is painted. Let.\neach triangle turn and- let the side e.g. e.\ng. (repeated) come to the front and lo I a\ngarden : turn once more and lo I there is a land-\nscape g. fg. f. (repeated). The actors will\nenter behind the architectural cut piece and\nthe triangles.\nThus the religueux goes on. What easier\nor nicer."}, {"page_pdf": 11, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.11", "debut_caractere": 1137, "fin_caractere_exclue": 1150, "texte": "Allan Carric."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c016", "article_bluemountain": "bmtnaau_1929-07_01#c016", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 11, "image_fin": 11, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.10.1", "titre_corps": "1649 SOME STAGE SCENES OF 1649 FOR LITTLE THEATRES", "titre_sommaire": "1649 SOME STAGE SCENES OF 1649 FOR LITTLE THEATRES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 11, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.11", "debut_caractere": 1075, "fin_caractere_exclue": 1135, "texte": "1649\nSOME STAGE SCENES OF 1649 FOR LITTLE THEATRES.\nPlate 8."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c017", "article_bluemountain": "bmtnaau_1929-07_01#c017", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 13, "image_fin": 13, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.11", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "Allan Carric", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 13, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 810, "texte": "XTow to make the two side pieces change (for\nthe passage about these back pieces I leave\nuntranslated it being unnecessary since von\nhave the triangles).\nHe tells us that these side pieces revolve\non their pivots E. They can show two effects :\nhouses and trees.\nCompare these with some notes by Sabbat-\ntini, reproduced in Miss Campbell' s book\nScenes and Machines \" and in Dr. NicoW s\n\" Development of the Theatre\", so as\nto see that you make no mistakes, and there\nyou are equipt with all the scenes you 7/ ever\nzv ant.\nAnd now you''ll no longer annoy the dra-\nmatic authors ; and besides, it will cost rather\nless than most scenes.\npRESUMABLY the stage is a flat one - yet Fur-\ntenbach shows us a distinct slope : a slope\nwhich always has puzzled me.\nI should use a flat stage if I -were you.\n\nAllan Carric."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c018", "article_bluemountain": "bmtnaau_1929-07_01#c018", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 13, "image_fin": 13, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.11.1", "titre_corps": "1649 SOME STAGE SCENES OF 1649 FOR LITTLE THEATRES", "titre_sommaire": "1649 SOME STAGE SCENES OF 1649 FOR LITTLE THEATRES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 13, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.13", "debut_caractere": 812, "fin_caractere_exclue": 872, "texte": "1649\nSOME STAGE SCENES OF 1649 FOR LITTLE THEATRES.\nPlate 9."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c019", "article_bluemountain": "bmtnaau_1929-07_01#c019", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "95", "page_fin": "98", "image_debut": 15, "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=bmtnaau192907-01.2.12", "titre_corps": "CATALOGUE OF THE SALE OF MLLE. RACHEL'S POSSESSIONS : HELD IN PARIS FROM THE 12TH TO THE 29TH OF APRIL 1858 AT PLACE ROYALE No. 9 BY THE ADMINISTRATOR OF ME. HAYAUX DU TILLY, RUE DU BAC, 26, AND RUE DE L'UNIVERSITÉ, 46, PARIS CONTINUED FROM THE LAST NUMBER,", "titre_sommaire": "CATALOGUE OF THE SALE OF MLLE. RACHEL'S POSSESSIONS : HELD IN PARIS FROM THE 12TH TO THE 29TH OF APRIL 1858 AT PLACE ROYALE No. 9 BY THE ADMINISTRATOR OF ME. HAYAUX DU TILLY, RUE DU BAC, 26, AND RUE DE L'UNIVERSITÉ, 46, PARIS CONTINUED FROM THE LAST NUMBER,", "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": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 2454, "texte": "CATALOGUE OF THE SALE OF\nMLLE. RACHEL'S POSSESSIONS\nHELD IN PARIS FROM THE 12TH TO THE 29TH OF\nAPRIL 1858 AT PLACE ROYALE No. 9 BY THE\nADMINISTRATOR OF ME. HAYAUX DU TILLY,\nRUE DU BAC, 26, AND RUE DE L'UNIVERSITÉ, 46, PARIS\nCONTINUED FROM THE LAST NUMBER,\nSILVER, JEWELS AND\nDIAMONDS.\nSILVER\n1. Two stands for hors-d'oeuvres, with\nsilver covers, weighing 400 grammes.\n2. Casserole weighing 253 gr.\n3. Eight stands for bottles weighing\n1,615 gr.\n4. Fish-slice with ivory handle, weighing\n137 gr.\n5. Fish-slice, the Boar-hunt, gross weight\n157 gr.\n6. Mustard-pot weighing 187 gr.\n7. Six bouts de table weighing 282 gr.\n8. Four salt spoons, one for mustard,\nanother for sugar, foreign silver, weighing\n65 gr.\n9. Eight salt spoons in, silver-gilt, weigh-\ning 67 gr.\n10. Six knife-rests weighing 106 gr.\n11. Six skewers weighing 122 gr-\n-12. Six fruit knives weighing 55 gr.\n13. Twelve egg-cups in filigree.\n14. English menagereweighing 970 gr.\n15. Salad set, gross weight 190 gr.\n16. Twelve oyster forks, gross weight\n265 gr.\n17. Sugar tongs weighing 27 gr.\n18. Sugar tongs weighing 98 gr.\n19. Sugar spoon weighing 70 gr.\n20. Two sugar spoons weighing 147 gr.\n21. Twelve couverts(l) a dessert weighing\n1295 gr.\n22. Twelve couverts a dessert weighing\n1295 §r'\n23. Six couverts a dessert weighing 655 gr.\n24. Four plates weighing 1925 gr.\n25. » » » 1895 gr.\n26. » » » 1898 gr.\n27. » » » 1875 gr.\n28. » » » 1917 gr.\n29. » » » 1878 sr.\n30. » » » 1938 gr.\n31. » » » 1878 gr.\n32. » » » 1922 gr.\n33. » » » 1917 gr.\n34. » » » 1912 gr.\n35. » » » 1940 gr.\n36. » » » 1905 gr.\n37. » » » 1885 gr.\n38. » » » 1935 gr.\n39. Two soup plates » 982 gr.\n40. » » ■»» 967 gr.\n41. » » » •» 971 gr.\n42. » » » » 993 gr.\n43. Plate weighing 485 gr.\n44. Two entree dishes weighing 1452 gr.\n45. Two entree dishes weighing 1447 gr.\n46. Two dishes for relevesweighing 1858 gr.\n47. Two dishes for releves v/ei ghing 1800 gr.\n48. Oval dish weighing 1860 gr.\n49. Oval dish weighing 1288 gr.\n50. Oval dish weighing 3805 gr.\n51. Turbot dish with its grill weighing\n7150 gr.\n52. Punch ladle.\n53. Bowl with its tray, with monograms,\nEnglish silver, weighing 268 gr.\n54. Cup and saucer in silver-gilt weigh-\ning 378 gr.\n55. Cup and its tray, silver, with grape-\nleaves in relief, weighing 495 &•\n56. Sugar basin and its tray, twelve cof-\nfee spoons in foreign gilded silver, weighing\n745 gr.\n57. Knife, spoon and fruit scissors, fo-\nreign gilded silver, weighing 227 gr.\n\n(1) Knife, fork and spoon."}, {"page_pdf": 16, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.16", "debut_caractere": 0, "fin_caractere_exclue": 3199, "texte": "58. Silver snuffers and tray weighing\n205 gr.\n59. Four hors-d'oeuvre pieces weighing\n270 gr.\n60. Two butter knives weighing 285 gr.\n61. Four spoons for entremets (side dish-\nes) weighing 288 gr.\n62. Two ragout\" spoons weighing 455 gr.\nTwo ragout spoons » » »\n63. Asparagus tongs weighing 279 gr.\n64. Twelve coffee spoons, gilded silver,\nweighing 225 gr.\n65. Soup ladle weighing 233 gr.\n66. Twelve converts weighing 2115 gr-\n-67. Twelve converts weighing 2100 gr.\n68. Six converts weighing 1050 gr.\n69. Twelve forks weighing 1047 gr.\n70. Twelve forks weighing 1057 gr.\n71. Twelve forks weighing 1060 gr.\n72. Twelve forks weighing 1058 gr.\n73. Twelve forks weighing 1052 gr.\n74. Ten forks weighing 880 gr.\n75. Twelve table knives, silver handles.\n76. A hundred table knives, silver han-\ndles.\n77. Carving set, silver handles.\n78. Twenty-nine dessert knives, silver\nhandles.\n79. Thirty dessert knives, silver blades\nand handles.\n80. Vegetable casserole, weighing 1005.\n81. Two vegetables casseroles, with dou-\nble bottoms, weighing 4010 gr.\n82. Chestnut dish, weighing 1698 gr.\n83. Bread basket, fine English work,\nweighing 1465 gr.\n84. English sugar bowl, weighing 188 gr.\n85. English sugar bowl, with handles,\nweighing 1117 gr.\n86. Silver candlesticks, panthers and rams-\nheads, weighing 1145 gr.\n87. Travelling coffee pot, with monograms,\nweighing 220 gr.\n88. Louis XV coffee pot, weighing 185 gr.\n89. Coffee pot weighing 440 gr.\n90. Four pieces forming a tea equipage,\nweighing 400 gr. net.\n91. Large silver tray weighing 4923 gr.\n92. Two champagne pails, in engraved\nsilver, weighing 7800 gr,\n93. Large basin with water jet and life-\nsized doves, English silver, weighing 5290 gr.\n94. Fine tea service, d'Aucoc, gross weight\n6787 gr. This service is enclosed in its case.\n95. Necessaire de toilette in palissandre\n(violet ebony), d'Aucoc, with silver fittings,\nweighing 4930 gr.\nSILVER PLATE\n96. Small tray for tea service.\n97. Two entree dishes, with borders of\nengraved silver.\n98. Two entree dishes with borders of\nengraved silver.\n99. Two dishes for with borders\nof engraved silver.\n100. Two dishes for releves, with borders\nof engraved silver.\n101. Two oval dishes with borders of\nengraved silver.\n102. Large rich tray with border of en-\ngraved silver.\nARGENTURE CHRISTOFELE.\n103. An incomplete chest.\nRUSSIAN SILVER\n104. Twelve little Russian drinking-cups\nof Toula, weighing 378 gr.\n105. Engraved casserole, Toula silver,\nweighing 572 gr.\n106. Necessaire de toilette with fittings of\ninlaid silver, weighing 4444 gr. (This neces-\nsaire, a remarkable piece of work, was presen-\nted to Mademoiselle Rachel by His Excel-\nlency Prince Gortschakoff, at Moscow, in 1854).\n107. Russian drinking-cup, silver boar's\nhead.\n108. Russian goblet, tree-trunk.\n109. Russian goblet, episode of the Cau-\ncasian war, with raised figures.\n110. Russian salt-cellar, with inscription.\n111. Russian salt-cellar with inscription\nand engraving.\n112. Case of Russian silver of Toula,\nweight 2752 gr.\n113. Case of Russian silver, of Toula,\ntotal weight 9220 gr. A very rich service,\nwith views of Russia.\nJEWELS AND DIAMONDS.\n114. Two bracelets, gilded silver.\n115. Five triangular brooches, gold and\nimitation onyx."}, {"page_pdf": 17, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 3626, "texte": "116. Gold brooch, (10 gr.) horn of plenty.\n117. Triangular brooch, gold, on pietra dura.\n118. Brooch, gold, miniature, portrait of\nMarie-Louise.\n119. Earrings, gold, with pendants of\nfruits ; weight, 10 gr.\n120. Earrings, gold, medallions of Alex-\nander.\n121. Fifteen buttons and a brooch in mosaic.\n122. Italian brooch, gold, with a device :\nSignum Amicitiae; weight, 10 gr.\n123. Italian brooch, gold, weighing 16 gr.,\nwith theatre mask surrounded by the de-\nvice : Feliciter.\n124. Italian brooch, Greek form, gold,\nweighing 10 gr., with the device: Vita\ndulcis.\n125. Italian bracelet, gold, weighing 33 gr.,\nwith these inscriptions, Amo te. Ama me.\n126. Pencil-case in gold and malachite.\n127. Bracelet, gold ground, with Egyptian\nbasreliefs and perfume box, enclosed in a\nnut-shell.\n128. Bracelet in gilded silver, with nine\nmedallions.\n129. Chatelaine with Russian fittings in\ngilded silver.\n130. Vade-mecum in gold, mother of\npearl and turquoises.\n131. Bracelet in jaseron (20 grammes)\nwith nine foreign crosses.\n132. Oval medallion, gold and blue ena-\nmel : gross weight 62 gr.\n133. Oval brooch, onyx and sardonyx,\nwith oriental inscription, surrounded by a gold\ncircle.\n134. Gold pencil-case (32 gr.) adorned\nwith enamel, rose-diamonds, sapphires, rubies\nand emeralds.\n135. Two coral earrings, rams' heads.\n136. Coral bracelet; Nereide holding a\nyoung Triton.\n137. Coral brooch, Neptune and Amphi-\ntrite in the centre of a group of Loves and\nTritons.\n138. Coral brooch forming a bracelet;\nram s head surrounded by vine-leaves and\ngrapes.\n139. Necklet, woven gold, and two ear-\nrings with corals ; Egyptian style.\n140. Square necklet, woven gold and pink\ncorals ; weight, 90 gr.\n141. Pin in gold and pink coral, with\ngarlands of flowers.\n142. Brooch, woven gold, weighing 93 gr.\n143. Bracelet, woven gold, weighing 97 gr.\n144. Turkish talisman, gold, rose diamonds\nand rubies on a large triangular turquoise,\nwith chatelaine in chased copper.\n145. Gold Louis XVI watch, in good\npreservation.\n146. Brooch on pietra dura set in gold ;\nItalian workmanship; (Napoleon I, surrounded\nby various attributes of power and glory).\n147. Gold medallion (79 gr.) with the\ninitials L. R.\n148. Set of twenty-two dress arid sleeve\nbuttons in turquoise.\n149. Lap is lazuli flagon, mounted in gold\nand enamel.\n150. Turkish Tarbouch, gold, rubies and\nenamel, in three tones.\n151. Brooch, serpent's head, gold, ena-\nmel, rose diamonds, pearls and rubies.\n152. Necklace and two earrings, with\npendants in Egyptian form, gold, weighing\n155. gr.\n153. Egyptian necklace and earrings, gold\nand scarabs.\n154. Set of two earrings, a pair of sleeve-\nbuttons and nineteen dress buttons, in the\nform of serpents, weighing, with the links,\n548 gr.\n155. Two gold bracelets, with large links,\nforming a girdle, weighing 430 gr.\n156. Gold bracelet (75 gr.) in the form\nof a serpent, set with turquoises, rose dia-\nmonds and rubies.\n157. Pin, eagle, gold and brilliants. Pre-\nsented by the Polish Society of Paris, after\nr\\ rnnritv mfo\n158-159 V') Gold ring, set with a ruby\nand two brilliants.\n160. Gold ring, set with a brilliant.\n161. Gold ring, set with a round sapphire\nand eleven brilliants.\n162. Gold ring, set with an oval sapphire\nand eleven brilliants.\n163. Gold ring, set with an emerald and\ntwelve brilliants. (Presented by His Majesty\nthe Emperor of Russia, St. Petersberg, 1854).\n164. Gold ring mounted with an oval\nruby and twelve brilliants.\n165. Gold ring mounted with a round ruby\nand twelve brilliants.\n166. Gold bracelet (93 gr.) set with bril-\n\n(1) No. 158 appears to have been omitted, or withdrawn, as\nthe list goes from 157 to 159."}, {"page_pdf": 18, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.18", "debut_caractere": 0, "fin_caractere_exclue": 3785, "texte": "Hants and rubies, with portrait of Mile. Mars,\nby Mme. de Michel.\n167. Gold bracelet (47 gr.) enlaced ser-\npents, enamel and brilliants. (Presented by\nHer Majesty the Queen of England).\n168. Note-book, in gold and enamel, with\nminiature, pencil-case and watch.\n169. Brooch with pendants, uncut eme-\nralds and rose diamonds.\n170. Brooch with five pendants, set with\nemeralds (one large and other smaller ones),\npearls, rubies and brilliants.\n171. Plaque in brilliants, (twenty-six small,\ntwenty-four larger) and a turquoise.\n172. Gold and blue enamel brooch, set\nwith seventeen brilliants.\n1 73. Brooch with pendants, set with bril-\nliants, rubies and three pearls.(l) (Presented\nby His Majesty Napoleon III).\n1 74. Gold bracelet in the form of an Ara-\nbian saddle, set with rubies, sapphires, eme-\nralds, pearls and brilliants.\n175. Earrings with rubies, emeralds and\nbrilliants. (Presented by His Majesty the\nEmperor Nicholas. St.. Petersberg, 1854).\n176. Gold bracelet (98 gr.) with a heart\nformed of seventeen rubies and forty-seven\nbrilliants, medallions of sapphires and bril-\nliants.\n177. Diamond brooch with garlands and\nthree pearls in pendants.\n178. Necklace of imitation pearls with\nplaque of uncut emeralds surrounded by thir-\nteen brilliants.\n179. Bracelet of sixty-six pearls adorned\nwith rose diamonds and brilliants.\n180. Brooch in the form of a snail, set\nwith rubies, brilliants and pearls. (Presen-\nted by His Majesty the Emperor Nicholas at\nSt. Petersberg, 1854).\n181. Brooch with pendant in opals, rose\ndiamonds and 54 brilliants. (Presented by\nHis Majesty the Emperor Nicholas, at Ber-\nlin, 1854).\n182. Two earrings with pendants, caho-\nchons and sixteen brilliants. (Gift of Her\nImperial Highness the grand-duchess Helene\nof Russia, Hambourg).\n183. Necklace of brilliants and pearls set\nin pendants.\n184. Two earrings, rubies and brilliants\nset in pendants.\n185. Brooch with pendants in rubies and\nbrilliants.\n186. Bracelet-bandeau, in the form of a\nwreath (l) adorned with brilliants.\n187. Bracelet forming a ador-\nned with turquoises and brilliants.\n188. Demi-collier in rubies and brilliants.\n189. Gold bracelet, weighing 88 gr., set\nwith about 89 rubies and 352 brilliants.\n190. Three brooches and aigulets set with\nbrilliants and forming a rich\nsage.\n191. Two brooches with brilliants\n(pear-shaped), mounted in fuchsias.\n192. Two diamond earrings, mounted in\nthe form of bees.\n193. Two pendant earrings, in brilliants.\n194. Riviere of thirty-two large brilliants.\n195. Silver filigree bracelet, with little\nchain. (36 gr.).\n196. Two silver curb bracelets, not clo-\nsed, (135 gr.).\n197. Bracelet cable (cable bracelet), not\nclosed, (96 gr.).\n198. Iwo silver bracelets with rounded\npoints, (88 gr.) (The six foregoing brace-\nlets were brought from Upper Egypt).\n199. Small filigree coffer.\n*2OO. Two gold Italian earrings, weighing\n27 gr.\n201. Antique gold seal; weight 17 gr.\n202. Silver gilt seal and amethyst bust.\n203. Brochetteof foreign decorations, gold\nand silver, weighing 31 gr.\n204. Chaplet in silver and garnets.\n205. Chaplet in silver and agates.\n206. Chaplet in gold and blue glass.\n207. Musical harp, gold, enamel and ipse:\ndiamonds, with key.\n208. Portrait of la (2)\n209. Gold medallion with portrait..\n210. Gold and emerald ring.\n211. Waist-belt clasp, mask, in gold, rose\ndiamonds and rubies, (15 gr.).\n212. Gold chain and scarabs.\n213. Gold Egyptian bracelet, with medal-\nhons in silver and gold : weight 177 gr.\n214. Seventy-six gold sequins, weighing\n83 gr.\n215. Seven gold medallions,\n(31 gr.).\n\n(I) The pearls are in each case described as \" pedes fines\" ie\ngenuine or native pearls. Translator.\n(1) En forme de couronne ' * may have been either in the form\n°t a wreath or a coronet. Translator\n(2) Presumably Beatrice Cenci. Translator."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c020", "article_bluemountain": "bmtnaau_1929-07_01#c020", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "109", "page_fin": "110", "image_debut": 19, "image_fin": 20, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.13", "titre_corps": "CHEATING THE BRITISH PUBLIC : SHOWMEN OR SHOPKEEPERS. FREDERICK BALSIR CHATTERTON (1855-1866) AND LORD GEORGE SANGER (1827-1911)", "titre_sommaire": "CHEATING THE BRITISH PUBLIC : SHOWMEN OR SHOPKEEPERS. FREDERICK BALSIR CHATTERTON (1855-1866) AND LORD GEORGE SANGER (1827-1911)", "signature_source": "JOHN SEMAR", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 19, "page_imprimee": "109", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 3471, "texte": "CHEATING THE\nBRITISH PUBLIC.\nSHOWMEN OR SHOPKEEPERS.\nFREDERICK BALSIR CHATTERTON (1855-1866)\nAND LORD GEORGE SANGER (1827-1911).\nBY JOHN SEMAR.\nIT is of Lord George Sanger we will not\nwrite; his book published by the Dents\nis sufficient testimony to the glory of the style\nof old showmen since the year one and never\nto go out of date.\nBut a few words about Mr. Chatterton\nmay be useful.\nYou never heard of him?., strange, for\nhe was the manager in London from 1866\nto 1879 when he failed for £40,000 liabilities,\nhaving just produced \" The Winter's Tale \"\n\" elaborately \" but badly.\nYou have heard of Sir Alfred Butt, of Mr.\nC. B. Cochran : well, Mr. Chatterton was\nas celebrated as these in those days. He\nwas the author of the notorious saying\n\" Shakespeare spells ruin and Byron bank-\nruptcy \".\nIt is the excellent Robert W. Lowe\nwho calls it \" notorious \".\nToday, as yesterday and as tomorrow, there\nare people who are ever so proud to echo\nMr. Chatterton without even knowing\nwhom they echo.\nShakespeare having written plays of a\nhighbrow kind, every whipper-snapper (in-\ncluding the big shop keeper who manages\nTheatres), everyone is proud to be contemp-\ntuous of him.\nIt is an astounding pose and one which\nwe have tolerated too long.\nExactly when Chatterton said this is im-\nportant. It was either precisely during the\nseason when Henry Irving was in his com-\npany, 1869, or it was in September 1873\nwhen Chatterton failed with a spectacular\nrevival of \" Antony and Cleopatra\" and\nByron's \" Sardanapalus \".\nMr. Chance Newton gives us 1869 as the\ndate: Mr. Austin Brereton gives us 1873.\nIn 1871 Irving electrified London in\n\" The Bells \" two years after Chatterton had\nfailed to recognize his genius. In 1874-73\nand '76 Irving played Hamlet for a run of\ntwo hundred nights, Macbeth and Othello,\nand proved that Shakespeare spelt anything\nbut ruin except to incompetent egotists like\nlittle Chatterton.\nIn writing of Irving at this time the English\ncritics showed neither discernment nor pluck,\nnor did they do the spirit of Dramatic Criticism\njustice: but E. R. Russell, Editor of the\n\" Liverpool Daily Post\" wrote a pamphlet\nentitled \" Irving as Hamlet\" which must be\nread with care by anyone who wishes to\nunderstand the Irving of that day.\nThe English Critics all stood up boldly\nfor little Chatterton for little Chatterton was\nmore \" important\" in 1871 and '79 in their\neyes than Irving, the greatest artist on the\nstage.\nThis attitude of theirs would seem to be\nas traditional as the more ancient tradition\nof sucking up to the big boy at school\nand Chatterton this little Chatterton\nwas the big boy at that time. Today cer-\ntain London Managers are the big boys\nof the school, and the press men buzz around\nto get their orders, and then off they go to\nspread the lie, and thus is the Public once\nmore swindled.\nI mean this and I mean it straight from\nthe shoulder.\nThe best work of the best artists of today,\nbe they actors or playwrights or producers,\nis the only work these critics should call\nfor and go on calling for till they get it\nfor us all. This best work is not seen\nthe best artists are lied out of work and\nby these toadies.\nThis is some of the harm some London\nmanagers are doing.\nBut to return to Chatterton. He did a\nlittle harm too.\nAs a sample of his particularly mean\nmethod look up a copy of \" Diprose's Book\nabout the Stage and the Players \", 288 pages\nwith many woodcuts. No date is on it but\nit was published in 1876. Irving had just"}, {"page_pdf": 20, "page_imprimee": "110", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.20", "debut_caractere": 0, "fin_caractere_exclue": 2423, "texte": "played Hamlet for a two hundred nights run\nand Macbeth for eighty.\nNow NOT ONE WORD OF THIS\nIS TO BE FOUND IN THIS BOOK.\nNot only that, but Irving's name is banned\nfrom the book except for a single mention\nin Pearl type which couldn't be excluded,\nit referring to a Complimentary benefit to\nMr. Benjamin Webster: \" Mr. Henry Irving recited\nTom Hood's famous poem of Eugene Aram \" •••• Th6SC de-\nven words only.\nNow this is obviously the old Theatre\ntrick and a despicable one at that. Chat-\nterton is lauded to the skies as \" the most\nsuccessful theatrical manager of the present\nday \" and a portrait of him is given. Sal-\nvini, Ellen Terry, Helen Faucit, Mrs. Sterling,\nBoucicault, Mrs. Keeley, all have their por-\ntraits here or eulogies, or both silence\nabout Irving.\nIt is a curiously interesting little book\nfor many reasons, whoever prepared it. John\nDiprose is unknown even to the authors\nof \" The Dictionary of the Drama \", \" English\nTheatrical Literature \", and \" The Concise\nDictionary of National Biography \". Mr. H.\nM. Walbrook does not mention him in his\nexcellent \" Playgoer's Wanderings \" and\neven Mr. Chance Newton hasn't a word to\nsay about him. Who was he, this Dip-\nrose? Chatterton's fag, presumably.\nChatterton was lessee of two other thea-\ntres besides Drury Lane, ...of the Adelphi\nand of the Princess's Theatre. And it was\nfor the latter theatre that Chatterton engaged\nPhelps at £6O a week ...a very big sum\nin those days ...and tried to boom him and\nwith him Fechter in Shakespeare.\nChatterton was the acting manager for\nDillon the actor the same Charles Dillon\nwho pretended not to know Irving in 1875\nwhen Irving was playing Hamlet for the two\nhundredth time. A story told by Chance\nNewton about this meeting is illuminating.\nWe seem to collect one more of the gang,\nDillon, Chatterton, and who else ?\nWHY do we concern ourselves at all with\nall this today ? because the same\nsort of thing is going on now, this same\ndenial by silence of the artists of most va-\nlue, and the exaggerated adulation of self-\nseeking men not worth twopence to the\nTheatre or to England, the pushing of\nforeign goods, while the best work of the\nbest men in all branches of stage work is\nousted from the Theatres of their own land.\nIt is an old profession, the Theatrical one\nbut that is not sufficient reason to justify it for\ndeveloping its passion for meanness and for\nits deft and deadly use of \" the silent lie ."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c023", "article_bluemountain": "bmtnaau_1929-07_01#c023", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "110", "page_fin": "112", "image_debut": 20, "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=bmtnaau192907-01.2.14", "titre_corps": "PANDORA'S BOX", "titre_sommaire": "PANDORA'S BOX", "signature_source": "X. Y. Z", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 20, "page_imprimee": "110", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.20", "debut_caractere": 2425, "fin_caractere_exclue": 4025, "texte": "(')\nMISS Farjeon has a verse for every letter\nof the alphabet and all the verses are\nabout those nice mechanical toys Wireless,\nMicrophones, Jazz, Cinema, ...not that Cinema\nis mentioned, but who thinking of the Wireless\ncould forget the Cinema ?\nMiss Farjeon, with all a woman's tact,\nalmost succeeds in making us feel that she\ncares about what she is saying: makes us\nthink for a moment she is fond of her subject,\ninterested in the tarradiddles she lets drop so\nneatly and takes them for truth. She almost\ncovers up every trace of insincerity.\nWhat is Cinema what Listening in\nRadio Talkies and the rest ? They are\nthose things which Pandora always lets escape\nfrom a box every time she is curious about\nwhat is in it.\nWhen from that store-house the secret of\nmoving photography was stolen out came\na second swarm.\nWhen the secret of telegraphing from\nEurope to America without wires was filched\nfrom the Gods, out swarmed a hundred ills\nin the wake of the thing.\nAnd the thieves, clever as they are, are\nnot quick enough over their robbery; when\nthey collared the secret of the microphone\nout poured more pests.\nIt is no new trouble —it is as old as\nlonging. Mankind seems to benefit by these\ndiscoveries, but mankind is really being tortured.\n\nPANDORA'S BOX\n\nHERA CLITUS or The Future of Films hy Ernest Betts.\nKegan Paul. Price 2{6.\nWRITING FOR THE SCREEN by Arrar Jackson. A. &\nC. Black Ltd. Price 51-.\nFILMS OF THE YEAR, 1927-1928 by Robert Herring.\nThe Studio. Price 5/-.\nCINEMA TOGRAFO by Mimo Doletti. Bologna. Price\n9 lire.\nTHE ABC OF THE BBC by Eleanor Farjeon. Collins.\nPrice not given."}, {"page_pdf": 21, "page_imprimee": "111", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 4292, "texte": "These Cinemas, Talkies, Radios and\nthe rest are all toys ; nuisances or great fun\naccording to your mood, they were no more\ncontrollable than will be like hordes of new\ntoys ; a gallant attempt will be made to keep\nthem in order a good face will be put\nupon the matter for the sake of the big\nsecrets stolen these countless little lies will be\nendured.\nBut anyone who stops to think about the\nmatter will question very seriously whether it\nis not time to pass some few universal laws\nforbidding under pain of death any further\norganized larceny.\nFor the final theft is destined to dest-oy\nthe earth and you are all of the Silly-ass\nBrigade and double-dyed plunderers. You\nscowl, you gape at me. Mais oui. alors.\nEvery day this simple little truth can be\ntested and found (unfortunately) to be true.\nYou go to the beehive with a spoon, you five-\nyear-old, and you put your hand in to get\nsome honey, and then..,. You go when you\nare six years old and ever so much wiser\nnow, to walk on the frozen lake and in\nyou go. You go at seven years old entirely\nexperienced at last and crawl up a ladder\ninto a tree and the ladder then falls. You\ngo at eight .... is it necessary to tell over the\nthousand mischances which the perfectly\nconfident and thoroughly able child, man,\nwoman and old person must encounter, has\nencountered, without adding to these and\nmaking them two thousand ?\nBut you ask \" Who would be without\nthe Wireless? ... look how it saved three men\nlast week \".\nWho would deny that; and look how it\ndestroyed three thousand in the same week.\n\" But seriously, its value is immense.... \"\nOh yes, to admit that is easy ; my question is\nmerely how can you secure wireless keep\nit from the babies use it to save and\nprevent it assisting towards our extermination.\nElectric light is a discovery I am grateful\nfor, and it has helped us all; but the know-\nledge gained when the secrets of electricity\nwere stolen from nature has not always been\nturned to good has more often been turned\nto ill.\nYou and I are serious scientists, let us\nsay: tomorrow we discover how to control\nthe sun: while at work some members of\nthe Silly-ass Brigade come sneaking around :\nas we cannot keep the whole secret to our-\nselves they discover little bits of it in the\nwaste-paper basket: they piece these together,\nmake some kind of sense out of it, go crazy\nwith joy, rush out and sell the fragments\nand the earth blows up.\nIt's these fools who must be stopped from\ntrading in the fringes of profound secrets.\nBut can you prevent them?\nCould Pandora prevent the escape of the\ntroubles which afflict the world to this day ?\nBut what you can prevent is the stealing of\nthe big secrets of Nature.\nIt was primarily the fault of the Poets :\nthey imagined too much. Simple souls, they\nnever supposed that the Silly-ass Brigade\nwould attempt to realize what they had\ndreamed ...and organize !... even organize t6\ndo it.\nFor they knew this that no dream can\never be realized and no real thing is like a\ndream. You can take your choice, dream\nor reality or both apart, but you cannot carry\nout a dream and your reality cannot be as\nyou would dream it.\nSo that this Cinema which fondly believes\nbelieves hard that it is an ideal come\ntrue, is utterly deceived.\nOf the trade 1 know nothing ; like every\nother trade it is to be supposed that the\nright men have hold of it. Tradesmen who\ndon't deceive themselves that they are poets,\nor artists, are always sound .... they do not\nbelong to the Brigade above referred to.\nSo that these three books by Doletti,\nJackson and Herring will be of use, whereas\n\" Heraclitus \" by Mr. Betts will let everyone\ndown.\n\" They told me Heraclitus, they told me\nyou were dead \". Poor Mr. Betts is worse\nthan dead ; he is thoroughly deceived.\nBetts writes of \" the future of Films \" ;\nthe future!!! He refers to \" films which\nare works of art\". Mr. Betts, once he is\nthoroughly self-fooled, is quite sincere; let\nthat be realized ; and after all, Mr. Betts is\nas much at liberty to destroy himself in\nwhatever way he thinks most enjoyable.\nMr. Betts writes so well on art that I\nwould have him turn his thoughts to an art\nand write on that. To architecture or to\nmusic, or any one of the minor arts. He is\ndelightful when he goes for the fatuous\nendeavour of the commercial man to turn out"}, {"page_pdf": 22, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.22", "debut_caractere": 0, "fin_caractere_exclue": 808, "texte": "something that's good: but it is being delightful\nwhile Rome is within five minutes of bursting\ninto flames: he is heart-rending when he\nwrites down that \" the theatre and the cinema\nhas each its own excellence and appeal \" :\neach its own idiocy is what we have to\nrealize, Mr. Betts, and that idiocy deliriously\nrampant.\nI think 1 see Mr. Betts' hope his\nargument one could not fail to attend to\nbut his hope is the most forlorn hope ever\nplayed on one string.\nHis little book of 96 interesting and\namusing pages should be added to your\nlibrary : no study of this appalling catastrophe\nis complete unless you fill in an hour of the\ninterim with \" Heraclitus \". After that, in\nyou go to the lethal chamber and get it over.\nThe book is one of the series \" Today\nand Tomorrow \" and is bound in black.\n\nX. Y. Z."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c025", "article_bluemountain": "bmtnaau_1929-07_01#c025", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "112", "page_fin": "112", "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=bmtnaau192907-01.2.15", "titre_corps": "FINE FEATHERS", "titre_sommaire": "FINE FEATHERS", "signature_source": "A. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 22, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.22", "debut_caractere": 810, "fin_caractere_exclue": 2264, "texte": "FINE FEATHERS.\nA. C.\nTHERE is an increase of fine editions these\ndays which as often as not issue, not\nfrom a printer-publisher, not even from a\npublishing house, but from some private\nindividual who gets a goodish printer to\nprint him, say, 150 copies of a book which\nhe sells.\nHe is a distributor, not a publisher.\nThis distributor then turns to another\nbook, and, sending it to another printer, has\n250 copies of that printed. These he sells\nand starts on book three.\nAll these books are very much of a\nmuchness.\nI don t like the idea; I am prejudiced\nagainst it unreasonably.\nAnd this is one of the reasons why I\ndo like the fine editions which Mr. Peter\nDavies issues from 30 Henrietta Street,\nCovent Garden.\nThere is an especial favourite of mine,\nVoltaire's \" Letters concerning the English\nNation . Paper, type, size, weight and all\nare perfect. It costs fifteen shillings which\nis a little expensive, and only 750 copies\nwere printed and that seems to me too few\nor too many. But I like the volume as a\npiece of book making so well that I could\ngive you reason after reason for its excellence.\nIf Mr. Davies has prepared many such\nvolumes, and if he keeps up to this standard\nfor long, he will establish himself in a very\nfirm position.\nAt least so one supposes. One knows\nthat it entails every conceivable hardship to\ndo anything well. But some one must set\nan example in this matter so that a new\nsaying about fine feathers become the fashion."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c027", "article_bluemountain": "bmtnaau_1929-07_01#c027", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "112", "page_fin": "112", "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=bmtnaau192907-01.2.16", "titre_corps": "A STAGE SCENE", "titre_sommaire": "A STAGE SCENE", "signature_source": "C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 22, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.22", "debut_caractere": 2266, "fin_caractere_exclue": 3279, "texte": "A STAGE SCENE\nC.\nTHE Scene given in our Frontispiece is re-\nproduced by the courteous permission of\nMartin Hardie Esq. from the Collection oj\nthe Victoria and Albert , London.\n/\\T first glance this scene seems to have little\n* distinctive about it as a construction :it\nhas nothing very distinctive but appears to be\nthe usual Italian dodge of the Bibiena family\nfor making a Sala grande on the stage.\nBut on looking more curiously at the work\nand enquiring about the designer, Angelo\nCarboni, one finds that the nine small dia-\ngrams showing the side wings are somewhat\nunusual, for those marked B and H show a\ndistinct cut, a perspective slant, whereas we\nhad always believed that these perspectives\nwere merely painted.\nNow we are led to suppose that wings\nB and H were placed, not at right angles with\nthe footlights, but slantingly up stage.\nAs for the designer, enquiry led to no\nclue as to his birthplace, his masters or other\nwork that he had done. He is of the school\nof the Bibiena and Galiari families."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c029", "article_bluemountain": "bmtnaau_1929-07_01#c029", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "113", "page_fin": "114", "image_debut": 23, "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=bmtnaau192907-01.2.17", "titre_corps": "MISUNDERSTANDING : SOME NOTES ON AN ESSAY ON GORDON CRAIG", "titre_sommaire": "MISUNDERSTANDING : SOME NOTES ON AN ESSAY ON GORDON CRAIG", "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": 23, "page_imprimee": "113", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 4325, "texte": "MISUNDERSTANDING\nSOME NOTES ON AN ESSAY\nON GORDON CRAIG.\n\nMR. A. Hyatt Mayor has spent a good\ndeal of time over his essay on Gordon\nCraig in \" Hound and Horn,\" a Harvard\nMiscellany. I think, however, that in about\nfifteen years from now he will regret that he\ndid not spend a little longer: for he is mis-\ntaken. He does not know Gordon Craig\nin the least: and yet his article is clever one\nof the cleverest that has been written for a\nlong time.\nLike many another writer in this number\nof \" Hound and Horn \", Mr. A. Hyatt\nMayor seems to have studied under T. S.\nEliot: they quote him, they review him, and\nthey advertise his Quarterly which is all to\nthe good, but its a good long distance from\nCraig. If Mr. Mayor had not stopped there\nto look through the field - glasses lent him by\nMr. Eliot, he would have seen more.\nTo begin with, he tells us that Craig\nbelongs to the generation of the Moscow\nTheatre, of Duse, of Isadora Duncan, as-\nserting that this is the Theatre which is the\nimmediate predecessor of our Theatre of\nto-day.\nNow it is perfectly obvious to anybody\nwho will look a little closer at Craig and\nlook through his own eyes, instead of through\nfield-glasses at some dummy on a far-off hill-\nside, that Gordon Craig belongs to the\nTheatre of the future, until that day when,\nhaving his own theatre for a spell of at least\nten to fifteen years, he shall be able to demon-\nstrate that he belongs to the generation 1930-\n1945. But even then it is unlikely you will\nbe able to confine him to these days, because\n1 believe it is again obvious that he has\nprojected a Theatre of the future I will not\nagain say the Theatre lest it annoy the un-\ngenerous. As for the Theatre of to-day, to\nwhich Mr. Mayor refers what is that, pray ?\nMr. Mayor does not tell us, and so we\ncannot know what is in his mind.\nWhile this graduate of Princeton, who\nhas been a master at Vassar and is now\nliving in New York City, admits that \" Gor-\ndon Craig's ideas are widely accepted,\" he\ncannot \" determine just what those ideas are\"—\nwhich is rather extraordinary in a graduate\nof Princeton and a master of Vassar setting\nout to pass judgment on these ideas. But\nthere is something so pleasant about his\nattempt to confuse his readers, something so\ncharming in the way he tries to make them\nonce more misunderstand what is obviously\nso simple to follow, that anyone seriously\ninterested in the Theatre of the future or\neven in any Theatre of the future should\nwithout delay secure No. 3 of volume 2 of\n\" Hound and Horn.\" It costs but 50 cents,\nand is a nicely-printed magazine of more than\n125 pages.\nMr. Mayor is agreable enough to say that\nthis article \" misrepresents Craig by not con-\ncerning itself with his destructive criticism \"\nand of course that clearly points to what\ntroubles Mr. Mayor. It troubles him that\nCraig prefers to wait to construct his own\ntheatre before the eyes and for the ears of\nthe world, rather than pessimistically throw\nup the sponge and say, \" Damn it all, there s\nno more time left let me turn jerry - builder\nand hurriedly rig it up in a book of constructive\ncriticism. In order to do that, he had only\nto enlist Mr. Mayor in his service ; to ask\nhim to come and show him how you do\nwrite a nice piece of constructive criticism\nwhich is not worth a damn. Not worth\na practical damn, because no theatre has\never yet been created by constructing the\nmost perfect critical work, and no theatre\never will be so created. Is there anyone\nwho could suppose for a moment that if this\ncould have been done, it would not have\nbeen done long ago ? The Greek theatre\nwas not so constructed, the Japanese No\ntheatre was not so constructed and the Eli-\nzabethan stage was not constructed in that\nway. There would seem to be only one\nway of creating a theatre, and that is, on a\nstage.\nIt is plain to many people that what Craig\nhas done has been to fill in the most appalling\nstage wait that any stage man can experience,\nand to fill it in so that he entertained the\npeople in front, and those in the wings. He\nhas, through defects or through qualities,\nprobably through both, refused to do his\nwork under the conditions which theatrical\nmanagers would impose upon him: yet he\nhas positively kept alive and kept his flag\nflying mast-high even after being twenty years\nout of his element. His element is the stage"}, {"page_pdf": 24, "page_imprimee": "114", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 1475, "texte": "not necessarily the stage that Mr. Mayor\nmay have in mind or the stages which you\nand I have in mind, but the stage since the\nyear One, the genuine stage at its best.\nAnd here we come to a very important\npoint: he trained on a stage that of its kind\nwas the very best and he is blood and bone\nof the stage. Mr. Mayor, had he ever\nvisited the Lyceum theatre in London, would\nknow what I mean: and Craig advanced\nfrom that theatre, forwards. That was his\nstarting-point, and it is a point which theatres\nof to-day have hardly reached; yet it was\ndistinctly theatre, though the best part of it\nhad but little to do with the written play,\nand he had witnessed scenes played there\nwhich were every scrap as wonderful examples\nof acting —of improvised acting —as any\nthe 18th century in Venice could show.\nYet Mr. Mayor says that England never at\nany time had so strong an improvised comedy\nas Venice had, and he seems surprised that\nCraig should have stated that the written\nplay is of no deep value to the art of the\nTheatre. He considers that Craig is dreaming\nfantastically about these things. Let Mr.\nMayor remember that Craig saw these things.\nThis, then, is the fault of the master of\nVassar's article: it fails to take into conside-\nration the two facts first of his birth and then\nof the powerful theatrical school in which\nCraig studied. Members of Harvard Uni-\nversity, especially those who were under Pro-\nfessor Baker, will not under-estimate this last\nfact.\n\nD. N. L."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c031", "article_bluemountain": "bmtnaau_1929-07_01#c031", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "114", "page_fin": "115", "image_debut": 24, "image_fin": 25, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.18", "titre_corps": "COSTUME", "titre_sommaire": "COSTUME", "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": "114", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.24", "debut_caractere": 1477, "fin_caractere_exclue": 3463, "texte": "COSTUME\nMAN with all his faults is a kind creature\nat heart. Unfortunately the heart has\nbeen in the past and would be for ever\ndressing itself up. Even a world of undressed\nbodies would have muffled up their hearts\ncalling it protection.\nPart through fear, part through fancy, comes\nthis treatment, and, having clothed the heart,\nthe face is the next thing to undergo operation :\n.... after the face the form.\nWhere are we then ? where are we\nnow ?\nIt weighs down on man, it oppresses him\ntoday, this thought —he troubles about the\ntangled complication into which he has\ntwisted himself.\nHis wife doesn't trouble: it doesn't\nweigh her down ; it buoys her up, she is so\nplayful. She sees the folly that her good\nman, her great man, her angel briefly her\nsilly fool has got the whole world into\nthrough his failure to control his vanity and\nhis fear and she will dress, drink and be\nmerry because of tomorrow,\nToday she still clothes herself in silliness\nand gaudiness : whoop-la : her man puts on\na black coat.\nMan has at last slowly come to a reali-\nzation of what it is he has done this is\nwhy he has taken to drink in the last sixty\nyears or so. This dry business in America\nis an unkind (cruel to be kind) pinch\npart of a hideously cruel plan devised by\nunsympathetic women to teach man his first\nbig lesson. Thus had begins but worse\nremains behind, said Hamlet. I don't know\nexactly what he meant nor did he know\nbut he knows now. I see it by his face\n....and that black coat.\nYou would think that I was expounding\nthe theories which Mr. Hiler gives us,(1) but I\nam not; I am only airing my own grievance.\nFor I cannot think of any sound reason\nwhy man should have transformed himself\ninto a monkey such as one saw on barrel\norgans in those days when Queen Victoria\nand Louis Napoleon reigned in England and\nin France.\n\n(0 FROM NUDITY TO RAIMENT by Hilaire Hiler, with\nan Introduction by Sisley Huddleston. Procurable from Foyles, Charing\nCross Rd. London, 25/- postage inland 9d."}, {"page_pdf": 25, "page_imprimee": "115", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 3692, "texte": "This is the moment when Mr. Hiler,\nasking us to allow him, offers us his valuable\nbook with the whole thing made quite plain\nthat everyone is wrong and no one knows.\nYet so infernally silly are we all that on\nhearing Mr. Hiler's revelation of the truth\nwe go off and cut out one more patch of\ncloth and come back with it pinned on\nsaying \" That's that and so much for your\nopinion, Mr. Hiler.\"\nBriefly we don't know, we won't listen,\nwe will argue, and we are driving Mr. Hiler\ncrazy. We have determined to break Mr.\nHiler's heart.\nFor he has devoted at least ten years of\nhis life to telling us the truth, solving this\ntrifling question and so we determine to let\nHiler go hang.\nFor we know what Mr. Hiler is : he is the\nunforgiveable thing he is an artist: and if\nthere's a thing on earth we mistrust, hate\nand can not forgive, it is the artist, for we\nknow he won't hit back for he can't. While\nit is permitted, legal and all quite necessary\nfor political leaders, our governors, to shoot\ndown and punish by the extreme punishment\nthose who would prevent good coming to the\nmajority and would substitute evil for it, no\nsuch permission, law or need is found when\nan artist wishes to bring good to the majority.\nBriefly what Hiler seems to be saying in\nhis book is this: Man dresses as he does\nfor no known reason. Sex, climate, religion,\ncommerce and so forth, these and more such\npowers move him, first here, then there, to\ndress so and so, but no good reason has been\nfound why he etcetera why he and so forth.\nThe harmless necessary hat is not worn\nalways nor always is it one and the same hat.\nAll sorts of hats were, have been and will\nbe .... A book of Hats would help.\nI love little Pussy her coat is so warm,\nbut why don't she protect her dear little head\nwith a hat.\nMy cat last month lost one of her lovely\neyes one of his eyes as a matter of fact\nthough all cats are girls to the dark to\nignorance which will not be illumined every\ncat is surely a nice girl thing. A torn cat\nis a fact, I know, but an inconceivable one.\nAnd I grieve that my dear little cat went\nout last month one night and returned so\nsadly mutilated. Why didn't she wear some\nhead-gear, some helmet some hat. Not\nshe : she is so brave she'd sooner lose an eye\nthan that anyone should think she feared, and\nso vain she'd hate that her rival should lose\na single flash of green so she came home\nhurt. Still her coat is so warm she has\nher coat still, and mittens.\nThis volume issued by Mr. Hiler is as\nit were the introduction to a big series of\nvolumes on the costume of all the ages. I\nhope those next volumes will be all pictures\nand little text, for that's what is needed.\nTen volumes with 2000 designs in each\nvolume and one volume to each century.\nThis would then become the standard\nwork for it seems clear that Mr. Hiler is\nthe best informed of editors.\nCarl Kohler's book is after all a very\nsmall dish though its 464 pages for 18/-\nis a wonderful achievement of the publishers\nMessrs G. G. Harrap & Co. (i) Messrs. A. &\nC. Black have issued (2) \" English Costume \"\nby Dion C. Calthrop with four full page\nillustrations in colour, thirty-three pages of\nblack and white plates, lots of thumb nail\nsketches. But the prospectus in colour which\n1 received showed that the rugged strength\nin English Costume, and its sharp-faced\ndelicacy, had been given a far too sweet\nprettiness by the interpreter. 12/6 is the price\nof this volume. The Hiler book is classic\nthis is sweet.\n\n(DA HISTORY OF COSTUME by Carl Kohler. Edited\nand augmented by Emma von Sichart and translated by Alexander\nK. Dallas M. A. : G. G. Harrap & Co. Price 18/-.\n(2) ENGLISH COSTUME by Dion Clayton Calthrop. A. &\nC. Black. Price 12/6."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c033", "article_bluemountain": "bmtnaau_1929-07_01#c033", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "116", "page_fin": "116", "image_debut": 26, "image_fin": 26, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.19", "titre_corps": "A BRIEF LIST OF MR. C. W. BEAUMONT'S THEATRE PUBLICATIONS : BEING A ONE-MAN CONTRIBUTION IN WRITING, TRANSLATING AND PUBLISHING, FOR USE OF THEATRE STUDENTS", "titre_sommaire": "A BRIEF LIST OF MR. C. W. BEAUMONT'S THEATRE PUBLICATIONS : BEING A ONE-MAN CONTRIBUTION IN WRITING, TRANSLATING AND PUBLISHING, FOR USE OF THEATRE STUDENTS", "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": "116", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.26", "debut_caractere": 0, "fin_caractere_exclue": 1576, "texte": "A BRIEF LIST OF\nMR. C. W. BEAUMONT'S\nTHEATRE PUBLICATIONS.\nBEING A ONE-MAN CONTRIBUTION IN\nWRITING, TRANSLATING AND PUBLISHING,\nFOR USE OF THEATRE STUDENTS.\n(1)\nDANCING.\nBIBLIOGRAPHY.\nA Bibliography of Dancing.\nBIOGRAPHY.\nEnrico Cecchetti: A Memoir .(2)\nIMPRESSIONS OF\nBALLET.\n1. Cleopatra.\n2. The Good-Humoured Ladies.\n3. Le Carnaval.\n4. Scheherazade.\n5. Petrouchka.\n6. La Boutique Fantasque.\n7. L' Oiseau de Feu.\n8. Children's Tales.\n9. The Three-Cornered Hat.\n10. Thamar.\n11. The Sleeping Princess. Part 1.\n12. The Sleeping Princess. Part 11.\nSTUDIES.\nThe Art or Lydia Lopokova.\nThe Art of Lubov Tchernicheva.\nThe Art of Stanislas Idzikowski.\nA Burmese Pive at Wembley.\nSerge Lifar.\nTECHNIQUE.\nA Manual of the Theory and Practice of\nClassical Theatrical Dancing : (Methode\nCecchetti) ; Written in collaboration with S.\nIdzikowski.\nTRANSLATIONS.\nOrchesography by Thoinot Arbeau.\nVaslav Nijinsky by Francois de Meo-\nmandre.\nLetters on Dancing and Ballets by Jean\nGeorges Noverre. (in the press).\nThe Dancing Master by P. Rameau. (in\nthe press).\nEDITIONS.\nThamar Karsavina by Vaierien Svetlow.\nNew and Curious School of Theatrical\nDancing by Gregorio Lambranzi.\nTHEATRICAL HISTORY.\nThe History of Harlequin.\nTRANSLA TION.\nConstantini(Angelo). The Birth, Life\nand Death of Scaramouch.\nTECHNICAL.\nEDITION.\nThe Continental Method of Scene Pain-\nting by Vladimir Polunin.\n(1) 75 Charing Cross Road, London.\n(2) Published, in Part, in \" The Mask #\\ Volume XIV, No. 4,\nDecember 1928.\n(1) The name should be spelt Costantini : it is the French who\nin 1695 added the letter n. Editor."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c036", "article_bluemountain": "bmtnaau_1929-07_01#c036", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "117", "page_fin": "118", "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=bmtnaau192907-01.2.20", "titre_corps": "AN OPEN LETTER TO MR. ST. JOHN ERVINE FROM BARRETT H. CLARK : THE FOLLOWING WAS SENT TO SEVERAL NEWSPAPERS, BUT AFTER A WEEK'S DELAY, HAS BEEN NEITHER PRINTED NOR ANSWERED. B. H. C", "titre_sommaire": "AN OPEN LETTER TO MR. ST. JOHN ERVINE FROM BARRETT H. CLARK : THE FOLLOWING WAS SENT TO SEVERAL NEWSPAPERS, BUT AFTER A WEEK'S DELAY, HAS BEEN NEITHER PRINTED NOR ANSWERED. B. H. C", "signature_source": "Barrett H. Clark", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 27, "page_imprimee": "117", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 4233, "texte": "AN OPEN LETTER TO\nMR. ST. JOHN ERVINE\nFROM BARRETT H. CLARK.\nTHE FOLLOWING WAS SENT TO SEVERAL\nNEWSPAPERS, BUT AFTER A WEEK'S\nDELAY, HAS BEEN NEITHER PRINTED NOR\nANSWERED. B. H. C.\n\nBriarclijf Manor. N. Y.\nMarch 10, 1929.\nMY dear Ervine,\nWhen you came to our shores as a\nguest critic 1 believed that you would bring with\nyou a fresh viewpoint and give us the benefit\nof your keen judgment, your honesty, your\nhard-hitting and fearless style. I have read\nyour articles in The World with a sense of\nincreasing disappointment, until I am no longer\nable to sit back and hold my tongue. That\nyou have praised inferior plays and damned\ngood ones, that you have made mistakes of\ntaste and judgment and sometimes distorted\nfacts in order to turn a pretty phrase, would\nhardly cause me to address you in this fashion.\nThere is something besides.\nIf you were merely a high-priced perso-\nnality writer brought here to amuse readers\nat the breakfast table, I would not bother\nmy head about you ; but you are an artist, a\nwriter of plays that command our respect and\nadmiration, and at one time you waged battle\non behalf of the best standards that could be\nraised in the world of the theatre. You are\nyourself the product of an idealistic venture\nwhich first gave you a chance to try your\nhand at playwriting, and for some years you\nvery ably directed the Abbey Theatre in\nDublin. Your first success in America was\nachieved through the efforts of a small and\nenthusiastic group of penniless producers (who\nhave since become our Theatre Guild), who\nrecognized in John Ferguson a play of rare\nquality.\nA few days ago, in reviewing the opening\nperformance of Virgil Geddes' play,\nEarth Between, at the Provincetown Playhouse,\nyou revealed yourself as a perfect intellectual\nsnob, a traitor to your ideals as I conceive\nthem, and an exceedingly cruel, unfair and\nunsportsmanlike criticS1) I don't object to your\nseeing little in Mr. Geddes' play ; it is your\nright to knock it to pieces and then advise\nMr. Geddes to get a job selling ribbons;\nthough personally I find the play, in spite of\nits faults, a beautiful if imperfect thing. I\ncharge you with gross unfairness for having\npermitted your own discomforts to put you\ninto a frame of mind at once bitter and\ndisdainful; with using up thirty-four lines of\nyour review in complaining about the rain\nand the uncomfortable seats ; with making\nstatements about the author that a glance at\nyour programme would have instantly belied ;\nabove all, with the cantankerous attitude you\nadopt toward a group of disinterested pro-\nducers and actors, and toward a new, young\nand unknown writer, all of whom were evidently\nin earnest.\nCan't you realize, or have you forgotten,\nthat the experimental theatres cannot furnish\ncomfortable seats ? Don't you know that they\nhaven't the money to bring their troupes up-\ntown ? I have no doubt that the management\nof the Provincetewn Playhouse made every\neffort to prevent the rain, and I am credibly\ninformed that on the other occasion of your\nvisits to the Village theatres, the weather\nmen were appealed to in vain.\nI am not at all interested, my dear Ervine,\nin hearing the reiterated litanies of your per-\nsonal discomforts : your endless chants have\nconvinced me only that you ought never to\ngo to the theatre except when your mind is\nserene. What in the name of heaven has all\nthis to do with dramatic criticism ? Because\nlate-comers fell over you in Macdouga! Street\nmust you accuse Mr. Geddes, who was born\nand brought up on a farm, of \" reading about\nagriculturalists in Greenwich Village ?'\nMust you call the author \" simple-minded,\"\nand refer to all his characters as \" mentally\ndeficient,\" \" half-wits,\" and \" semi-insane \" ?\nIf you had taken the trouble to inquire or\nlook at your programme you would have seen\nthat Mr. Geddes hasn't had much chance to\nlive in Greenwich Village, and that he has\nbeen writing plays for less than three years.\nDo not imagine that I would ask you or\nany critic to be easy on a writer just because\nhe is young : a play is to be judged on its\nown merits (forgive me for saying this, but I\nthink it well to make the point), and The\nEarth Between is no better for being the\nwork of a beginner.\n\n(I) The italics are ours. J. S."}, {"page_pdf": 28, "page_imprimee": "118", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.28", "debut_caractere": 0, "fin_caractere_exclue": 1417, "texte": "Where you have failed, and failed igno-\nminiously, is in bringing to bear all the power\nof your position and influence to flout, ridicule\nand insult an author, of unquestioned sincerity\nand no mean talent, and a group of players\nwhose efforts entitle them to greater respect\nthan can be properly accorded to any other\ncompany of its kind in this country.\nYou conclude your review with a graceful\ncompliment by saing that there were moments\nwhen you \" devoutly wished \" that the theatre\ncould be restored to its \" original purpose\n—as a stable. This may be considered\ncourtesy and fair play by lovers of horses ;\nit is hardly criticism.\n1 don't know if you remember the time,\nsome years ago, when you were given a\nchance to see your own plays acted by semi-\nprofessionals. and doubtless you have forgotten\nthe two pleasant conferences you and I had\nwhen we discussed new writers and new\ntheatres and what might be done to encourage\nthe younger men to write truthfully and pas-\nsionately about the world they knew ? You\nwere poor then (as I still am), but there was\na gleam in your eye and a determinntion to\ncarry on the fight.\nThis is why I address you thus publicly,\nwith some anger but with more sorrow.\nThink it over, won't you ? Aren't you just\na little ashamed ?\nBut what would you. Mr. Clark ?\none would expect \" cruel, unfair and unsports-\nmanlike \" misrepresentation\nMr. George Bernard ShJ.\n\nBarrett H. Clark."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c038", "article_bluemountain": "bmtnaau_1929-07_01#c038", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "118", "page_fin": "120", "image_debut": 28, "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=bmtnaau192907-01.2.21", "titre_corps": "“MYSTIFICATION” AND THE PROBLEM \"TOO SIMPLE FOR WORDS\" OF LORD AND LADY BYRON", "titre_sommaire": "“MYSTIFICATION” AND THE PROBLEM \"TOO SIMPLE FOR WORDS\" OF LORD AND LADY BYRON", "signature_source": "L. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 28, "page_imprimee": "118", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.28", "debut_caractere": 1419, "fin_caractere_exclue": 4005, "texte": "“MYSTIFICATION”\nAND THE PROBLEM \"TOO SIMPLE\nFOR WORDS\" OF LORD AND\nLADY BYRON.\n\nTHE Byron affair, which stirred up keen partisan\nfeeling a century ago , still seems capable of\narousing it today, though a majority claims that\nLady Byron was a greatly wronged woman, and\nthe critic of a popular weekly this book\na final and triumphant \" vindication of the lady,\nwhile a writer in one of London s best month-\nlies, after reading it, declares poor little Anna-\nbella \" to be \" the best intentioned, honestest,\nmost simpleminded little innocent that ever threw\nherself away upon a cad \", ...a curious word\nfor a leading literary journal to countenance re-\nspecting such a man as Byron.\nMiss Colburn Mayne, who gives us this \"Life\",\nis well fitted for her task. She has already writ-\nten a book. on Byron : she has had access to the\nfamily documents, and the cooperation in her work\nof Lady Lovelace : and, in writing of Miss An-\nnabella Milbanke, Lady Byron, she certainly very\nproperly puts her best foot forward in her desire\nto present her heroine in a favourable light.\nWe are we must be told of her mag-\nnanimity, her patience, her affection, her endu-\nrance, her silence under wrongs, her rectitude,\nher good deeds, even of her gaiety and her sense\nof humour ; yet this compound of all the excel-\nlences somehow leaves us feeling chilly, leaves\nus feeling, in spite of it all, evening is coming on.\nWhy?... What Was at the root of it all ?\nWas it lack of love ? and yet we are assured\nwe have to be that she loved Byron, was\nhis, only, \"to the last \". Was it some spiri-\ntual blindness ? Perhaps Mrs. Anna Jameson\ncame nearest to divining it... she who loved Lady\nByron dearly, enjoyed such intimacy that they\nwere described as \" almost one being \", and li-\nterally died of the final rupture, ...punishment for\nhaving been discovered to be more in the confi-\ndence of Ada than was her own mother. For\nMrs. Jameson summed up her first impression of\nLady Byron in one word : '' implacability ''.\nMiss Colburn Mayne herself admits \" the harsh\n\" unyielding temper which did underlie Anna-\n' bella s tenderness, devotion, yearning for the\n\" love of chosen fellow-beings \" : and recogni-\nzes her conduct in many instances as showing\nthe lack of imaginative sympathy '' : and it was\nthrough these qualities that, with all her excel-\nlences, she caused so much misery for others as\nwell as for herself, did such incalculable harm to\nthe man she claimed, and doubtless in all since-\nrity, to love.\nThe whole story of their coming together and\nbrief married life is given here in detail, and one"}, {"page_pdf": 29, "page_imprimee": "119", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 5327, "texte": "has to admit that, unfortunate as that marriage\nproved, Lady Byron herself brought it about.\nByron had proposed to her and been refused.\nThe matter was at an end. But Miss Milbanke,\nhaving refused the man around whom all the\nwomen were crazy, soon regretted her refusal,\nand then the problem arose as to how to get him\nback.\nThe matter had, even at the time, been given\nripe consideration by this precious old lady:\nshe was never young. She had sought to cla-\nrify her feelings by writing down a \" Character\nof Lord Byron \", but evidently had, not clarified\nthem enough she was too grown-up. Having\nrejected him, she wanted him back, and was\nsoon sending Lady Melbourne (What must\nthat astute and witty lady's secret thoughts about\nher niece have been?) ...a document tabulating\nthe qualities she desired in a husband. Among\nthese were \" Consistent principles of Duty \" ;\n\"An equal tenor of affection towards me, not\nviolent attachment \". (Poor Annabella !) and so\non and on through a list relating to feelings, for-\ntune, rank, appearance, manners : and finally \" I\nwould not enter into a family where there was\na strong tendency to insanity \".\nClearly Miss Milbanke knew exactly what she\nwanted. Her head was all right. Perhaps that\nwas what was the matter ...perhaps, all through\nlife, while she was analysing and classifying and\nclarifying, she missed her moment, when at times\none spontaneous impulse or gesture of the heart\nwould have saved the situation ...one scrap of\nyouth !\nAnyhow, having analysed the character of Lord\nByron and enunciated her requirements in a hus-\nband, she did not clarify her feelings ...or her\ninstincts... enough to tell herself that Byron in\nthat role would never do. She wanted him, and\nso began ...if one may use so colloquial a phrase\nof so dignified and correct a lady, to whistle him\nback. Taking up her pen, she commenced hat\namazing series of letters, with their lofty senti-\nments, their long involved sentences and many-\nsyllabled words, which were to recall Byron, and\nset him finally on his knees beside her on that\nhard cushion in the Milbanke drawingroom where\nhe and she were presently to be made man and\nwife.\nDid any young girl in the world ever write\njust so to the man she wanted as her lover !\nIn her first, and lengthy, letter, we find such\npassages as these :\n\" Early in our acquaintance, when I was far\n\" from supposing myself preferred by you, I\n\" studied your character. I felt for you, and I\n\" often felt with you. You were, as I concei-\n\" ved, in a a desolate situation, surrounded by\n\" admirers who could not value you, and by friends\n\" to whom you were not dear. You were ei-\n'' ther flattered or persecuted. How often have\n\" I wished that the state of Society would have\n\" allowed me to offer you my sentiments without\n\"restraint!... My regard for your welfare did\n\" not arise from blindness to vour errors ; I was\n\" interested by the strength & generosity of your\n\" feelings, and I honoured you for that pure\n\" sense of moral rectitude which could not be\n\" perverted, though perhaps tried by the practice\n\" of Vice... I intreat you to observe more con-\n\" sistently the principles of unwearied benevo-\n\" lence... I have lately had very little informa-\n\" tion concerning you on which I could depend.\n\" On ill reports I never rely, for if I desire to\n\"be a Christian, it is more especially in the\n\" Charity which thinketh no evil \"... (Poor An-\nnabella ! had she always practised the which\nthinketh no evil '' how different her life had been).\nThe letter is very long, and very immoral, as\nyou have already guessed. ,' Fortunately \", ob-\nserves her biographer, \" she wrote a very clear\nhand \".\nByron, surprisingly, seems to have liked and\nadmired the letter and its many successors, and\nthe correspondence flourished.\nMiss Milbanke laid down the lines upon which\nit was to run. It was to be of a purely plato-\nnic and elevating nature, and, to safeguard her\nown dignity, she invented a hopeless attachment\nfor another man ...selecting Hugh Montgomery\nfor the purpose... and revealed this to Byron as\na proof that their intercourse could never by any\nchance fall from its lofty elevation to the ordi-\nnary weaknesses of mankind.\nThus did Miss Milbanke, to get her own way,\nskid off the strict paths of truth... and found it\nextremely inconvenient at a later date to have to\nconfess to Byron that the \" attachment\" had\nbeen a fictitious one and that he was free to pro-\npose a second time.\nThe correspondence went on at great length\non either side, till at last Byron had the folly to\nsee that his suspicions were correct his awful\nsuspicions and that all Miss Milbanke was\nreally saying in her endess pages of noble sen-\ntiments and solicitude for his moral welfare was\n\" I love you\". Thereat he, falling, actually\nproposed again and was accepted, the marriage\nfollowing in due course.\nIt was a fatal union, and it is not impossible\nto understand why. The thing was horrible\nto last. Oh Miss Milbanke, unfortunate Miss\nMilbanke !\nOf course one feels all through this \" Life \"\nthat it's a pity that Lady Byron could not have\nweighed and considered a little less, could not\nhave acted on the impulse of her heart more.\nYes, - - one feels that because it's what eve-\nryone feels. What one feels further than that is\nthe horrible sensuality of this lady, Miss Milbanke."}, {"page_pdf": 30, "page_imprimee": "120", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.30", "debut_caractere": 0, "fin_caractere_exclue": 5282, "texte": "That she put it over on to my little lord\nthat was and is the mystery which surrounds the\npair and which people pretend they cannot solve.\nAnd yet people write of this delightful yet ab-\nnormal woman that \" spite of all her virtues one\ncannot like her. \" I should rather think not.\nThe writer of this book tells us of the ago-\nnies she, loving him, suffered when she left By-\nron and refused to see or communicate with him.\nOne can well suppose it. Thank God that love\ndid not laugh at lawyers and wise relations and\ndid not lead her to him to, as who might say,\nface the issue with him alone. We are told\nthat to have, yielded to Byron's entreaties would\nonly have led to fresh miseries but miseries\nis hardly the word. •\nThe honeymoon is represented as a kind of\nnightmare, yet we find in Mr. Murray's latest\nvolumes of Byron's letters that, during those so\ntragic days, he was writing the most normal\nletters to his friends as if everything were as\nright as ram. Isn t it sweet ?\nHe writes from Halnaby on the day after the\nwedding to Lady Melbourne : \"You would think\nwe had been married these fifty years. Bell is\nfast asleep on a corner of the sopha \" : and on\nJanuary 7th : \" Bell and I go on extremely well\nso far, without any other company than our own\nselves as yet \". \"1 got a wife and a cold on\nthe same day \".\nThen, on January 22nd., back in her home at\nSeaham, where Annabella is represented as retur-\nning in a state of such tragic disillusionment from\nher wedding tour : \" Yesterday I came here some-\n\" what anent my imperial will. But never mind,\n\" you know I am a very good-natured fel-\n\" low, and the more easily governed because I\n\" am not ashamed of being so : and so Bell has\n\" her own way and no doubt means to keep it.\n\" 1 am scribbling in my dressing room and\n\" Bell is in bed \".\nNone of this sounds so very terrible unless\nyou listen very carefully. So where was the\ntrouble ? It was not Augusta it was not\nMedora We shall never know, exactly, what\nit was, for it was all too simple for words, as\nLord Byron wrote later.\nOne of the reasons certainly was that, as her\nbiographer admits, Lady Byron was an \" adept\nat self-deception \", an adept in a ceaseless and\nbadly working mental activity : an adept, one\nmust also admit, in deceiving others, for how\notherwise could even Miss Colburn Mayne be\nfound using of her such phrases as \" the sick\nand wounded deer , \" the sick and wounded\ndeer was learning her lesson \" ?\nY ears later, in a letter to their daughter, Lady\nByron writes : \"If the Mythic idea generally\nentertained of your father affords you satisfac-\n\" tion, do not forget, dearest Ada, how much\n\"of it is owing to my own line of conduct.\n\" The partisans of Byron amongst whom you\n\" have lately been living, consider me as having\n\" taken a hostile position towards him. You\n\" must not be infected with an error resulting\nfrom their ignorance & his mystification. I was\n\" his best friend, not only in feeling but in fact,\n\" after the Separation, & saved him from invol-\n\" ving himself in what would have injured his\n\" private character & reputation still further. The\n\" proofs & witnesses are in existence\nYes, Lady Byron was always sure to the end\nthat she loved him: sure that she had been\nhis best friend '' ; sure that he did not want\nher, ...he who had written \" 1 did do and\never shall love you '' ; sure always that she was\nin the right, and, though she crucified herself\n...and him also ...in doing it, must hold to her\nown sense of right, retain her \" implacability\nat all costs. Terrible double self-deception •\nMrs. Jameson's niece, Geraldme Macpherson,\ncalled Lady Byron the \" Sphinx Woman . For\nByron she had been first his \" Bell \", his \" Pip~\npin to become later his \" moral Chtemnestra .\nLady Wentworth records : \"my mother said\nLady Byron was the sweetest gentlest person she\never knew, and Very amusing. \" Robertson of\nBrighton called her \"superhuman \". Among\nthem all, what are we to think ? She is credi-\nted with endless good deeds ; she is said to have\npossessed innumerable virtues : folk believed that\nwith some ordinary man she might have been a\nhappy and devoted wife : her biographer even\nwrites, of her later friendship with the Rev. Fre-\nderick Robertson of Brighton, \"Had Robertson\n\" been free, had their ages been less disparate,\n\" this was the one other man she could have\nloved ; and he could have loved her. But the\n\" gods saw it otherwise ; she was to be Byron's\n1' to the last''.\nA wonderful pack of notions.\nIt was an ill-fated impulse of Miss Annabella\nMilbanke, when she took up her pen on that\nday in 1813 to incite Byron to reform and virtue\n(and \" to secrecy as to this communication and\nits contents \"!) She asked her boon her\n\" own harm \", and the \" wise powers \" unkindly\ngave it to her. Poor girl but what a terror !\nStill, she paid for it all with suffering to her\ndying day and others had to pay too.\nAnd all because the times were out of joint\nand she a very abnormal woman a cloud by\nday and a pillar of fire by night.\nThe awful suffering of that cloud by day\ntry and conceive it. No ! I pity Lord Byron not\nat all. I pity Lady Byron entirely. I once\nhated her but I couldn't understand her. Now\nthat I do it seems just one more hideous kick\nof mother nature which cripples without killing.\n\nL. C."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c039", "article_bluemountain": "bmtnaau_1929-07_01#c039", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "121", "page_fin": "121", "image_debut": 31, "image_fin": 31, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.22", "titre_corps": "THE LONDON THEATRE : AS SEEN BY AN AMERICAN", "titre_sommaire": "THE LONDON THEATRE : AS SEEN BY AN AMERICAN", "signature_source": "D. Nevile Lees", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 31, "page_imprimee": "121", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 4453, "texte": "THE LONDON THEATRE\nAS. SEEN\nBY AN AMERICAN\nD. Nevile Lees.\n(1)\nMRS. Flanagan is the Director of an Experi-\nmental Theatre at Vassar College, and re-\ncently spent a year abroad, as a fellow of the\nGuggenheim Foundation, in exploring the thea-\ntres of Europe, studying the'history, problems\nand technique of the stage in different countries,\nand meeting some of the leading figures and per-\nsonalities of the theatre world.\nIn her Prologue she announces that the cur-\ntain rises on an impressionistic drama of the Eu-\nropean theatre '', her dramatis personae being\n\" certain brilliant personalities who are creating\nthat theatre *', and the list of them includes\ngreat, and less great, workers in the theatre along\nall lines : artists, producers, directors, actors,\nplaywrights, critics.\nGordon Craig, of whom she writes a chapter\nof fifteen pages, she met in Copenhagen where\nhe had gone on the invitation of the Poulsen\nbrothers to cooperate with them in their perfor-\nmance of Ibsen's \" Pretenders \". Stanislavsky\nshe found at work in his Moscow theatre : Karel\nCapek in Prague ; Lady Gregory at Coole Park ;\nPirandello in Rome, and many others here or\nthere: she saw a puppet theatre in Prague\nand the Stenterello theatre in Florence ; heard\nold Venetian plays in Venice, and visited the\nArts Theatre in Riga under the direction of J.\nMuncis, and a play given by villagers in a vil-\nlage near Moscow, and so on, north and south,\neast and west.\nOf London she has little to say save that\n*' apparently the audience does not mind that the\ntheatre in London is dead \" \" Curious to see\nrows and rows of people politely applauding a\ndead thing \". She finds \"The theatre is dead\nbecause there is no wonder in it and no belief .\nHer impression was that \" the London plays are\nsymptomatic of a great national weariness\n\" Strangeness has gone from the theatre, and\n\" with it reality. No bells ring in the lines of the\n\" dramatist, nor in the soul of the beholder\nShe found the English actors condemned to '' being\nperpetually charming, well-bred and dull in an\nendless succession of drawing-rooms . The\nOld Vic Shakespearean productions, \" robust and\nhonest as they are, left me with a vague sense\nof disappointment\", and, both there and at the\nStratford Theatre, she sensed \" the lack of the\nmadness mentioned in the Phaedrus \".\nWell, she reveals in her year's dramatic diary\nthat she got plenty of pointers as to why the\nLondon stage is so dead as it is ; why our Bri-\ntish Isles are so behind the other lands of Eu-\nrope. One was when she heard Frank Fay,\nwhom she asked \" whether he thinks Gordon\nCraig's plan for pillars and screens might not be\nunobtrusive yet atmospheric\", reply: \"Screens\n\" are silly, except, of course in such a play as\nThe School for Scandal.Curtains I hate —\n\" no chance to make a proper entrance or exit.\n\" There's a great deal of nonsense about the\n\" theatre written nowadays.\n\" I just read a very silly book by Constantine\n\"Stanislavsky all about his \" in Art\".\n\" The book is tosh. It doesn't get you anywhere.\n\" It doesn't show you how. There's more common\n\" sense in old Joe Jefferson's Autobiography\n\" than in fifty such books. Jefferson knew that\nacting is the art of getting an effect. He shows\n\" you how to turn the trick \".\nAnd another pointer towards the explanation\nwas this : she found the most eager and intelli-\ngent men of other lands working their own\nlands, — Russians in Russia, Germans in Ger-\nmany, Italians in Italy, Latvians in Latvia, Swedes\nin Sweden ; but she found Gordon Craig, the\ngreatest figure of the English theatre, at work,\nnot in London but in Copenhagen.\nPut two and two together, Mrs. Flanagan, and\nyou will understand why the English theatre is\nthe dead thing it is. The minds of too many\nof its actors are closed to all ideas or theories\nor practice which do not run along the tram lines\nto which they are accustomed ; the doors of the\nLondon theatres are closed against its great artists,\nits men of wide experience and valuable ideas.\nSt. John Ervine told the author, \" — as for\nknowing London, — there's only one way to\nknow any place. Go to the theatre \".\nWell, if that be so, then is the London thea-\ntre so cruel a give-away that surely a patrio-\ntic government would close every theatre in the\nland, that England, in the eyes of the world,\nshould not be put to shame.\n(1) SHIFTING SCENES of the Modem European Theatre\nby Halite Flanagan. Coward McCann Inc. New York. Price\nDollars 3.50."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c041", "article_bluemountain": "bmtnaau_1929-07_01#c041", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "122", "page_fin": "128", "image_debut": 32, "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=bmtnaau192907-01.2.23", "titre_corps": "BOOK REVIEWS", "titre_sommaire": "BOOK REVIEWS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 32, "page_imprimee": "122", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.32", "debut_caractere": 0, "fin_caractere_exclue": 122, "texte": "BOOK REVIEWS.\n\nEQUIPMENT FOR STAGE\nPRODUCTION by Arthur Edwin\nKrows. D. Appleton & Co. New\nYork and London, Price 5/- net."}, {"page_pdf": 32, "page_imprimee": "122", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.32", "debut_caractere": 3533, "fin_caractere_exclue": 6230, "texte": "ENGLISH COMIC DRAM A 1700-1750,\nby F. W. Bateson. Oxford,\nClarendon Press. Price 7/6 net.\n\nIV/|R. Bateson has written a model\n* ** critique. Into this \" English\nComic Drama (1700-1750) he has\nwoven character-studies, criticisms, and\na glimpse of eighteenth century life,\nwith grace and skill. As a book, it\nis amusing and brisk, scholarly and\nyet 4 alive and kicking ' ; as a criticism,\nit is sane and competent; and it is\nnot overburdened with footnotes. If\nthe introduction is rather vague, Mr.\nBateson's lively studies of Gay and Cib-\nber make ample amends. A tempting\nselection of extracts from plays and\ndramatic criticisms has been chosen.\nSome remarks by William Archer,\nfrom The Old Drama and the New,\non the * material condition ' of perfor-\nmances in an eighteenth century theatre\nare discussed in the closing chapter.\n44The Elizabethan platform-stage\", says\nMr. Archer, 44 survived in the shape of\na large 4 apron ' jutting out into the\nauditorium beyond the curtain line, and\nactors, in order to be thoroughly well\nheard and seen, habitually moved to\nthe front of this apron, relinquishing\nall attempt to live as it were within\nthe picture . This is dreadful and\nit is surprising to find that Mr. Bateson\ncalls it reasonable. So much for the\nbook, but what of the English Comic\nDrama itself from 1700-1750 ?\nI will not ally myself to that group\nof quite able nincompoops who, headed\nby Collier, backed up by Macaulay, and\ntrumpeted by Mr. Bernard Shaw, put\nout a tongue at the Restorationists.\nThe propriety of those comic plays\ndon't matter a fig only the leaf\ncounts and the leaf tells against\nShaw, Macaulay, and Collier who can\nwear it and share it and stamp it with\nB but keep the damn nonsense from\nBaby and me. For what is immoral\nin the plays is but one thing it is\nthe sly thieving on the part of these\nEnglish Comic Dramatic authors from\nthe French but still more from the\nItalian.\nMost of the plays came to Lon-\ndon cribbed from Gherardi, Scala,\nBeolco, Ganassa, Grazzini, Moli£re; and\nthese too had stolen bits, parts, or the\nwhole from earlier men. And on\ncoming to London these bits done into\nplays were successful : they were im-\nportant for their success alone : its im-\nportant for a play to succeed. Shake-\nspeare would have been successful\nin 1700-1750 but he was dead\nhe would be successful today but he\nis dead. Let him appear in London\nin 1930 and everyone would want to\ngo to see one of his great plays...\nand everyone would be touched, deligh-\nted, and rave about them saying that\nthey were far more wonderful than\nanything that Tchekov had ever done.\nWell then, since these little plays\nby Cibber, Steele, Centlivre, and the\nothers, had success while they were"}, {"page_pdf": 33, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 6921, "texte": "still fresh from the foreign markets,\nwhat does it matter whether they be\nremembered or no ? If recalled, give\nthem a brief round of applause ; but\nwhy more ? Don't hiss at them from\nyour 4 moral * barracades which you've\nthrown up across the excellent old\nPiccadilly, and Adelphi.\nWith Cibber's 44Love's Last Shift\",\nacted at Drury Lane, 1695, compare\nGherardi's 44 Le Banqueroutier \", acted\nin Paris, 1687, and published in Am-\nsterdam before 1695 (I have a second\nedition dated 1695). Note for exam-\nple the passage quoted by Mr. Bate-\nson on pages 23-24, and compare this\nwith the passage from Gherardi quoted\nin The Mask, Volume 111, pages 171-\n172.\nIts just one of the lazzi to fill\nin but its the same Italian ribbon...\nvery frayed. There is very little of\nGherardi in it but there's no Gib-\nber.\nShakespeare knows how to crib\nlike a cracksman. Cibber and these\ncomics of 1 700 didn't: they bungled\nit so why write so many books\nabout them ? If it is to avoid writing\nanother about the sweet swan of Avon,\nI'm sympathetic. But these Restora-\ntion studies show a more positive love;\nits no mere distaste for something else\nthat has driven the present age to fuss\naround the Restoration drama as it\ndoes.\nI ll allow Etherege as on the verge\nof being a stunning fine thief and doing\nus all proud on it but Etherege\nalways had to be off to political work\nand playing the great gentleman in Hol-\nland or France, or where was it ?\nAnyhow, after a playlet or two, he\nwas too busy to do much more in that\nline.\nExcept for Etherege, I have no\nuse for any of them. Gay ? Gay\nand his 44 Beggar's Opera \" ? Well\nwe' ve had that and we know that it\nwas not Gay's opera that we liked but\na pretty little giggle in the corner...\nwith Playfair to tell us when to giggle\nin the right places.... that was our joy.\nBut Gay's 4 opera ' had the swing\nin the 18th century. It had some force\nonce. It wasn't pretty then —it\nwasn't A. A Milne, whose verse, since\nnothing is prettier, we, who like pretty\nthings, must admit to be the very posy\nof all modern prettiness it reduces\none to a state of sobbing prettiness.\nWhat a pity that Mr. Alexander\nPope never wrote his comedies\nthen we should have had a Comic\nDrama, 1700-1750, worthy of our\nIslands.\n\nC. V.\n\nPLAYWRITING FOR PROFIT,\nby Arthur Edwin Krows. Longman's\nGreen and Co. Price 21/- net.\nHOW TO WRITE A PLAY,\nSt. John Ervine. George Allen and\nUnwin. Price 5/-.\nh. c.\n\" IVf EITHER I nor anyone else can\n* tell the reader how to write a\nplay \", Mr. Ervine says in his Pre-\nface. So this rules out Mr. Krows\nas well ■— much to his disgust, one\nfeels. For not only does his book run\nto five hundred pages, but he proclaims\nthat 44 this book has taken fifteen years\nof desultory writing\". That is its\nfault. It is a large subject, but it can\nbe treated too largely. Fifteen minutes\nclear thinking would have been more\nbeneficial. Or if, like a Japanese me-\nditater, he had pondered for fifteen\nyears on his subject and had suddenly\nattained complete understanding, he\nm'ght then have written a few inspi-\nred lines deftly. As it is he has\ncompletely stifled his idea. During those\nfifteen years of desultory writing, three\nquarters of the work has died and lit-\nters the path. The reader has to hack\nhis way through a pile of corpses to the\nchapter on Production, whence he\nshould have started with but an easy\nhundred pages to go. Here we at last\nfind something which is important about\nthe theatre and plays are written\nfor the theatre... especially when one is\nPlaywriting for Profit.\nAfter merely hinting at the work-\ning of the stage, Mr. Krows assumes\nthat the reader will write his play\nwell and he starts to encumber him\nwith advice as to how to place a play\nwhere, why, when but the time\nis not ripe. No wonder that Mr. Krows\nreceived offers to turn his book into a\ncorrespondence course.\nThe book has some interesting fac-\nsimiles and on its saffron cover are re-\nproduced some tit-bits of praise from\nAmerican reviewers, and I give praise\nfor the index.\nI turn with relief to Mr. St. John\nErvine, with his pleasant English and\nhis realisation of so much that Mr. Krows\nhas missed. He says quite frankly that\nhis title is merely catchpenny. He\ncannot tell you how to write a play ;\nhe can tell you how to wreck a play,\nor what is wrong with your play, for\nMr. Ervine is primarily a critic. As\nan essay on dramatic criticism, allow-\ning for Mr. Ervine's limited out-look,\nyou may find the book worth the mo-\nney, even if the title has duped you.\nIn so far as both writers regard\nthe Writing of plays as 44 the thing \",\nrather than the performance, and the\nplaywriter as a visitor to the stage ra-\nther than one of the family, their point\nof view is limited and their books are\nout of date already.\n\nISADORA DUNCAN' RUSSIAN\nDAYS by IRMA DUNCAN and\nALAN ROSS MACDOUGALL.\nVictor Gollancz Ltd. Price 15/- net.\n\nJ HIS is a touching book of remem-\n•*' brance by the most faithful pupil\nany man or woman could wish to have,\nassisted by as faithful a secretary, for\nMr. MacDougall was secretary to\nIsadora Duncan for many a day.\nIt tells something interesting to him\nwho may chance to have known Miss\nDuncan. It once more bears testimony\nto her intense distrust and even hatred\nfor organization. In the future, a stran-\nger, eager to understand why she did\nas she did, will be able to explain to\nhimself if not to the world the\nreason for her seeming egoism, her ap-\nparent lack of discipline, her supposed\nhabit of terminating friendships, provi-\nded he bears in mind her contempt for\norganization. He will have to trace\nthis hatred for organization to the right\nsource before he will arrive at the rea-\nson behind most of her acts. The\nreason Will be found to be quite unrea-\nsonable, and Isadora Duncan will then\ncease to be a mystery, without anyone\nbeing able to explain her.\nYes, I doubt whether anybody will\never discover the secret, and so her,\nname will become even more of a le-\ngend than it is already. They will\nerect statues, to her, and more statues\nto her; and these monuments, unless\nsomething happens to stop the tendency,\nwill all by then have something sor-\nrowful and tragic in them... all very\nunlike her. Round her is growing a\ngrave legend thoughts associated\nwith death and tears linger where her\nname is spoken which of all things\nis the most ridiculous, since this sad\nfigure was but a dummy put up\nand put up by herself to draw the\nfire of the enemy. On one statue I\nwould like to see the words, 44 She\nfooled them to the top of her bent \"\nand under the words, in bas-relief,\na copy of her book.\nI once met Miss Duncan it was\nin a train, going to Zurich, and I\nhad one of the most interesting con-\nversations with her that I have had\nwith anyone I have ever met* I had\nbeen in Paris interviewing President\nWilson, Mr. Lloyd George, and Cle-\nmenceau, and was going to meet a far\nmore extraordinary man than any of these,\n...the then unknown Signor Mussolini,"}, {"page_pdf": 34, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.34", "debut_caractere": 0, "fin_caractere_exclue": 4356, "texte": "Miss Duncan never hesitated in\ntalk, gesture, or idea, as many girls do\nand Miss Duncan, you will recall,\nwa3 always a girl essentially young\nand, to use a poor word, 44 idealistic \".\nIt is as though I had called Lord\nReading, 4 4 always a boy \" and 44 up\nin the air * but so he was —so\nhe is.\nI listened to this girl then, not as\nI would listen to a worldly woman\nthis girl whose speech never halted\nwho seldom blushed yet who was all\ngirl who skipped woman, as it were,\nand became something more: I\nlistened and I heard her utter things\nwhich the world calls mad.\nSome things she said made me alive\nto her hatred for organization although\nshe was full of schemes which included\na considerable amount of organization\nbut I perceived she hated it.\nEverything she said after this took\non the most original complexion. Her\nunconcern that her school had recently\nbeen scattered to the four winds\nan indifference which flowed like a\ndeep undertide, even while she bewail-\ned her loss. She bewailed in uncon-\nvincing tones she was not born to\nbewail she was only born for joy\nand the joy in her was evident to\nme. She told me grievous things\nI could not grieve with her for under\nall was Joy.\nI began to realise I say that\nshe it was who broke up her school\nso often; she who prevented America\ngiving her a million to establish a school\nthere, and that she knew what she was\ndoing when she broke things up\nshe was saving the thing she treasured\nmore than the world.\nAs compensation she gave to the\nworld some performances. Of one of\nthese she wrote (but not in a book),\n44 the Lady what dances, danced all\n44 over the place.... the yellow dog and\n44 the gas man liked it and so appa-\n-44 rently did all the Kings and the\n44 Queens in the audience it was full\n44 of Imperial Loges and Kings and\n44 things like that the lady what dan-\n-44 ces was in an awful rage and dan-\n-44 ced horrid at all the people then\n44 she went to the dressing room and\n44 fought with the other lady \".\nBesides performances she gave the\nworld a book memoirs and here\nagain she knew what she was doing\nand gave it nothing threw dust in\nits eyes and it has felt really flattered.\nThat is why I call the Miss Duncan\nwho is known to the world, her dummy.\nIhe real being will neyer be known\n- as for the girl,... who knows }\n\nF. M. Florian.\n\nISADORA DUNCAN; Twenty-four\nStudiesby Arnold Genthe; with\na Foreword by Max Eastman.\nMitchell Kennerley. New York 1929.\nPrice not given.\nl. l.\njV/fR. Mitchell Kennerley has pro-\nduced a good plain book of\nremarkable photographs by Mr. Arnold\nGenthe twenty-four studies of Isa-\ndora Duncan, nine of which I recog-\nnize. In a brief but able Foreword\nMr. Max Eastman claims her as an\nAmerican.\nSurely when all's said and done\nshe was without nationality.\nUntil nations jealously protect and\nsupport their artists, artists can have\nno nation they then belong to the\nworld.\nIt will not do for a nation to treat\nwith indifference any artist they wish\nat death to claim as their child.\nIsadora Duncan was treated shame-\nfully by America, and America no\nlonger has a shred of claim on her.\nBut this book ... a tribute to her\ngenius by Genthe .... is really well\nworth getting.\n\nFOUR PLAYS.\n1. MARIA MARTIN, or the\nMurder in the Red Barn.\n2. SWEENEY TODD, the Demon\nBarber of Fleet Street. Qeorge\nDibdin Pitt. Qerald Howe. \" Barn-\nstormer Plays \" Series. Price\n2/6 each.\n3. THE WAY TO KEEP HIM,\nArthur Murphy. Oxford Univer-\nsity Press. Price I /-.\n4. THE SERVANT OF TWO\nMASTERS, Carlo Goldoni. Cam-\nbridge University Press. Price 3/6.\nA S plays, Goldoni's is the best all\n** round, ...best for acting and best\nwritten; but it*s in translation, and\ntranslation is what it's always been\nheld to be treason.\nAs plays for an English audience\nthe Barnstormer Plays, \" Sweeney\nTodd \" and 44 Maria Martin \" are\nbest for it's English stuff, not\nwell written not good for good\nacting.\nI [Murphy's play would be not bad\nif only we had a second Garrick to\ngive it us and a sound repertory\nTheatre in which to make the presen-\ntation.\nIf the Oxford University Press book\n(No. 3) costing 1/- can be made to\ncover expenses, ought not the Cam-\nbridge University Press to have issued\ntheir book (No. 4) for less than 3/6?\nThe paper is a little better, in size\nit's rather larger, but one shilling\nshould be the price for each of these\nfour books.\n\nAMATEUR AND\nPROFESSIONAL"}]}, {"article_id": "bm-bmtnaau-1929-07-01-c042", "article_bluemountain": "bmtnaau_1929-07_01#c042", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "122", "page_fin": "122", "image_debut": 32, "image_fin": 32, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.23.1", "titre_corps": "EQUIPMENT FOR STAGE PRODUCTION by Arthur Edwin Krows", "titre_sommaire": "EQUIPMENT FOR STAGE PRODUCTION by Arthur Edwin Krows", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 32, "page_imprimee": "122", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.32", "debut_caractere": 15, "fin_caractere_exclue": 122, "texte": "EQUIPMENT FOR STAGE\nPRODUCTION by Arthur Edwin\nKrows. D. Appleton & Co. New\nYork and London, Price 5/- net."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c043", "article_bluemountain": "bmtnaau_1929-07_01#c043", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "122", "page_fin": "122", "image_debut": 32, "image_fin": 32, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.23.1.1", "titre_corps": "PART I. A BEGINNER'S POINT OF VIEW", "titre_sommaire": "PART I. A BEGINNER'S POINT OF VIEW", "signature_source": "h. c", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 32, "page_imprimee": "122", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.32", "debut_caractere": 124, "fin_caractere_exclue": 695, "texte": "PART I.\nA BEGINNER'S POINT OF VIEW.\nh. c.\nDOOKS on this subject have appeared\none after another since the middle\nof last century but none come up to\nthe originals for amusing reading and\nbrilliancy. This book has nothing new\nto say.\nWhat the beginner waits for is this;\nA cheap edition a shilling or six-\npence with one chapter on making\nmodel scenery, one chapter on the\ncarpentry of elementary things, with\nmeasured drawings reproduced, and a\nselect glossary of technical terms such\nas braces, borders, flies, and so on.\nNow who's going to do it?... And\nwith an Index ?"}]}, {"article_id": "bm-bmtnaau-1929-07-01-c045", "article_bluemountain": "bmtnaau_1929-07_01#c045", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "122", "page_fin": "122", "image_debut": 32, "image_fin": 32, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.23.1.2", "titre_corps": "PART 2. THE OTHER POINT OF VIEW", "titre_sommaire": "PART 2. THE OTHER POINT OF VIEW", "signature_source": "g. c", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 32, "page_imprimee": "122", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.32", "debut_caractere": 697, "fin_caractere_exclue": 3531, "texte": "PART 2.\nTHE OTHER POINT OF VIEW.\ng. c.\nJT is only to the old pro that a book\n* like this can prove valuable. It\nreminds him of what he knows so\nwell that he is in positive danger of\nforgetting it all.\nHe long also despaired cheerfully of\never seeing a standard work written\non this subject. How often he needed\na book of reference alphabetically\nplanned telling him anyhow as much\nabout his house the Theatre as a se-\nrious reference work for Doctors will\ntell them all that is needed about the\nHospital, the home of the doctors.\nThe worst of it is that to produce\nsuch a work we need the combined\nbrains of a group of scholars and\ncraftsmen.\nSuch a scholar as Dr. Allardyce\nNicoll, given sufficient funds to enlist\nthe services of the best thirty students\nand craftsmen in Europe, could produce\nsuch a volume but in my opinion\nit would easily develope into a se-\nries ...like the Dictionary of Music.\nIt is certainly over-due, this work.\nThere is no set of serious profes-\nsional workers, and I am thinking of\nthe eight hundred best men, who stand\nmore in need of some practical help,\nsome education and some encourage-\nment than do the theatrical workers,\nbe they actors, students, producers,\nprompters, stage managers or crafts-\nmen. 4\nIf I want to refer to some book\nwhich tells me how to make a raised\nsolid, light and noiseless structure, over\nwhich Macbeth and his army can\npass, I can discover it nowhere. I\nmay by searching through ten or\ntwelve books come across the way to\nmake a rostrum which is heavy and\nnoisy, but that is all and that is no\nuse to us in 1929.\nIf I want to discover the final word\nthat is to be said on how to paint\nthe face, I cannot find it unless I\nrefer to another eight or ten books,\nand even then I am at a loss how to\nmake my own paints. Buy them at\nthe dear old German firm is all 1 am\ntold to do.\nBut while I appreciate the service\nrendered to the stage by the great\nfirms which manufacture grease paints,\nwigs, costumes and the rest, I think it\nis time that the craftsmen who work\nin theatres and who are not in the\ntrade should do their share of work\nshould waken their slumbering powers\nand should experiment.\nHow do that when hardly one of\nthem can tell you how to make a\npaint that is good for the face and\nhow to put it on?\nThe one and only Theatrical Pub-\nlishing house of 1877, which even to\nthis day supplies the profession with its\nbooks, issued a book called 44 HOW\nTO MAKE UP \", 44 a practical guide\nto the art of making up \" etc. written by\n44 Haresfoot and Rouge But in the\nopening lines of its Introduction we read\nas follows:\n44 In placing this book before the\n44 public, the author wishes it to be\n44 understood that it has been written not\n44 so much with the idea of offering\n44 advice to Professionals as with that\n44 of instructing Amateurs \".\nRather depressing, isn't it ?"}]}, {"article_id": "bm-bmtnaau-1929-07-01-c046", "article_bluemountain": "bmtnaau_1929-07_01#c046", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "122", "page_fin": "123", "image_debut": 32, "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=bmtnaau192907-01.2.23.2", "titre_corps": "ENGLISH COMIC DRAM A 1700-1750, by F. W. Bateson", "titre_sommaire": "ENGLISH COMIC DRAM A 1700-1750, by F. W. Bateson", "signature_source": "C. V", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 32, "page_imprimee": "122", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.32", "debut_caractere": 3533, "fin_caractere_exclue": 6230, "texte": "ENGLISH COMIC DRAM A 1700-1750,\nby F. W. Bateson. Oxford,\nClarendon Press. Price 7/6 net.\n\nIV/|R. Bateson has written a model\n* ** critique. Into this \" English\nComic Drama (1700-1750) he has\nwoven character-studies, criticisms, and\na glimpse of eighteenth century life,\nwith grace and skill. As a book, it\nis amusing and brisk, scholarly and\nyet 4 alive and kicking ' ; as a criticism,\nit is sane and competent; and it is\nnot overburdened with footnotes. If\nthe introduction is rather vague, Mr.\nBateson's lively studies of Gay and Cib-\nber make ample amends. A tempting\nselection of extracts from plays and\ndramatic criticisms has been chosen.\nSome remarks by William Archer,\nfrom The Old Drama and the New,\non the * material condition ' of perfor-\nmances in an eighteenth century theatre\nare discussed in the closing chapter.\n44The Elizabethan platform-stage\", says\nMr. Archer, 44 survived in the shape of\na large 4 apron ' jutting out into the\nauditorium beyond the curtain line, and\nactors, in order to be thoroughly well\nheard and seen, habitually moved to\nthe front of this apron, relinquishing\nall attempt to live as it were within\nthe picture . This is dreadful and\nit is surprising to find that Mr. Bateson\ncalls it reasonable. So much for the\nbook, but what of the English Comic\nDrama itself from 1700-1750 ?\nI will not ally myself to that group\nof quite able nincompoops who, headed\nby Collier, backed up by Macaulay, and\ntrumpeted by Mr. Bernard Shaw, put\nout a tongue at the Restorationists.\nThe propriety of those comic plays\ndon't matter a fig only the leaf\ncounts and the leaf tells against\nShaw, Macaulay, and Collier who can\nwear it and share it and stamp it with\nB but keep the damn nonsense from\nBaby and me. For what is immoral\nin the plays is but one thing it is\nthe sly thieving on the part of these\nEnglish Comic Dramatic authors from\nthe French but still more from the\nItalian.\nMost of the plays came to Lon-\ndon cribbed from Gherardi, Scala,\nBeolco, Ganassa, Grazzini, Moli£re; and\nthese too had stolen bits, parts, or the\nwhole from earlier men. And on\ncoming to London these bits done into\nplays were successful : they were im-\nportant for their success alone : its im-\nportant for a play to succeed. Shake-\nspeare would have been successful\nin 1700-1750 but he was dead\nhe would be successful today but he\nis dead. Let him appear in London\nin 1930 and everyone would want to\ngo to see one of his great plays...\nand everyone would be touched, deligh-\nted, and rave about them saying that\nthey were far more wonderful than\nanything that Tchekov had ever done.\nWell then, since these little plays\nby Cibber, Steele, Centlivre, and the\nothers, had success while they were"}, {"page_pdf": 33, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 2240, "texte": "still fresh from the foreign markets,\nwhat does it matter whether they be\nremembered or no ? If recalled, give\nthem a brief round of applause ; but\nwhy more ? Don't hiss at them from\nyour 4 moral * barracades which you've\nthrown up across the excellent old\nPiccadilly, and Adelphi.\nWith Cibber's 44Love's Last Shift\",\nacted at Drury Lane, 1695, compare\nGherardi's 44 Le Banqueroutier \", acted\nin Paris, 1687, and published in Am-\nsterdam before 1695 (I have a second\nedition dated 1695). Note for exam-\nple the passage quoted by Mr. Bate-\nson on pages 23-24, and compare this\nwith the passage from Gherardi quoted\nin The Mask, Volume 111, pages 171-\n172.\nIts just one of the lazzi to fill\nin but its the same Italian ribbon...\nvery frayed. There is very little of\nGherardi in it but there's no Gib-\nber.\nShakespeare knows how to crib\nlike a cracksman. Cibber and these\ncomics of 1 700 didn't: they bungled\nit so why write so many books\nabout them ? If it is to avoid writing\nanother about the sweet swan of Avon,\nI'm sympathetic. But these Restora-\ntion studies show a more positive love;\nits no mere distaste for something else\nthat has driven the present age to fuss\naround the Restoration drama as it\ndoes.\nI ll allow Etherege as on the verge\nof being a stunning fine thief and doing\nus all proud on it but Etherege\nalways had to be off to political work\nand playing the great gentleman in Hol-\nland or France, or where was it ?\nAnyhow, after a playlet or two, he\nwas too busy to do much more in that\nline.\nExcept for Etherege, I have no\nuse for any of them. Gay ? Gay\nand his 44 Beggar's Opera \" ? Well\nwe' ve had that and we know that it\nwas not Gay's opera that we liked but\na pretty little giggle in the corner...\nwith Playfair to tell us when to giggle\nin the right places.... that was our joy.\nBut Gay's 4 opera ' had the swing\nin the 18th century. It had some force\nonce. It wasn't pretty then —it\nwasn't A. A Milne, whose verse, since\nnothing is prettier, we, who like pretty\nthings, must admit to be the very posy\nof all modern prettiness it reduces\none to a state of sobbing prettiness.\nWhat a pity that Mr. Alexander\nPope never wrote his comedies\nthen we should have had a Comic\nDrama, 1700-1750, worthy of our\nIslands.\n\nC. V."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c047", "article_bluemountain": "bmtnaau_1929-07_01#c047", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "123", "page_fin": "123", "image_debut": 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=bmtnaau192907-01.2.23.3", "titre_corps": "PLAYWRITING FOR PROFIT, by Arthur Edwin Krows", "titre_sommaire": "PLAYWRITING FOR PROFIT, by Arthur Edwin Krows", "signature_source": "h. c", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 33, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.33", "debut_caractere": 2242, "fin_caractere_exclue": 4742, "texte": "PLAYWRITING FOR PROFIT,\nby Arthur Edwin Krows. Longman's\nGreen and Co. Price 21/- net.\nHOW TO WRITE A PLAY,\nSt. John Ervine. George Allen and\nUnwin. Price 5/-.\nh. c.\n\" IVf EITHER I nor anyone else can\n* tell the reader how to write a\nplay \", Mr. Ervine says in his Pre-\nface. So this rules out Mr. Krows\nas well ■— much to his disgust, one\nfeels. For not only does his book run\nto five hundred pages, but he proclaims\nthat 44 this book has taken fifteen years\nof desultory writing\". That is its\nfault. It is a large subject, but it can\nbe treated too largely. Fifteen minutes\nclear thinking would have been more\nbeneficial. Or if, like a Japanese me-\nditater, he had pondered for fifteen\nyears on his subject and had suddenly\nattained complete understanding, he\nm'ght then have written a few inspi-\nred lines deftly. As it is he has\ncompletely stifled his idea. During those\nfifteen years of desultory writing, three\nquarters of the work has died and lit-\nters the path. The reader has to hack\nhis way through a pile of corpses to the\nchapter on Production, whence he\nshould have started with but an easy\nhundred pages to go. Here we at last\nfind something which is important about\nthe theatre and plays are written\nfor the theatre... especially when one is\nPlaywriting for Profit.\nAfter merely hinting at the work-\ning of the stage, Mr. Krows assumes\nthat the reader will write his play\nwell and he starts to encumber him\nwith advice as to how to place a play\nwhere, why, when but the time\nis not ripe. No wonder that Mr. Krows\nreceived offers to turn his book into a\ncorrespondence course.\nThe book has some interesting fac-\nsimiles and on its saffron cover are re-\nproduced some tit-bits of praise from\nAmerican reviewers, and I give praise\nfor the index.\nI turn with relief to Mr. St. John\nErvine, with his pleasant English and\nhis realisation of so much that Mr. Krows\nhas missed. He says quite frankly that\nhis title is merely catchpenny. He\ncannot tell you how to write a play ;\nhe can tell you how to wreck a play,\nor what is wrong with your play, for\nMr. Ervine is primarily a critic. As\nan essay on dramatic criticism, allow-\ning for Mr. Ervine's limited out-look,\nyou may find the book worth the mo-\nney, even if the title has duped you.\nIn so far as both writers regard\nthe Writing of plays as 44 the thing \",\nrather than the performance, and the\nplaywriter as a visitor to the stage ra-\nther than one of the family, their point\nof view is limited and their books are\nout of date already."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c048", "article_bluemountain": "bmtnaau_1929-07_01#c048", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "123", "page_fin": "124", "image_debut": 33, "image_fin": 34, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.23.4", "titre_corps": "ISADORA DUNCAN' RUSSIAN DAYS by IRMA DUNCAN and ALAN ROSS MACDOUGALL", "titre_sommaire": "ISADORA DUNCAN' RUSSIAN DAYS by IRMA DUNCAN and ALAN ROSS MACDOUGALL", "signature_source": "F. M. Florian", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 33, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.33", "debut_caractere": 4744, "fin_caractere_exclue": 6921, "texte": "ISADORA DUNCAN' RUSSIAN\nDAYS by IRMA DUNCAN and\nALAN ROSS MACDOUGALL.\nVictor Gollancz Ltd. Price 15/- net.\n\nJ HIS is a touching book of remem-\n•*' brance by the most faithful pupil\nany man or woman could wish to have,\nassisted by as faithful a secretary, for\nMr. MacDougall was secretary to\nIsadora Duncan for many a day.\nIt tells something interesting to him\nwho may chance to have known Miss\nDuncan. It once more bears testimony\nto her intense distrust and even hatred\nfor organization. In the future, a stran-\nger, eager to understand why she did\nas she did, will be able to explain to\nhimself if not to the world the\nreason for her seeming egoism, her ap-\nparent lack of discipline, her supposed\nhabit of terminating friendships, provi-\nded he bears in mind her contempt for\norganization. He will have to trace\nthis hatred for organization to the right\nsource before he will arrive at the rea-\nson behind most of her acts. The\nreason Will be found to be quite unrea-\nsonable, and Isadora Duncan will then\ncease to be a mystery, without anyone\nbeing able to explain her.\nYes, I doubt whether anybody will\never discover the secret, and so her,\nname will become even more of a le-\ngend than it is already. They will\nerect statues, to her, and more statues\nto her; and these monuments, unless\nsomething happens to stop the tendency,\nwill all by then have something sor-\nrowful and tragic in them... all very\nunlike her. Round her is growing a\ngrave legend thoughts associated\nwith death and tears linger where her\nname is spoken which of all things\nis the most ridiculous, since this sad\nfigure was but a dummy put up\nand put up by herself to draw the\nfire of the enemy. On one statue I\nwould like to see the words, 44 She\nfooled them to the top of her bent \"\nand under the words, in bas-relief,\na copy of her book.\nI once met Miss Duncan it was\nin a train, going to Zurich, and I\nhad one of the most interesting con-\nversations with her that I have had\nwith anyone I have ever met* I had\nbeen in Paris interviewing President\nWilson, Mr. Lloyd George, and Cle-\nmenceau, and was going to meet a far\nmore extraordinary man than any of these,\n...the then unknown Signor Mussolini,"}, {"page_pdf": 34, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.34", "debut_caractere": 0, "fin_caractere_exclue": 2306, "texte": "Miss Duncan never hesitated in\ntalk, gesture, or idea, as many girls do\nand Miss Duncan, you will recall,\nwa3 always a girl essentially young\nand, to use a poor word, 44 idealistic \".\nIt is as though I had called Lord\nReading, 4 4 always a boy \" and 44 up\nin the air * but so he was —so\nhe is.\nI listened to this girl then, not as\nI would listen to a worldly woman\nthis girl whose speech never halted\nwho seldom blushed yet who was all\ngirl who skipped woman, as it were,\nand became something more: I\nlistened and I heard her utter things\nwhich the world calls mad.\nSome things she said made me alive\nto her hatred for organization although\nshe was full of schemes which included\na considerable amount of organization\nbut I perceived she hated it.\nEverything she said after this took\non the most original complexion. Her\nunconcern that her school had recently\nbeen scattered to the four winds\nan indifference which flowed like a\ndeep undertide, even while she bewail-\ned her loss. She bewailed in uncon-\nvincing tones she was not born to\nbewail she was only born for joy\nand the joy in her was evident to\nme. She told me grievous things\nI could not grieve with her for under\nall was Joy.\nI began to realise I say that\nshe it was who broke up her school\nso often; she who prevented America\ngiving her a million to establish a school\nthere, and that she knew what she was\ndoing when she broke things up\nshe was saving the thing she treasured\nmore than the world.\nAs compensation she gave to the\nworld some performances. Of one of\nthese she wrote (but not in a book),\n44 the Lady what dances, danced all\n44 over the place.... the yellow dog and\n44 the gas man liked it and so appa-\n-44 rently did all the Kings and the\n44 Queens in the audience it was full\n44 of Imperial Loges and Kings and\n44 things like that the lady what dan-\n-44 ces was in an awful rage and dan-\n-44 ced horrid at all the people then\n44 she went to the dressing room and\n44 fought with the other lady \".\nBesides performances she gave the\nworld a book memoirs and here\nagain she knew what she was doing\nand gave it nothing threw dust in\nits eyes and it has felt really flattered.\nThat is why I call the Miss Duncan\nwho is known to the world, her dummy.\nIhe real being will neyer be known\n- as for the girl,... who knows }\n\nF. M. Florian."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c049", "article_bluemountain": "bmtnaau_1929-07_01#c049", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "124", "page_fin": "124", "image_debut": 34, "image_fin": 34, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.23.5", "titre_corps": "ISADORA DUNCAN; by Arnold Genthe", "titre_sommaire": "ISADORA DUNCAN; by Arnold Genthe", "signature_source": "l. l", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 34, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.34", "debut_caractere": 2308, "fin_caractere_exclue": 3176, "texte": "ISADORA DUNCAN; Twenty-four\nStudiesby Arnold Genthe; with\na Foreword by Max Eastman.\nMitchell Kennerley. New York 1929.\nPrice not given.\nl. l.\njV/fR. Mitchell Kennerley has pro-\nduced a good plain book of\nremarkable photographs by Mr. Arnold\nGenthe twenty-four studies of Isa-\ndora Duncan, nine of which I recog-\nnize. In a brief but able Foreword\nMr. Max Eastman claims her as an\nAmerican.\nSurely when all's said and done\nshe was without nationality.\nUntil nations jealously protect and\nsupport their artists, artists can have\nno nation they then belong to the\nworld.\nIt will not do for a nation to treat\nwith indifference any artist they wish\nat death to claim as their child.\nIsadora Duncan was treated shame-\nfully by America, and America no\nlonger has a shred of claim on her.\nBut this book ... a tribute to her\ngenius by Genthe .... is really well\nworth getting."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c050", "article_bluemountain": "bmtnaau_1929-07_01#c050", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "124", "page_fin": "124", "image_debut": 34, "image_fin": 34, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.23.6", "titre_corps": "FOUR PLAYS", "titre_sommaire": "FOUR PLAYS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 34, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.34", "debut_caractere": 3178, "fin_caractere_exclue": 4330, "texte": "FOUR PLAYS.\n1. MARIA MARTIN, or the\nMurder in the Red Barn.\n2. SWEENEY TODD, the Demon\nBarber of Fleet Street. Qeorge\nDibdin Pitt. Qerald Howe. \" Barn-\nstormer Plays \" Series. Price\n2/6 each.\n3. THE WAY TO KEEP HIM,\nArthur Murphy. Oxford Univer-\nsity Press. Price I /-.\n4. THE SERVANT OF TWO\nMASTERS, Carlo Goldoni. Cam-\nbridge University Press. Price 3/6.\nA S plays, Goldoni's is the best all\n** round, ...best for acting and best\nwritten; but it*s in translation, and\ntranslation is what it's always been\nheld to be treason.\nAs plays for an English audience\nthe Barnstormer Plays, \" Sweeney\nTodd \" and 44 Maria Martin \" are\nbest for it's English stuff, not\nwell written not good for good\nacting.\nI [Murphy's play would be not bad\nif only we had a second Garrick to\ngive it us and a sound repertory\nTheatre in which to make the presen-\ntation.\nIf the Oxford University Press book\n(No. 3) costing 1/- can be made to\ncover expenses, ought not the Cam-\nbridge University Press to have issued\ntheir book (No. 4) for less than 3/6?\nThe paper is a little better, in size\nit's rather larger, but one shilling\nshould be the price for each of these\nfour books."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c051", "article_bluemountain": "bmtnaau_1929-07_01#c051", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "124", "page_fin": "128", "image_debut": 34, "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=bmtnaau192907-01.2.23.7", "titre_corps": "AMATEUR AND PROFESSIONAL", "titre_sommaire": "AMATEUR AND PROFESSIONAL", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 34, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.34", "debut_caractere": 4332, "fin_caractere_exclue": 4356, "texte": "AMATEUR AND\nPROFESSIONAL"}]}, {"article_id": "bm-bmtnaau-1929-07-01-c052", "article_bluemountain": "bmtnaau_1929-07_01#c052", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "124", "page_fin": "125", "image_debut": 34, "image_fin": 35, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.23.7.1", "titre_corps": "HARLEQUINADE; The Story of My Life. Constance CollierSYBIL THORNDIKE by Russell Thorndike", "titre_sommaire": "HARLEQUINADE; The Story of My Life. Constance CollierSYBIL THORNDIKE by Russell Thorndike", "signature_source": "n. l", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 34, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.34", "debut_caractere": 4358, "fin_caractere_exclue": 6321, "texte": "HARLEQUINADE; The Story of\nMy Life. Constance Collier. The\nBodley Head. Price 15/-\nSYBIL THORNDIKE by Russell\nThorndike. Thornton Butterworth price\n21/- net.\n\nHERE are two books about two\nEnglish actresses, the one written\nby herself, the other by her brother.\nBoth have made a conspicuous po-\nsition for themselves, in England and\nfurther afield ; both have worked hard ;\nboth have been prompted by a keen\nlove for the theatre, and have given it\nof their best.\nBut they came from entirely diffe-\nrent worlds and environments, and this\nis one of the most salient points of\ndisparity which strikes the reader in\ncomparing the two.\nSybil Thorndike came of that\nwell-established English class which is\nmade up of the highly placed and\nconspicuous dignitaries of the army\nand the church. She had an assu-\nred and dignified background, and, her\ntastes turning early to the theatre, every\nassistance along the perfectly conven-\ntional lines of the carefully-protected\ndramatic student, with an affectionate\nand provident family in the background.\nShe early entered Ben Greet's\ncompany and toured America, and\nmoved onwards progressively, in later\nyears with the cooperation of her hus-\nband, Lewis Casson, towards an ever-\nextending popularity.\nConstance Collier, born four\nyears earlier, was, on the contrary,\nwhat the Italians call a \" figlia\nd'Arte . Her forbears were actors\nand dancers and wardrobe mistresses;\nher father and mother were both play-\ners, and, being almost always engaged\nseparately, in small roles in different\ntravelling companies, were usually com-\npelled to live apart.\nThe little girl wandered around\nwith her mother, who played 44 second\nboys and such-like parts in travelling\npantomime companies, and knew all\nthe hardships of the third-rate strolling\nplayers, the wretched lodgings, the\nlong Sunday journeys, the irregular life,\nthe abject poverty when gaps between\nengagements were long. She played\nin the gutter before cheap lodging houses"}, {"page_pdf": 35, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.35", "debut_caractere": 0, "fin_caractere_exclue": 1906, "texte": "with the street children, and got no\nschooling save the few days a week in\nthe ever-varying round of towns where\nthe company travelled, and a few\nmonths in a tenth-rate boarding school\nwhere she was half-starved, and tor-\nmented as the child of play-actors.\nShe tells of the long hungry walks\nacross London with her mother to the\ntheatrical agents in search of engage-\nments, of their desperate straits as her\ncharming and courageous little mother,\nfading into middle age, could no lon-\nger get work ; and of how she her-\nself, at fourteen years old, became the\nbread-winner and support of the fa-\nmily. Then of her good fortune two\nor three years later in attaining, through\nher beauty, to a position among the\nfavoured 44 Gaiety Girls \", and, after yet\na few more years, her advance into His\nMajesty s Theatre under the management\nof Sir Herbert Beerbohm Tree, and\nher incredible good fortune, as a still\nyoung, unknown, actress, in being en-\ngaged for a leading part in Stephen\nPhillips 44 Ulysses \" ; followed, from\nthen on, by success after success, in\nassociation with the leading figures of\nthe London stage of that day.\nShe has much that is affectionate,\nadmiring, and genuinely interesting to\nrelate of Beerbohm Tree, and also of\nthose who surrounded him, ...painters,\ncritics, playwrights and players; and\nat times, as in her account of Dan\nLeno's midnight visit, when, the moon-\nlight in the dark room revealing his\nwhite distraught face, he poured out\nall his dream of becoming a great\nShakespearean actor, she makes the\nscene very real for us, produces an\nimpression both touching and tragic.\nEveryone who has known the Lon-\ndon stage and the London personalities\nof the last thirty years or so will find\nmuch that is both interesting and enter-\ntaining in these two books and, by\njove, much that explains how it is\nthat the English theatre is so infernally\ndull, smug and contemptible.\n\nn. l."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c053", "article_bluemountain": "bmtnaau_1929-07_01#c053", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "125", "page_fin": "125", "image_debut": 35, "image_fin": 35, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.23.7.2", "titre_corps": "SEVEN MODERN COMEDIES, by Lord DunsanyTHE CROWN OF SAINT FELICE; THE INVISIBLE DUKE; THE SACRED CAT. by F. Sladen-Smith", "titre_sommaire": "SEVEN MODERN COMEDIES, by Lord DunsanyTHE CROWN OF SAINT FELICE; THE INVISIBLE DUKE; THE SACRED CAT. by F. Sladen-Smith", "signature_source": "a. v", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 35, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.35", "debut_caractere": 1908, "fin_caractere_exclue": 3768, "texte": "SEVEN MODERN COMEDIES,\nby Lord Dunsany. Putman's. Price\n7/- net.\nTHE CROWN\nLICE ; THE INVISIBLE DUKE;\nTHE SACRED CAT, by F. Sladen-Smith.\nGowans and Gray. Price\n1/- each.\na. v.\nHE Seven Modern Comedies could\nhardly be performed satisfactorily.\nIt would be difficult, if not impossible,\nto convey the qualities of Lord Dun-\nsany s highly individual writing and\nrestrained humour to a theatre audience,\nand if these passed almost unnoticed,\nlittle would remain of the plays. Even\nthe reader, carried away at first by\nthe amusing naivete of The Journey\nof the Soul and The Hopeless Pas-\nsion of Mr. Bunyan, finds places\nwhere the polished surface of style\ngives way and lets him go tumbling\ndown into the author's mind, at spots\nwhere, alas ! very little is to be found.\nOne does not expect plays like Holy\nRussia from a writer of Lord Dunsa-\nny's intelligence. They are a thing\nof the past by now. Poor old 1 che-\nkhov ! Still there is much in the book\nwhich is extremely amusing and anyone\nwho doesn't read it will be missing\nsomething.\nAlthough we are aware that as a\nform of criticism comparisons are ge-\nnerally to be avoided, yet when two\nsuch finished exponents of fantasy as\nLord Dunsany and Mr. Sladen-Smith\nboth produce a series of comedies at\nthe same time, we are almost forced\nto compare their work. So here goes.\nSladen-Smith shows a far more\nreal sense of the theatre than does\nLord Dunsany. Though when reading\nhim much of his dialogue and hu-\nmour seem far from subtle, both would\nprobably come to life when spoken\nand acted on a stage. The plays are\nnot encumbered with any insistent lite-\nrary style and they have action. Of\nthe three, The Invisible is the\nmost ingenious. The Crown of St Fe-\nlice is an amusing little piece and is writ-\nten with great spirit. Mr. Sladen-Smith\nknows how to design a plot and how\nto take his place in a theatre,"}]}, {"article_id": "bm-bmtnaau-1929-07-01-c054", "article_bluemountain": "bmtnaau_1929-07_01#c054", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "125", "page_fin": "125", "image_debut": 35, "image_fin": 35, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.23.7.3", "titre_corps": "THE EIGHTEEN-SEVENTIES. Edited by Harley Granville-Barker", "titre_sommaire": "THE EIGHTEEN-SEVENTIES. Edited by Harley Granville-Barker", "signature_source": "d. p", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 35, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.35", "debut_caractere": 3770, "fin_caractere_exclue": 6182, "texte": "THE EIGHTEEN-SEVENTIES.\nEssays by Fellows of the Royal Society\nof Literature. Edited by Harley\nGranville-Barker. Cambridge University\nPress. Price 12/6\nd. p.\njHESE are all charming essays\n-*• but here I must skip them all to\ncome to that by Sir Arthur Pinero\nwhose 44 Theatre in the Seventies \"\nis perfect. Why the word 4 seventies '\nshould be repeated over and over\nagain as title to nine of the eleven\nessays the Editor best knows.\nSir Arthur Pinero, once a member\nof Henry Irving's Company of come-\ndians, at the Lyceum Theatre, knows\nhis subject: and so we are told autho-\nritatively of Robertson and Byron (why\ndid this witty fellow lack wit about\nhis name ?), of the Bancrofts and no\none knew the delightful couple better\nthan Sir Arthur : of W. S. Gilbert\nand of James Albery. Last of\nW. G. Wills ; and then he comes to\nHenry Irving—and to Ellen Terry too.\nOf these he says just what I would\nlike to have said, and that means he\npleases me infinitely. When I first\nsaw them acting I had been a scribbler\nin Fleet Street for at least eight to nine\nyears: and in eight or nine years there,\nunless one breaks away, one learns to say\nnothing: I always marvelled how Cle-\nment Scott could say the things he\ndid in his critiques: but no one to\nmy knowledge was ever called Clement\nbefore or after, and that name had a\nmagic in it in the seventies.\nThe name of Irving was hardly\nknown at the beginning of those ten\nyears, but by the end it was known.\nSir Arthur refers to Irving as 44 this\nextraordinary man\" and quotes from\nBurke when he comes to Ellen Terry.\nMr. Barker also writes on the 1 heatre,\non Tennyson, Swinburne and Meredith\nas would-be dramatists. He says some\nspirited things, but I always feel that Mr.\nBarker is self-conscious, aware of\ncleverness observed or possessed,\naware of defects observed, rather\nthanking God he is not .... and so forth.\nI never can %et away from this in\nall Mr. Barker's work and I find it\nhere again. I feel that he is clever\nand when I doubt it I hear eve-\nryone else telling me that he is, really\nis, clever.\nThat's all to the good but beyond\nthat ? yes, he is spiritual, but not in\nthe least theatric, though of course a\ntrifle theatrical. He is even pontifical\nat times, and, do you know, I don't\nlike that.\nWhat would Shakespeare have made\nof him? what Moliere? what Byron?\nHe is indeed fortunate to live and\nbelong to the times and in the circle\nof Bernard Shaw."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c055", "article_bluemountain": "bmtnaau_1929-07_01#c055", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "125", "page_fin": "126", "image_debut": 35, "image_fin": 36, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.23.7.4", "titre_corps": "GOETHE by Emil Ludwig", "titre_sommaire": "GOETHE by Emil Ludwig", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 35, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.35", "debut_caractere": 6184, "fin_caractere_exclue": 6792, "texte": "GOETHE by Emil Ludwig. 2 Vo-\nlumes. Putnam's. Illustrated. Price\n£ 2.2.0 (2nd impression).\nHIS capacity for happiness was\nnot dependant upon himself\nor he had been but a dull or a rabid\nmaterialist; was not dependant upon\nothers or he would have been a me-\nlancholy lunatic : .... it was not a bitter\nhappiness and it was very like the real\nthing.\nAnd yet he was Director of the\nCourt Theatre of Weimar.\nDr. Luclwig considers him as more\nof a level-headed mentor than an in-\nspiring influence before and behind\nthe curtain of that Theatre.\nHe was for twenty-six years ma-\nnager of the Weimar stage and during"}, {"page_pdf": 36, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.36", "debut_caractere": 0, "fin_caractere_exclue": 1189, "texte": "that time, writes Dr. Ludwig, 44 the\ndramatist may be said to have proudly\nwithdrawn his best works from 'he\nmanager's eye, rather than that the\nmanager was prudent enough to de-\ncline them,\" for Goethe the Dra-\nmatist 44 stood haughtily aloof from\nGoethe the Manager \".\nWhat a wise man and what a\nhappy one. To be a dramatist, to\nhave a theatre, and yet only to use\nthat theatre as a place wherein to enjoy\nhimself.\nHow this explains the whole man.\nBut such an attitude is so new, so\nwell-nigh incomprehensible to all modern\nmen and women that if they will\nread these two astonishing volumes\nthey will find themselves in the pre-\nsence of a man who will always be\na hundred years or so ahead of the\nage.\nGoetne was a man who could enjoy\nall things, and this he taught himself\nto do. Granted a nature rich enough\nto be able to reject (see how he\nrejected the stage) and granted a ca-\npacity for adding each day, each mo-\nment to the wealth of that nature,\nand you have a Goethe, a Byron\nand a hundred out of a million.\nEver serious and courteous\nalways gay, powerful yet sweet\nhappy and an observer of fine\nmanners ....what a lucky man, and what\ngood luck for Germany to have him\nas a son."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c056", "article_bluemountain": "bmtnaau_1929-07_01#c056", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "126", "page_fin": "126", "image_debut": 36, "image_fin": 36, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.23.7.5", "titre_corps": "GOETHE AND FAUST by E. M. Stawell and G. Lowes Dickenson", "titre_sommaire": "GOETHE AND FAUST by E. M. Stawell and G. Lowes Dickenson", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 36, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.36", "debut_caractere": 1191, "fin_caractere_exclue": 1694, "texte": "GOETHE AND FAUST: An In-\nterpretation; by E. M. Stawell and\nG. Lowes Dickenson. G. Bell &\nSons. Price Isj- net,\nis one of the few men\nwho knew how to live and, what\nis more, could explain all about it.\nHe knew how to work and how to\nlove, and that is something towards\nknowing how to live.\nThe authors of this book do not\nquite know how to interpret Goethe,\nbut their translations of his 44 Faust \"\nare very interesting, and many will\nget this volume so as to compare the\nnew versions with the old ones."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c057", "article_bluemountain": "bmtnaau_1929-07_01#c057", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "126", "page_fin": "126", "image_debut": 36, "image_fin": 36, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.23.7.6", "titre_corps": "THE CASE OF Mr. MOREL. Karen Branson", "titre_sommaire": "THE CASE OF Mr. MOREL. Karen Branson", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 36, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.36", "debut_caractere": 1696, "fin_caractere_exclue": 1916, "texte": "THE CASE OF Mr. MOREL.\nKaren Branson. Philpot. Price 5/-.\nreally exciting story for those\n** who like being excited.\n1 have read it once a year ago and\nnow am reading it again. I had for-\ngotten it. It s really exciting."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c058", "article_bluemountain": "bmtnaau_1929-07_01#c058", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "126", "page_fin": "126", "image_debut": 36, "image_fin": 36, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.23.7.7", "titre_corps": "THE LIFE OF SIR PETERPAUL RUBENS by Anthony Bertram", "titre_sommaire": "THE LIFE OF SIR PETERPAUL RUBENS by Anthony Bertram", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 36, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.36", "debut_caractere": 1918, "fin_caractere_exclue": 4914, "texte": "THE LIFE OF SIR PETER PA UL\nRUBENS. Hon. M. A. Cantab, by\nAnthony Bertram. Peter Davies Ltd.\nj\\/f R. Peter Davies is the fifth En-\nglish publisher to issue a book\non Rubens, and is to be severely\ncensured for not having put a clause\ninto his contract with Mr. Bertram :\n44 index essential \".\nRubens greatly admired the houses\n44 in the superb city of Genoa ', a\ncity tourists pass by.\nRubens had to press Her Serene\nHighness some serenity or other\nfor money. Rubens is rather to be\npitied the Serenity is to be ... re-\ncognized. Rubens had to advertise\nhis existence, his 44 excellence in his\nart \", saying he 44 was much esteemed\nthroughout Europe can add 44 li-\nterary talent and knowledge of history\netc to his rare merits as a painter ',\nand begs for an engagement, or for the\nnotice of Philip fourth King of Spain.\nRubens has to claim 44 half the\nsalary due to him \" from some king,\nduke or prince I am not clear which\none a Gonzaga I think yes. it\nwas Gonzaga.\nRubens in time grew wealthy. He\ngathered around him a shoal of colla-\nborators, assistants and pupils and\nsimply turned out paintings by the\nhundred.\nRubens did this after he discovered\nthat wealthy lords and princes did not\npay up. Bully for Rubens ; but col-\nlectors curse the day he did this.\nThey shouidrA curse Rubens but\nmight guess again.\nRubens was 44 very celebrated and\neminent \".\nOne Otto Sperling, a Dane, called\non him in Antwerp.\n44 We paid a visit to the very ce-\n-44 lebrated and eminent painter Rubens,\n44 whom we found at work, and, while\n44 he went on with his painting, listening\n45 to a reading trom Tacitus and dictating\na letter. We kept silent for fear of\n44 disturbing him; but he spoke to us,\n44 without stopping his work or the rea-\n-44 ding or the dictation, and answered our\n44 questions as if to give us proof of his\n44 powerful faculties. Then he ordered\n44 a servant to conduct us round his mag-\n-44 nihcent palace and show us his an-\nCi t\" \"\ntiques .\nRubens was hard in money matters,\n44 a blemish a banker would call a\nvirtue \" writes Mr. Bertram.\nRubens was apt 44 to regard art\nmerely as work \" 44 to measure his\ngem us at so mucn the day ; to bow\nto tue 02tiers of interior men of supe-\nrior rank .\nHe was prepared to furnish pictures\nat all prices from smali studio works\nat fourteen florins eight sous to enor-\nmous pieces at three to four thousand\nflorins. Rubins is a bit like Shakes-\npeare, I'm thinking.\nRubens unfortunately had genius:\nwhat was he to do with it ? die on it\n44 my dear doctor, that's the very\nlast thing I shall do sell it, my\nboy sell it .\nHe arrived at this excellent point\nof view some years after the princes\nand lords of wealth had failed to pay\nhim his wages. He cut adrift\nopened a shop had all his assis-\ntants hard at work and sold by the\nweight or the height.\nRubens is the best model any artist\nafter forty years of age* with little in\nhis pocket can take.\nAltogether a delightful book\nfull of quiet fun and beautifully\nprinted, as is the Peter Davies habit."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c059", "article_bluemountain": "bmtnaau_1929-07_01#c059", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "126", "page_fin": "126", "image_debut": 36, "image_fin": 36, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.23.7.8", "titre_corps": "THE MOONSTONE, Wilkie Collins", "titre_sommaire": "THE MOONSTONE, Wilkie Collins", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 36, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.36", "debut_caractere": 4916, "fin_caractere_exclue": 5792, "texte": "THE MOONSTONE, Wilkie Col-\nlins. Oxford University Press. The\nWorld's Classics Series. Price 2j- net.\nMR. T. S. Eliot in his Introduction\nsays 44 The Moonstone is first,\nthe longest, and the best of modern\nEnglish detective stories\"; but he\nadds, 44 it is something more important\nthan that; it is the best of all the\nnovels written by that man who among\nthe novelists of the nineteenth century\nwas in every way the most closely\nassociated with Charles Dickens \".\nEven leaving Dickens out of it...though\nwho can forget the long friendship, the\nlong association between the two men,\ntheir mutual interest in drama and the\nstage.... 44 The Moonstone \" is a fine\nthrilling tale in which the interest and\nexcitement never flag, and all who have\nnot yet read it can count on some\nhours of enjoyment if they buy a copy\nof this new and handy edition from\nthe Oxford University Press."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c060", "article_bluemountain": "bmtnaau_1929-07_01#c060", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "126", "page_fin": "126", "image_debut": 36, "image_fin": 36, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.23.7.9", "titre_corps": "THE BACK WAY; GEORGE PROPOSES; THE PROOF, by James Lonsdale Hodson", "titre_sommaire": "THE BACK WAY; GEORGE PROPOSES; THE PROOF, by James Lonsdale Hodson", "signature_source": "a. v", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 36, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.36", "debut_caractere": 5794, "fin_caractere_exclue": 6284, "texte": "THE BACK WAY; GEORGE\nPROPOSES; THE PROOF, by\nJames Lonsdale Hodson. Gowans and\nGray. 1/- each.\na. v.\nTHE PROOF has some pretensions\nA to drama and is written with a\ncertain amount of skill, but it would\nbe difficult to find two more puerile\nlittle plays than the other two. If the\nLeeds Dramatic Festival can find no-\nthing better than this sort of stuff for\nthe award of its first prizes, it would\nbe more beneficial to drama and more\nencouraging to dramatists, not to award\nprizes at all."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c061", "article_bluemountain": "bmtnaau_1929-07_01#c061", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "127", "page_fin": "127", "image_debut": 37, "image_fin": 37, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.23.7.10", "titre_corps": "A LIST OF BOOKS ETC. TO SERVE AS AN INTRODUCTION TO THE BIBLIOGRAPHY AND METHODS OF ENGLISH LITERARY HISTORY by Tom Pete Cross", "titre_sommaire": "A LIST OF BOOKS ETC. TO SERVE AS AN INTRODUCTION TO THE BIBLIOGRAPHY AND METHODS OF ENGLISH LITERARY HISTORY by Tom Pete Cross", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 37, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.37", "debut_caractere": 0, "fin_caractere_exclue": 978, "texte": "A LISI OF BOOKS ETC. TO\nSER VE AS AN INTRODUCTION\nTO THE BIBLIOGRAPHY AND\nMETHODS OF ENGLISH LITE-\nRARY HISTORY, by Torn Pete\nCross (Fourth Edition) University of\nChicago Press. Price 75 cents.\nfcHil*—l»ll 11*11 I UUMmUIHIII HIIIHI Bill II II IB >| 111 !■ nM WMlMllill HIIHI I nf|ilffrnwnfTiT\"t|-ir\nJUST because by one touch it for-\ngets that it's a book of reference\nthis book is to be praised. That touch\nis that it's interleaved by white paper\nwhich renders it a proper book of re-\nference.\nWhy on earth there isn't a law\npassed insisting that all such books\nshould be interleaved passes everyone's\ncomprehension since everyone wants it.\nBut then we are only in the 1429 th\nyear of our development; by the time\nwe reach the year 1929, for example,\nthen we shall have solved all the larger\ndifficulties which beset us and, the\npounds once looked after, we can con-\ncern ourselves with the pence.\nThat's the theory isn't it ? Well,\nnone of us need worry for we shan't\nsee 1929."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c062", "article_bluemountain": "bmtnaau_1929-07_01#c062", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "127", "page_fin": "127", "image_debut": 37, "image_fin": 37, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.23.7.11", "titre_corps": "IDOLS OF THE \"HALLS\" by H. Chance Newton", "titre_sommaire": "IDOLS OF THE \"HALLS\" by H. Chance Newton", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 37, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.37", "debut_caractere": 980, "fin_caractere_exclue": 3179, "texte": "IDOLS OF THE \"HALLS\" by\nH. Chance Newton (\"Carados\" of\nthe \"Referee\") Heath Cranton.\nPrice 12/6 net.\nOld Stager.\nPHIS old buffer this 'ere Chance,\nas we may call im —God, what\nan old daisy he is to be sure.\nMark you, I don't mean any dis-\nrespect. I for one need not deflect\non his memory : besides, has not my\ngood old pal and ever to be venee-\nred chief Oswald Stoll said of him\nthat 44 Age cannot wither, nor custom\nstale his vision or his pen \" : and after\nthat I ask you who's saying any\nmore... or any less.\nNo Sir!! H. Change Newton is in-\ndeed to be compared with Cleopatra\nwhose infinite variety (though she ne-\nver really went on the halls) 44 age\ncannot wither nor custom stale \" (Sha-\nkespeare).\nTalking of that, did it ever strike\nany of my readers that what Shake-\nspeare wrote was not 44 age cannot\nwither \" because that makes nonsense,\nbut 44 the stage cannot wither \".\nBut to this book.\nI do urge everyone who cares for\nwhat44 The Mask \" has stood for during\ntwenty years to buy this book. For\nhere, in Mr. Chance Newton's hand,\nis written all the testimony we need\nto prove that all we've ever thought,\nfeared and said about Butt, Stoli,\nMoss and the others is true?.\nAnd here, too, is the fact printed\nthat it was Mr. Chance Newton whose\nopinion was listened to by Butt, Stoll\nand Moss.\nThere is a portrait of Stoll, of\nwhom Mr. Chance Newton writes:\n\"TVo man ever deserved k.nightkood\nmore \" But then Mr. Chance Newton\nhas an astounding capacity almost\namounting to second nature for mis-\nstatement.\nFor example, where he refers to\nthat dear old man, the late Signor\nEspinoza. He tells us that he 44 was for\nmany years producer and stage director\nfor everything spectacular presented\nby the renowned actor-managers Charles\nKean, Sir Henry Irving and Sir Her-\nbert Tree \".\nBut get this book, you who in\nAmerica or in Europe are eager to\nknow of a book which utterly misrepre-\nsents all that's worth while in the\ntheatre, and which is ever incorrect\nabout the wretched and ridiculous\nthing calling itself 44 Theatre the\nlow-down money-governed brutality of\nLondon Stages.\nNewton shows the whole thing up\nas no enemy to that sort of wretched-\nness could do, and 1 treasure his book."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c063", "article_bluemountain": "bmtnaau_1929-07_01#c063", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "127", "page_fin": "127", "image_debut": 37, "image_fin": 37, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.23.7.12", "titre_corps": "MUSSOLINI, THE MAN OF DESTINY, Signor de Fiori", "titre_sommaire": "MUSSOLINI, THE MAN OF DESTINY, Signor de Fiori", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 37, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.37", "debut_caractere": 3181, "fin_caractere_exclue": 5420, "texte": "MUSSOLINI, THE MAN OF\nDESTINY, Signor de Fiori. Dent,\nPrice 6J- net.\nI 'HE search-light and the camera do\nnot have it all their own way:\nthey can be checked better than is\nsupposed.\nThe camera may catch an ugly\nglimpse of truth it will never catch\nthe truth itself : only art may translate\nthat. 44 No man has seen God and\nlived \", and no camera will be quite\nquick enough to do that and remain\nin working order.\nSo while ail the snapshots of Mus-\nsolini render to Demos the things\nwhich are of Demos, God still keeps\nhis own secrets.\nMan does after all, and with all his\nmachinery and understanding, and with\ndue respect be it said, dawdle in the\nuptake.\nThis volume by Signor de Fiori\nis compact and gives you all you\nrequire : for six shillings you get a\nvivid sketch of the most romantic, the\nmost classic figure of these days.\nThe picture is one of Caesar without\ntoga, Napoleon without arrogance,\nand Cromwell with brilliance ad-\nded.\nMussolini what is he? you ask\nbefore you open the book; and after\nyou've read it, ...what is he?\nIt puzzles you to find so much of\nthe Holy Ghost strong and bright in\nanyone for quite so long.\nYet to the artist.. and many artists\nread 44 The Mask \" ...it must seem\nonly one more powerful manifestation\nof all they have loved since they first\nbegan to plough their particular solitary\nfurrows.\nAll artists are not D'Annunzian\nartists ; some plough on unseen till the\ndusk neither caring for applause nor\naware of disapproval 4 simply and\nalways obedient * ...to quote a phrase\nof the Duce ; always modest as is the\nDace with his 44 we have accomplished\nnothing as yet \". I know a number of\nthese artists in Italy.\nI wonder if the Duce knows of them\n...knows that this is so ?\nOnly one thing do those artists with\nideas, big ideas, envy the Duce ;\nthey envy him his right to punish\nthose cowardly and secret persons who\nwith impunity lie every idea out of its\nexistence.\nThere are some the artist would\npunish severely and it is only by\npunishing these assassins that ideas,\ngood and noble ideas, can flourish\nunder a good government.\nSome protection given by such a\nman armed, like Mussolini, is needed\nby his Italian artists who face their\nenemies unarmed.\n1 wonder if Mussolini realizes this\ntoo !"}]}, {"article_id": "bm-bmtnaau-1929-07-01-c064", "article_bluemountain": "bmtnaau_1929-07_01#c064", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "127", "page_fin": "128", "image_debut": 37, "image_fin": 38, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.23.7.13", "titre_corps": "AN OUTLINE HISTORY OF THE JAPANESE DRAMA by F. A. Lombard", "titre_sommaire": "AN OUTLINE HISTORY OF THE JAPANESE DRAMA by F. A. Lombard", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 37, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.37", "debut_caractere": 5422, "fin_caractere_exclue": 6290, "texte": "AN OUTLINE HISTORY OF\nTHE JAPANESE DRAMA by F.\nA. Lombard. George Allen. Price\n16/- net.\nDR LOMBARD has given us a valu-\nable book full of information though\noften in manner of writing it seems a\nlittle strange. Why, for instance, does\nhe write that the 44 students of inter-\nnational drama are turning more and\nmore to study of Japanese Drama \" and\na line further on say 44 its development\ndiffers from the evolution .\nWhy omit the word the in the first\nparagraph and put it in the second ?\nAnd why does he repeat 44 not only\nthree times in twelve lines ? And why\n44 the inner urge to self expression\n44 the primal elements of the drama ,\n44 the essential oneness \" and 44 inter\noperating influences \" ? And 44 when refer-\nring to the Buddhist priest's courtesy to\nhim \" he writes 44 whose uniform kindness\nis worthy of comment\nIt's stiffly written, but it contains a"}, {"page_pdf": 38, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.38", "debut_caractere": 0, "fin_caractere_exclue": 1088, "texte": "fund of valuable information, and for\nthis we must feel grateful to Dr.\nLombard.\nThat he seems to value Kahuki* the\npeople's play, more than the No, the\nartist's play, is natural to one who ap-\nproves of 44 closer contact between au-\ndience and actor \". I know the mood\nand it's a good one when the age is\nchildish, nay 44 still finds us children...\nThe author tells us much about Chi-\nkamatsu his and plays and their puppets;\nbut there again its Kahuki he prefers\nto puppet stage, it being, he holds 44 limi-\nted in possibilities \".\nIt is an inveterate delusion, an incor-\nrigible error, this notion that because a\ngrand art limits, defines with strict and\ndeadly limits in the path of the artist,\nit is less splendid than a lesser art which\ndoesn't care.\nDr Lombard for falling into this error\nis not so much to be blamed ; I'd pre-\nfer he did so rather than that he witheld\nfrom us this able book : but students\nmust take care. Take care to realize\nthe wonders of Kahuki first : nothing\ntoo good can be said for it : but never\ndeny that the No and its Puppets are\nthe most worth while."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c065", "article_bluemountain": "bmtnaau_1929-07_01#c065", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "128", "page_fin": "128", "image_debut": 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=bmtnaau192907-01.2.23.7.14", "titre_corps": "ENGLISH COMEDY by Ashley H. Thorndike", "titre_sommaire": "ENGLISH COMEDY by Ashley H. Thorndike", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 38, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.38", "debut_caractere": 1090, "fin_caractere_exclue": 1655, "texte": "ENGLISH COMEDY by Ashley\nH. Thomdifae.\nThe Macmillan Company. Neu) York-\n-1929.\nF\\R THORNDIKE gives us a compact\nof over 600 pages, a com-\npanion to his book on Tragedy issued\ntwenty years ago,\nAs was to be expected, it is a learned\nwork, and of course one alights on the\none error at once ; it is the cursed luck\nof one who spots things now and again :\nBiancolelli and not Biancoletti (page\n314) is the name of the family of Italian\nactors of the 1 7th : and 18th : centuries.\nThis said, one can but admire this\nexcellent work, as erudite as it is\nlightly handled."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c067", "article_bluemountain": "bmtnaau_1929-07_01#c067", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "128", "page_fin": "128", "image_debut": 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=bmtnaau192907-01.2.24", "titre_corps": "EDITORIAL NOTES : JULY: AUGUST: SEPTEMBER", "titre_sommaire": "EDITORIAL NOTES : JULY: AUGUST: SEPTEMBER", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 38, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.38", "debut_caractere": 1657, "fin_caractere_exclue": 5500, "texte": "EDITORIAL NOTES\nJULY: AUGUST: SEPTEMBER\n\nA THEATRE MUSEUM\no FOR VIENNA o\nVIENNA in the past was a city\nwherein the theatre once flourished,\nenjoying the sunshine of royal enthu-\nsiasm. Artists were summoned from\nItaly and other lands to develope? it\nand it vied with Paris as a centred of\nculture.\nThe National Library of Vienna,\nunder the able direction of Dr. Joseph\nGregor, has long had in its possession\na rich collection of works dealing with\nthe theatre, including large numbers of\nworks on dramatic subjects which were\nbequeathed to it by the famous actor\nHugo Thimig. It also possesses manu-\nscripts, portraits, designs, records, al-\nmanacks, and many other records of\nincalculable value to students of theatre\nhistory, costume, and scenography, and\nall the other arts and crafts which come\nwithin the theatre worker's province.\nReproductions of some of these have\nalready been issued in a series of splen-\ndid portfolios under the title of t( Monu-\nmenta Scenica \" and include many\nfinely coloured scenic and costume de-\nsigns of the Bibienas and other artists\nwho found encouragement and oppor-\ntunity for their gifts at the Viennese\nImperial court.\nTill now, owing to lack of space, the\nexpansion and adequate arrangement\nand display of all these theatre trea-\nsures has been impossible in the Natio-\nnal Library ; but it has now been de-\ntermined that a special theatre museum\nshall be arranged, the whole collection\nbeing transferred to one of the unused\nState Buildings and opened at an early\ndate.\nThe intention is that the exhibition,\nwhen arranged, should furnish a com-\nplete survey of the theatre, not of Vienna\nonly but of the world, as the collection\ncovers a wide field, including, for ex-\nample, some valuable Chinese log books\nrecently acquired, in which theatre\nscenes are depicted ; also a rare model\not a peasant theatre built in three stages.\nSpecial rooms will be reserved for\nstudents, . . historians, actors, scenogra-\nphers and all who wish to avail them-\nselves of the opportunity which access\nto suchjsources affords, and many will\ncertainly be drawn to Vienna to profit\nby the study of this magnificent collec-\ntion of theatre works.\n\nREP RESEN TAT lON\nVERSUS REPRODUCTION\nWRITING in the - Daily Mail\"\nof September 10th on \"One-\nPart Actors \", Mr. Alan Parsons, who\nis always interesting in his point of\nview, discusses what Sir Gerald du\nMaurier has defined as \" casting a\na dog for a dog \" in relation to the\nselection of Mrs Bugler, a Dorsetshire\nfarmer's wife, to play the part at a\nLondon theatre of Tess of the d'Ur-\nbervilles.\nIn explanation of the fact that this\nmethod seldom produces satisfactory re-\nsults, Mr. Parsons writes : \" The reason\nis that the business of the stage is\nto represent, rather than reproduce\n...to hold the mirror up to nature\n\" and all the rest of it. And when\nyou get one member of the cast\n\" \" reproducing \" and all the rest hard\n44 at their natural job of \"representing\"\n\" there is an ugly clash \".\nWhich is true enough.\nBut that \" ugly clash \" is so contin-\nually and inevitably present in the\ntheatre, quite apart from the matter of\nthe living figures who \"represent\" or\n\" reproduce \" the parts for which they\nare cast.\nIt occurs between the \" represen-\nting actor and the \" reproducing \"\nscenery; between the parts of the\nscenery which represent and those\nwhich reproduce : between the real\nflowers and the artificial trees; the\n4 represented * canvas castle and the\nhorse for a horse \" which paws\nbeneath it.\nThis clash will never be eliminated\nuntil scenery, properties, and all 44 re-\npresent instead of reproducing the\ndramatic scene or idea; or ...to go\nfurther still and base the material and\nart of the theatre on an ideal and\nwholly controllable basis ...until the\nliving actor himself gives place at\nleast to the masked actor, if not to\nthe 44 Über-Marionette"}]}, {"article_id": "bm-bmtnaau-1929-07-01-c068", "article_bluemountain": "bmtnaau_1929-07_01#c068", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "128", "page_fin": "128", "image_debut": 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=bmtnaau192907-01.2.24.1", "titre_corps": "A THEATRE MUSEUM : FOR VIENNA", "titre_sommaire": "A THEATRE MUSEUM : FOR VIENNA", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 38, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.38", "debut_caractere": 1698, "fin_caractere_exclue": 3825, "texte": "A THEATRE MUSEUM\no FOR VIENNA o\nVIENNA in the past was a city\nwherein the theatre once flourished,\nenjoying the sunshine of royal enthu-\nsiasm. Artists were summoned from\nItaly and other lands to develope? it\nand it vied with Paris as a centred of\nculture.\nThe National Library of Vienna,\nunder the able direction of Dr. Joseph\nGregor, has long had in its possession\na rich collection of works dealing with\nthe theatre, including large numbers of\nworks on dramatic subjects which were\nbequeathed to it by the famous actor\nHugo Thimig. It also possesses manu-\nscripts, portraits, designs, records, al-\nmanacks, and many other records of\nincalculable value to students of theatre\nhistory, costume, and scenography, and\nall the other arts and crafts which come\nwithin the theatre worker's province.\nReproductions of some of these have\nalready been issued in a series of splen-\ndid portfolios under the title of t( Monu-\nmenta Scenica \" and include many\nfinely coloured scenic and costume de-\nsigns of the Bibienas and other artists\nwho found encouragement and oppor-\ntunity for their gifts at the Viennese\nImperial court.\nTill now, owing to lack of space, the\nexpansion and adequate arrangement\nand display of all these theatre trea-\nsures has been impossible in the Natio-\nnal Library ; but it has now been de-\ntermined that a special theatre museum\nshall be arranged, the whole collection\nbeing transferred to one of the unused\nState Buildings and opened at an early\ndate.\nThe intention is that the exhibition,\nwhen arranged, should furnish a com-\nplete survey of the theatre, not of Vienna\nonly but of the world, as the collection\ncovers a wide field, including, for ex-\nample, some valuable Chinese log books\nrecently acquired, in which theatre\nscenes are depicted ; also a rare model\not a peasant theatre built in three stages.\nSpecial rooms will be reserved for\nstudents, . . historians, actors, scenogra-\nphers and all who wish to avail them-\nselves of the opportunity which access\nto suchjsources affords, and many will\ncertainly be drawn to Vienna to profit\nby the study of this magnificent collec-\ntion of theatre works."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c070", "article_bluemountain": "bmtnaau_1929-07_01#c070", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "128", "page_fin": "128", "image_debut": 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=bmtnaau192907-01.2.24.2", "titre_corps": "REPRESENTATION VERSUS REPRODUCTION", "titre_sommaire": "REPRESENTATION VERSUS REPRODUCTION", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 38, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.38", "debut_caractere": 3827, "fin_caractere_exclue": 5500, "texte": "REP RESEN TAT lON\nVERSUS REPRODUCTION\nWRITING in the - Daily Mail\"\nof September 10th on \"One-\nPart Actors \", Mr. Alan Parsons, who\nis always interesting in his point of\nview, discusses what Sir Gerald du\nMaurier has defined as \" casting a\na dog for a dog \" in relation to the\nselection of Mrs Bugler, a Dorsetshire\nfarmer's wife, to play the part at a\nLondon theatre of Tess of the d'Ur-\nbervilles.\nIn explanation of the fact that this\nmethod seldom produces satisfactory re-\nsults, Mr. Parsons writes : \" The reason\nis that the business of the stage is\nto represent, rather than reproduce\n...to hold the mirror up to nature\n\" and all the rest of it. And when\nyou get one member of the cast\n\" \" reproducing \" and all the rest hard\n44 at their natural job of \"representing\"\n\" there is an ugly clash \".\nWhich is true enough.\nBut that \" ugly clash \" is so contin-\nually and inevitably present in the\ntheatre, quite apart from the matter of\nthe living figures who \"represent\" or\n\" reproduce \" the parts for which they\nare cast.\nIt occurs between the \" represen-\nting actor and the \" reproducing \"\nscenery; between the parts of the\nscenery which represent and those\nwhich reproduce : between the real\nflowers and the artificial trees; the\n4 represented * canvas castle and the\nhorse for a horse \" which paws\nbeneath it.\nThis clash will never be eliminated\nuntil scenery, properties, and all 44 re-\npresent instead of reproducing the\ndramatic scene or idea; or ...to go\nfurther still and base the material and\nart of the theatre on an ideal and\nwholly controllable basis ...until the\nliving actor himself gives place at\nleast to the masked actor, if not to\nthe 44 Über-Marionette"}]}, {"article_id": "bm-bmtnaau-1929-07-01-c071", "article_bluemountain": "bmtnaau_1929-07_01#c071", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "129", "page_fin": "129", "image_debut": 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=bmtnaau192907-01.2.25", "titre_corps": "THE OPERA HOUSE : PARIS IN 1850", "titre_sommaire": "THE OPERA HOUSE : PARIS IN 1850", "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": "129", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.39", "debut_caractere": 0, "fin_caractere_exclue": 31, "texte": "THE OPERA HOUSE: PARIS IN 1850."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c073", "article_bluemountain": "bmtnaau_1929-07_01#c073", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "131", "page_fin": "132", "image_debut": 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=bmtnaau192907-01.2.27", "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": 43, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.43", "debut_caractere": 0, "fin_caractere_exclue": 8916, "texte": "LAST WORDS.\n\n''THE MASK'' AND\no LORD MEL CHETT. o\n\" R~FIHE MASK \" congratulates the \" Theatre\n* Arts Monthly \" on having at last found\nsolid financial support: and The Mask ,\nlooks towards Lord Melchett.\nI had better say at once whe is writing\nthis. . . . On second thoughts, I feel it is\nnot necessary : you will know who is writ-\ning it.\nNow, why do I say \" The Mask \" looks\ntowards Lord Melchett ? WTat has Lord\nMelchett done that we should seem to be\nabout to teaze or importune him ?\nNothing.\nYes. That is just it. He has done\nnothing ...for us.\nWhy should Lord Melchett do anything\nfor The Mask\" ? you ask.\nI will say why.\nLord Melchett is at the head of a very\nfine scheme ... I believe the originator of that\nscheme ... for providing financial backing and\nsupport for worthy, valuable and spirited enter-\nprises which lack capital.\nIt is as fine an idea as one could wish,\nbecause it aims to spread encouragement,\nnourish endeavour, and give opportunity for\nthe realisation of projects which contribute\nto the public good.\nIn having originated and organized such a\nscheme Lord Melchett proved himself both\nintelligent and patriotic.\nNow, at the time when details of this\nscheme were being given to the public some\neighteen months ago, the largeness of its aims,\nits readiness to extend support to any worth-\nwhile projects whether at home or abroad,\nwas emphasized.\nWe of \"The Mask\", reading all this,\nfelt that here at last was that large-minded,\nclear-sighted man with resources, with capital,\nready to help an enterprise which had proved\nits worth and vitality and solidity by fighting\non unaided for twenty years,\nTHE following letter was accordingly sent:\nFlorence June 1 1928.\nTo the Secretary\nThe Finance Company Ltd.\n14 Cornhill\nLondon E. C.\nDear Sir,\nWe have read with much interest an\narticle in \" The Daily Mail\" of April 13th\nlast respecting the organization and aims of\nthe \"Finance Company and ask you to\nbe so courteous as to send us further infor-\nmation on the subject.\nWe should like to know whether Sir\nAlfred Mond's plans for the assistance and\ndevelopment of enterprise Will be available\nfor such activities as our own publication of\nThe Mask which, founded by an\nEnglishman in 1908, has been carried on\n(save for a War interval) ever since, and\nwithout any capital.\nThis journal has been recognized as having\naccomplished more than any other for the\nbetterment of the Theatre and its art, and\nestablishes links of good-fellowship in all\nparts of the world.\nIt's further development and extension\nhas always been limited by lack of capital,\nand it Would indeed be of value if the\npresent scheme accorded facilities by which\nWe could develope our work•\nWe hope you will be so klrid as to let\nus have all possible information ; and also\ninform us, should our enterprise come within\nthe Company's programme of action, what\npreliminary steps We should take.\nAnticipating your courieous attention,\nFaithfully yours,\nTHE MASK Publishers.\nThe reply to this was as follows :\nThe Finance Company of Great Britain and\nAmerica. Ltd.\n37 Threadneedle Street\nLondon E. C. 2\n11th June 1928.\nThe Mask Publishers,\nP. O. Boxx 444,\nFlorence, Italy.\nDear Sirs,\nWith reference to your letter dated\nIst June, 1928, I am directed to inform\nyou that while thanking you for your pro-\nposal, this Company regrets that it is not\nable to avail itself of your kind offer.\nYours faithfully,\nFOR THE FINANCE COMPANY OF\nGT. BRITAIN AND AMERICA LTD.\nSigned . . . (1)\nSecretary.\n.... Which is a pretty definite turn-down.\nAlso a rather incorrect formula, since no\n\" offer \" had been made but only a question put.\nAlso a strange repudiation of the definitely\nstated aims of the Company, since it rejects,\nwithout enquiry, an application which has\nbehind it the exact qualifications which the\nCompany ostensibly requires in those enter-\nprises to which it announces it will extend\nits help.\nIt is on the strength of the above two\nletters that I say that Lord Melchett has\ndone nothing for \" The Mask \".\nNow Lord Melchett is not in the least\nresponsible for having done nothing for \" The\nMask\", of that I feel confident. But Lord\nMelchett will be, I am equally confident, the\nvery first, because he knows about the arts,\nto sympathise with and appreciate what I\nam going to say, and it is this :\nSo long as army men, even the very grea-\ntest, are called upon to reply to serious\nletters sent to the organizations with which they\nare associated by artists or groups of artists,\n...English artists, and artists who for many\nyears have done their very best to stand firm\nfor all their brother artists... matters are\ndamnably ill arranged.\nLord Melchett will agree with this, I am\nsure.\nThe machinery of a large undertaking is,\nI dare say, not so easily managed, nor can\nits regularity in functioning, \" tic-tac \", be\nrelied on to the extent that some of us think;\ngranted, and granted again. But such a\ncase as this, set forth in the two letters which\nI have printed here on my own responsibility,\n...is not one that should be allowed to pass\nwithout being enquired into.\nI had at first thought to communicate this\nprivately through friends, who would approach\nX, who would call on Y, who would see Z,\nin case Z felt that it came within his pro-\nvince to permit the matter to go forward,\nand so on and so on.\nBut I am not good at that sort of method\nof moving to the point I have in view, and\nas * * The Mask \" really circulates only among\nfriends, I felt that I would like them as well\nas Lord Melchett to know of this interesting\nsituation.\nBecause I am going to try and make of\nthis a case that shall be helpful to the artists,\nand not, I hope, unhelpful to this immense\norganization, this company which, with Lord\nMelchett at its head, has set out to stand by\nthose —»— artist or not who stick to\ntheir guns and continue to make an effort,\nhaving nothing behind them of support, and\nnothing of encounagement in front.\nSuch an organization should do itself justice\nfirst of all, ...and next be very careful that it\ndoes no injustice by repulsing just those whom\nits programme ssts out to help-\nNew The Mask \" from the beginning\nhas been what some would call a crazy affair.\nThe original project for it in 1907 havtng\nbeen turned down by various publishers, who\npronounced it a magnificent idea hut incapable\nof realisation with a capital of less than\n<£ 10,000, it went ahead and began without\na penny. It has gone on without a penny,\nfor twenty years, and it is still without a\npenny, ...and there has been no one in\nEngland who has thought good to help it.\nYou may feel that there is sufficient reason\nfor it not being carried on any longer : but\nwe go on, simply for the reason that\nthere are some things .which English men and\nwomen never put down once they have taken\nup, ...and this \"Mask\", and what it stands\nfor a*d embodies, is one of them.\nWe have been told by the Press of Great\nBritain that '* The Mask \" is \" One of the\nmost noteworthy -magazines rpublished in the\nEnglish language ...quite unique and a credit\nto English letters \"... and the most admirable\nand original magazine of its kirid \". That it\nis A unique production \" : that \"As a\ncorrective to the false sense of values which\nrules in London * The Mask * does a great\ndeal of good Work That it is \" A\nconstant source of pleasure to all serious\nstudents of the drama \", and that it is \" The\nbest theatrical magazine in the world \".\n\" The best theatrical magazine in the\nWorld \" ! ...and without one scrap of financial\naid I Think of it.\nIs it not something ...some service to Eng-\nland ... for us to have secured to England\nthe honour of having \" The best theatrical\nmagazine in the world \".\nI should have supposed it was something\nand I believe Lord Melchett will agree with\nme in this.\nI wonder if they organize better in France?\nI cannot believe they do. In America? ...\nwell, \" Theatre Arts \", a friendly offshoot, one\nmight aim:st say a pretty daughter, of \"The\nMask\", has found financial support.\nIn Germany ? .... I am inclined to think\n\"The Mask\" would have been, supported\nseventeen years ago had it been German.\nWell, Lord Melchett is just the kind of\nman who, in Germany, does support the arts\nand artists; who realises it as away of\nhonouring his nation and fulfilling his duty as\nan influential man of culture.\nGermany has many such men. England\nnow has Lord Melchett and his great orga-\nnization. That is why I say that \" The\n\" locks towards Lord Melchett.\n(I) 3he name of a celebrated general.\n\nCHICAGO 1933\nTHERE is to be a World's Fair in Chicago\nin 1933, and Mr. Bel Geddes, the ar-\nchitect and scenographer, has been asked to\narrange the Theatrical section.\nWithout being so extreme as were the Strat-\nford-on-Avon people, when they excluded actors\nand invited Masons to lay the foundation stone\nof the Shakespeare Theatre, Chicago is extreme\nenough, in asking Bel Geddes, when, as a\nmatter of fact, Belasco should have been asked."}, {"page_pdf": 44, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.44", "debut_caractere": 0, "fin_caractere_exclue": 8094, "texte": "Belasco is more of a Theatre man than is\nBel Geddes. What, then, impels an immense\norganization like this to go to a man who has\nalways shown a fine feeling in all that he has\ndone, rather than to the good Belasco who\nhas never been over-scrupulous. Obviously,\nthey know that the artist can always be per-\nsuaded to sacrifice >ix months of his time for\nnext to nothing and they know jolly well\nthat Belasco will do no such damn silly\nthing. .\nBesides, after all, is it not a question ot liking\nto do a thing ? Geddes likes to do this, and\nBelasco doesn't like to: there it begins, and\nthere it ends. Geddes doesn t mind if he has 2d.\nin his pocket or a million he is like Edison\nthere, he is like all artists ; but some 1 heatre folk\ndo care, i have sympathy there with the\ndear Belasco quite a little sympathy and\n1 only hope he is making a lot of money.\nHe has worked extremely hard, and in his time\nhas done a good deal of very excellent\nwork.\nWell, this Exhibition proposes to produce\nsomething that does not compete with presen t-\nday popular theatrical entertainment; is not to\nencourage drama written with the box office\nand the talking picture in mind, but aims to\nencouerage the direct opposite ; to do everything\npossible to show the unlimited possibilities\nof drama, and to return the theatre to its\nown estate.\nThat is Bel Geddes, and we say Bravo,\nGeddes.\" . .\nThe fault of the international 1 heatricai\nExhibitions, in Amsterdam and London, was\nthat the theatrical profession, as it is called, did\nnot coll- borate sufficiently; though encouraged\nto come in, it stayed out. Now although we\nlove the theatrical profession very much, this\nmust be said that it is always the fault\nof the profession that it is not in these affairs.\nIt gets nervous, for no reason whatever, when\nthere is any talk of Art. This is not a little\nextraordinary, since it talks a great deal more\nabout Art than people would suppose: but\nit talks about it in a wrong way, at least ten\ntimes out of twelve. It feels a little uneasy:\nthe actors get uneasy : at least ten out of twelve\nof them do.\nDo you remember Ellen Terry's eagerness\n(we are addressing any actor who may read\nthis) is not that the example to follow ?\nIf someone spoke of a Sargent, or a Rossetti\nor of a book by Henry James, didn't she\nclap her hands, was she not all eagerness to\nknow more and to be among these things ?\nShe had no fear of them: she was never\nknown to say Oh, I never heard of that\nis there such a thing ?\nWhy should not this same Terry eagerness\nreturn and take its place in the actor s being,\nand electrify it just a little bit ? Then would\nnot all actors become happy to hear of this\nExhibition in America in 1933, where every\neffort is to be made to show the world what\ncan be done in a theatre to show the world\nthose things which can not be done anywhere\nelse.\nThe actor has some need to show this,\nand should help to show it 4 as well as the\ndramatist and the producer, for nowadays the\nworld is only being shown what can be\ndone in a cinema studio, or in a talkie\nnot in a theatre, for in the theatre there seems\nto be no spare money for experiments; and\nhere comes Chicago with a big offer to make\nthese experiments.\nAmong the Europeans invited to say what\ncould best be done are two Englishmen...\nGranville Barker and Gordon Craig. But\nthen, that is before any wire-pulling has com-\nmenced.\nPerhaps you will see a while later that\nhalf-a-dozen more Englishmen will pull them-\nselyes in.\nLet us watch. Just those who should not\nbe allowed in, they who are on the make.\nWhen they've done it (since we've given them\nfull warning), we shall announce them as\namong the best wire-pullers in the realm.\nThis anyhow.\n\nBUTT.\nI. F.\nALFRED BUTT was knighted — I never\nknew why. Now he has been baroneted\n— but still I don't know why.\no A FEW FIGURES. o\nRT\",0WARDS the end of 1928, it was an-\nnounced that he and the management of\nDrury Lane Theatre had spent\n£ 1,000,000 in three years,\nin payments to authors, artists, orchestra and\nstaff, and in ether expenditure in connection\nwith the Theatre — which sounds as though\nsomething had been done with this million.\nNothing is said, in the report that I have seen,\nas to how much was paid to actors ; except\nthat \" some of the stars received £250 to\n£300 a week.\"\nButt runs Drury Lane like a Stores, and\nafter all, may it not be a little unwise to\nshovel authors and artists about like sugar and\nspice, however nice ? It may be even more\nunwise to pretend that good authors and good\nartists are being paid, when perhaps such is\nnot the case. For in those three years in which\nthe £ 1,000,000 was spent, the productions\nwere 44 Rose Marie,\" 44 The Desert Song,\"\nand 44 The Show Boat.\" How many good\nauthors, how many good artists, were employed\nto perpetrate these three excellent shows ?...\nwere they excellent shows, by the by ?\nDANGER OF THE PRODUCER.\nAN item which strikes me as rather high in\nthe Drury Lane accounts for these three\nyears is\n£ 134,000, paid in authors' fees.\nThese fees are £45,000 more than was\nspent on the production and renewals of the\nthree plays in those three years. How often\nnowadays we read of the danger of the pro-\nducer to the Theatre, and of the blessedness\nof the author to the Theatre. I take this\nopportunity of pointing to the figures.\nA blessed person does not drain the life's\nblood of the institution to which he devotes\nhis talents — and money is the life's blood of\nthe Theatre. Dramatic authors should be\nwell paid; but dramatic authors should not\nprey upon the Theatre\nBut still I don't know why Butt was\nknighted, or why he was baroneted.\nBut one may hazard a guess.\n\nMR. HALCOTT GLOVER.\nFJY the way what a lot of good stuff Hal-\ncott Glover has in him.\nWho is Halcott Glover ? He writes\nplays and he can write them, but Who's\nWho 1926 \" doesn't tell me a word about\nhim, nor 44 Who's Who in Literature 1926\n\" nor \" Who's Who in the Theatre 1925\nYet Mr. Glover is someone.\nMay be he was no one three years ago\nand 1 must get the latest \"Who's Who\"\nto inform me.\n1 have yet to read the third of the\n\" Three Comedies \" of his issued by George\nRoutledge in 1928, but I here recommend\nthe first of them to Henry Ainley, that Ainley\nwith all his senses of humour and humanity\nawake.\nWhen I have read the third I'll attempt\nto review the volume.\n\nMR. G. K. CHESTERTON.\nr~PHE more I read Mr. G. K. Chesterton's\nbooks and I read those I can buy in\nforeign book-shops the more I am delighted\n(to me that means real delight) with his way\nof writing.\nAnd so is everyone else '* you will\nsay : yes, and I'd not stop to repeat the ob-\nvious, but I came across his name on the co-\nver of a Magazine under those of Mr. Gals-\nworthy and Mr. Bennett, and the name of\nChesterton in smaller print than theirs.\nI wouldn't compare, but it is so like the\nstupidity of things that such a slight should\nbe offered openly and no one pulled up for it.\nChesterton is so very much the artist, and\nmost writers no where in that state.\nThe book I was reading was The\nWisdom of Father Brown \" which has ah\nthe attributes of the thriller of the day and\nthe rare one of being done as only an artist\ncan do it.\nGrace in handling or what is it. It s\naway anyhow, and if the way lacks grace\nit lacks so much : if humour with grace, if\nhumanity with grace—good ; if it lacks grace\nthen it lacks all.\nAnd there are such a number of big names\nof writers who somehow lack this human-\nhumourous-grace.\nMr. Wells at times has far more of it\nthan he seems to care to give himself credit\nfor. Shaw never has it. I seldom find more\nthan an apology for it in Galsworthy ; may\nbe in his case his nobility and gravity outsoar\nthat other thing. It's this other thing which\nto my mind will endure when patient cleverness\nwhich is not strong enough to be gentle will\nbe dust.\n\nTIMIDITY.\nOUR CENTURY, WITH-\nOUT HALTING,\nINTERESTS ITSELF WITH\nNEW \" MOUVEMENTS\nMECANIQUES \" BUT\nWHENEVER NEW \"MOU-\nVEMENTS ARTISTI-\nQUES \" OCCUR, PEOPLE\nSEEM TO BE MORE\nFRIGHTENED OF BEING\nRUN OVER BY THEM\nTHAN BY A MOTOR - CAR\nIN THE STREET\nDIAGHILEV\nQUOTED IN \" LITERARY\nDIGEST \" OF AUG. 24 1929."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c074", "article_bluemountain": "bmtnaau_1929-07_01#c074", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "131", "page_fin": "131", "image_debut": 43, "image_fin": 43, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.2.27.1", "titre_corps": "\"THE MASK\" AND LORD MELCHETT", "titre_sommaire": "\"THE MASK\" AND LORD MELCHETT", "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": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.43", "debut_caractere": 13, "fin_caractere_exclue": 8474, "texte": "''THE MASK'' AND\no LORD MEL CHETT. o\n\" R~FIHE MASK \" congratulates the \" Theatre\n* Arts Monthly \" on having at last found\nsolid financial support: and The Mask ,\nlooks towards Lord Melchett.\nI had better say at once whe is writing\nthis. . . . On second thoughts, I feel it is\nnot necessary : you will know who is writ-\ning it.\nNow, why do I say \" The Mask \" looks\ntowards Lord Melchett ? WTat has Lord\nMelchett done that we should seem to be\nabout to teaze or importune him ?\nNothing.\nYes. That is just it. He has done\nnothing ...for us.\nWhy should Lord Melchett do anything\nfor The Mask\" ? you ask.\nI will say why.\nLord Melchett is at the head of a very\nfine scheme ... I believe the originator of that\nscheme ... for providing financial backing and\nsupport for worthy, valuable and spirited enter-\nprises which lack capital.\nIt is as fine an idea as one could wish,\nbecause it aims to spread encouragement,\nnourish endeavour, and give opportunity for\nthe realisation of projects which contribute\nto the public good.\nIn having originated and organized such a\nscheme Lord Melchett proved himself both\nintelligent and patriotic.\nNow, at the time when details of this\nscheme were being given to the public some\neighteen months ago, the largeness of its aims,\nits readiness to extend support to any worth-\nwhile projects whether at home or abroad,\nwas emphasized.\nWe of \"The Mask\", reading all this,\nfelt that here at last was that large-minded,\nclear-sighted man with resources, with capital,\nready to help an enterprise which had proved\nits worth and vitality and solidity by fighting\non unaided for twenty years,\nTHE following letter was accordingly sent:\nFlorence June 1 1928.\nTo the Secretary\nThe Finance Company Ltd.\n14 Cornhill\nLondon E. C.\nDear Sir,\nWe have read with much interest an\narticle in \" The Daily Mail\" of April 13th\nlast respecting the organization and aims of\nthe \"Finance Company and ask you to\nbe so courteous as to send us further infor-\nmation on the subject.\nWe should like to know whether Sir\nAlfred Mond's plans for the assistance and\ndevelopment of enterprise Will be available\nfor such activities as our own publication of\nThe Mask which, founded by an\nEnglishman in 1908, has been carried on\n(save for a War interval) ever since, and\nwithout any capital.\nThis journal has been recognized as having\naccomplished more than any other for the\nbetterment of the Theatre and its art, and\nestablishes links of good-fellowship in all\nparts of the world.\nIt's further development and extension\nhas always been limited by lack of capital,\nand it Would indeed be of value if the\npresent scheme accorded facilities by which\nWe could develope our work•\nWe hope you will be so klrid as to let\nus have all possible information ; and also\ninform us, should our enterprise come within\nthe Company's programme of action, what\npreliminary steps We should take.\nAnticipating your courieous attention,\nFaithfully yours,\nTHE MASK Publishers.\nThe reply to this was as follows :\nThe Finance Company of Great Britain and\nAmerica. Ltd.\n37 Threadneedle Street\nLondon E. C. 2\n11th June 1928.\nThe Mask Publishers,\nP. O. Boxx 444,\nFlorence, Italy.\nDear Sirs,\nWith reference to your letter dated\nIst June, 1928, I am directed to inform\nyou that while thanking you for your pro-\nposal, this Company regrets that it is not\nable to avail itself of your kind offer.\nYours faithfully,\nFOR THE FINANCE COMPANY OF\nGT. BRITAIN AND AMERICA LTD.\nSigned . . . (1)\nSecretary.\n.... Which is a pretty definite turn-down.\nAlso a rather incorrect formula, since no\n\" offer \" had been made but only a question put.\nAlso a strange repudiation of the definitely\nstated aims of the Company, since it rejects,\nwithout enquiry, an application which has\nbehind it the exact qualifications which the\nCompany ostensibly requires in those enter-\nprises to which it announces it will extend\nits help.\nIt is on the strength of the above two\nletters that I say that Lord Melchett has\ndone nothing for \" The Mask \".\nNow Lord Melchett is not in the least\nresponsible for having done nothing for \" The\nMask\", of that I feel confident. But Lord\nMelchett will be, I am equally confident, the\nvery first, because he knows about the arts,\nto sympathise with and appreciate what I\nam going to say, and it is this :\nSo long as army men, even the very grea-\ntest, are called upon to reply to serious\nletters sent to the organizations with which they\nare associated by artists or groups of artists,\n...English artists, and artists who for many\nyears have done their very best to stand firm\nfor all their brother artists... matters are\ndamnably ill arranged.\nLord Melchett will agree with this, I am\nsure.\nThe machinery of a large undertaking is,\nI dare say, not so easily managed, nor can\nits regularity in functioning, \" tic-tac \", be\nrelied on to the extent that some of us think;\ngranted, and granted again. But such a\ncase as this, set forth in the two letters which\nI have printed here on my own responsibility,\n...is not one that should be allowed to pass\nwithout being enquired into.\nI had at first thought to communicate this\nprivately through friends, who would approach\nX, who would call on Y, who would see Z,\nin case Z felt that it came within his pro-\nvince to permit the matter to go forward,\nand so on and so on.\nBut I am not good at that sort of method\nof moving to the point I have in view, and\nas * * The Mask \" really circulates only among\nfriends, I felt that I would like them as well\nas Lord Melchett to know of this interesting\nsituation.\nBecause I am going to try and make of\nthis a case that shall be helpful to the artists,\nand not, I hope, unhelpful to this immense\norganization, this company which, with Lord\nMelchett at its head, has set out to stand by\nthose —»— artist or not who stick to\ntheir guns and continue to make an effort,\nhaving nothing behind them of support, and\nnothing of encounagement in front.\nSuch an organization should do itself justice\nfirst of all, ...and next be very careful that it\ndoes no injustice by repulsing just those whom\nits programme ssts out to help-\nNew The Mask \" from the beginning\nhas been what some would call a crazy affair.\nThe original project for it in 1907 havtng\nbeen turned down by various publishers, who\npronounced it a magnificent idea hut incapable\nof realisation with a capital of less than\n<£ 10,000, it went ahead and began without\na penny. It has gone on without a penny,\nfor twenty years, and it is still without a\npenny, ...and there has been no one in\nEngland who has thought good to help it.\nYou may feel that there is sufficient reason\nfor it not being carried on any longer : but\nwe go on, simply for the reason that\nthere are some things .which English men and\nwomen never put down once they have taken\nup, ...and this \"Mask\", and what it stands\nfor a*d embodies, is one of them.\nWe have been told by the Press of Great\nBritain that '* The Mask \" is \" One of the\nmost noteworthy -magazines rpublished in the\nEnglish language ...quite unique and a credit\nto English letters \"... and the most admirable\nand original magazine of its kirid \". That it\nis A unique production \" : that \"As a\ncorrective to the false sense of values which\nrules in London * The Mask * does a great\ndeal of good Work That it is \" A\nconstant source of pleasure to all serious\nstudents of the drama \", and that it is \" The\nbest theatrical magazine in the world \".\n\" The best theatrical magazine in the\nWorld \" ! ...and without one scrap of financial\naid I Think of it.\nIs it not something ...some service to Eng-\nland ... for us to have secured to England\nthe honour of having \" The best theatrical\nmagazine in the world \".\nI should have supposed it was something\nand I believe Lord Melchett will agree with\nme in this.\nI wonder if they organize better in France?\nI cannot believe they do. In America? ...\nwell, \" Theatre Arts \", a friendly offshoot, one\nmight aim:st say a pretty daughter, of \"The\nMask\", has found financial support.\nIn Germany ? .... I am inclined to think\n\"The Mask\" would have been, supported\nseventeen years ago had it been German.\nWell, Lord Melchett is just the kind of\nman who, in Germany, does support the arts\nand artists; who realises it as away of\nhonouring his nation and fulfilling his duty as\nan influential man of culture.\nGermany has many such men. England\nnow has Lord Melchett and his great orga-\nnization. That is why I say that \" The\n\" locks towards Lord Melchett.\n(I) 3he name of a celebrated general."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c076", "article_bluemountain": "bmtnaau_1929-07_01#c076", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "131", "page_fin": "132", "image_debut": 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=bmtnaau192907-01.2.27.2", "titre_corps": "CHICAGO 1933", "titre_sommaire": "CHICAGO 1933", "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": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.43", "debut_caractere": 8476, "fin_caractere_exclue": 8916, "texte": "CHICAGO 1933\nTHERE is to be a World's Fair in Chicago\nin 1933, and Mr. Bel Geddes, the ar-\nchitect and scenographer, has been asked to\narrange the Theatrical section.\nWithout being so extreme as were the Strat-\nford-on-Avon people, when they excluded actors\nand invited Masons to lay the foundation stone\nof the Shakespeare Theatre, Chicago is extreme\nenough, in asking Bel Geddes, when, as a\nmatter of fact, Belasco should have been asked."}, {"page_pdf": 44, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.44", "debut_caractere": 0, "fin_caractere_exclue": 3691, "texte": "Belasco is more of a Theatre man than is\nBel Geddes. What, then, impels an immense\norganization like this to go to a man who has\nalways shown a fine feeling in all that he has\ndone, rather than to the good Belasco who\nhas never been over-scrupulous. Obviously,\nthey know that the artist can always be per-\nsuaded to sacrifice >ix months of his time for\nnext to nothing and they know jolly well\nthat Belasco will do no such damn silly\nthing. .\nBesides, after all, is it not a question ot liking\nto do a thing ? Geddes likes to do this, and\nBelasco doesn't like to: there it begins, and\nthere it ends. Geddes doesn t mind if he has 2d.\nin his pocket or a million he is like Edison\nthere, he is like all artists ; but some 1 heatre folk\ndo care, i have sympathy there with the\ndear Belasco quite a little sympathy and\n1 only hope he is making a lot of money.\nHe has worked extremely hard, and in his time\nhas done a good deal of very excellent\nwork.\nWell, this Exhibition proposes to produce\nsomething that does not compete with presen t-\nday popular theatrical entertainment; is not to\nencourage drama written with the box office\nand the talking picture in mind, but aims to\nencouerage the direct opposite ; to do everything\npossible to show the unlimited possibilities\nof drama, and to return the theatre to its\nown estate.\nThat is Bel Geddes, and we say Bravo,\nGeddes.\" . .\nThe fault of the international 1 heatricai\nExhibitions, in Amsterdam and London, was\nthat the theatrical profession, as it is called, did\nnot coll- borate sufficiently; though encouraged\nto come in, it stayed out. Now although we\nlove the theatrical profession very much, this\nmust be said that it is always the fault\nof the profession that it is not in these affairs.\nIt gets nervous, for no reason whatever, when\nthere is any talk of Art. This is not a little\nextraordinary, since it talks a great deal more\nabout Art than people would suppose: but\nit talks about it in a wrong way, at least ten\ntimes out of twelve. It feels a little uneasy:\nthe actors get uneasy : at least ten out of twelve\nof them do.\nDo you remember Ellen Terry's eagerness\n(we are addressing any actor who may read\nthis) is not that the example to follow ?\nIf someone spoke of a Sargent, or a Rossetti\nor of a book by Henry James, didn't she\nclap her hands, was she not all eagerness to\nknow more and to be among these things ?\nShe had no fear of them: she was never\nknown to say Oh, I never heard of that\nis there such a thing ?\nWhy should not this same Terry eagerness\nreturn and take its place in the actor s being,\nand electrify it just a little bit ? Then would\nnot all actors become happy to hear of this\nExhibition in America in 1933, where every\neffort is to be made to show the world what\ncan be done in a theatre to show the world\nthose things which can not be done anywhere\nelse.\nThe actor has some need to show this,\nand should help to show it 4 as well as the\ndramatist and the producer, for nowadays the\nworld is only being shown what can be\ndone in a cinema studio, or in a talkie\nnot in a theatre, for in the theatre there seems\nto be no spare money for experiments; and\nhere comes Chicago with a big offer to make\nthese experiments.\nAmong the Europeans invited to say what\ncould best be done are two Englishmen...\nGranville Barker and Gordon Craig. But\nthen, that is before any wire-pulling has com-\nmenced.\nPerhaps you will see a while later that\nhalf-a-dozen more Englishmen will pull them-\nselyes in.\nLet us watch. Just those who should not\nbe allowed in, they who are on the make.\nWhen they've done it (since we've given them\nfull warning), we shall announce them as\namong the best wire-pullers in the realm.\nThis anyhow."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c078", "article_bluemountain": "bmtnaau_1929-07_01#c078", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "132", "page_fin": "132", "image_debut": 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=bmtnaau192907-01.2.27.3", "titre_corps": "BUTT", "titre_sommaire": "BUTT", "signature_source": "I. F", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 44, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.44", "debut_caractere": 3693, "fin_caractere_exclue": 5634, "texte": "BUTT.\nI. F.\nALFRED BUTT was knighted — I never\nknew why. Now he has been baroneted\n— but still I don't know why.\no A FEW FIGURES. o\nRT\",0WARDS the end of 1928, it was an-\nnounced that he and the management of\nDrury Lane Theatre had spent\n£ 1,000,000 in three years,\nin payments to authors, artists, orchestra and\nstaff, and in ether expenditure in connection\nwith the Theatre — which sounds as though\nsomething had been done with this million.\nNothing is said, in the report that I have seen,\nas to how much was paid to actors ; except\nthat \" some of the stars received £250 to\n£300 a week.\"\nButt runs Drury Lane like a Stores, and\nafter all, may it not be a little unwise to\nshovel authors and artists about like sugar and\nspice, however nice ? It may be even more\nunwise to pretend that good authors and good\nartists are being paid, when perhaps such is\nnot the case. For in those three years in which\nthe £ 1,000,000 was spent, the productions\nwere 44 Rose Marie,\" 44 The Desert Song,\"\nand 44 The Show Boat.\" How many good\nauthors, how many good artists, were employed\nto perpetrate these three excellent shows ?...\nwere they excellent shows, by the by ?\nDANGER OF THE PRODUCER.\nAN item which strikes me as rather high in\nthe Drury Lane accounts for these three\nyears is\n£ 134,000, paid in authors' fees.\nThese fees are £45,000 more than was\nspent on the production and renewals of the\nthree plays in those three years. How often\nnowadays we read of the danger of the pro-\nducer to the Theatre, and of the blessedness\nof the author to the Theatre. I take this\nopportunity of pointing to the figures.\nA blessed person does not drain the life's\nblood of the institution to which he devotes\nhis talents — and money is the life's blood of\nthe Theatre. Dramatic authors should be\nwell paid; but dramatic authors should not\nprey upon the Theatre\nBut still I don't know why Butt was\nknighted, or why he was baroneted.\nBut one may hazard a guess."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c080", "article_bluemountain": "bmtnaau_1929-07_01#c080", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "132", "page_fin": "132", "image_debut": 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=bmtnaau192907-01.2.27.4", "titre_corps": "MR. HALCOTT GLOVER", "titre_sommaire": "MR. HALCOTT GLOVER", "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": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.44", "debut_caractere": 5636, "fin_caractere_exclue": 6307, "texte": "MR. HALCOTT GLOVER.\nFJY the way what a lot of good stuff Hal-\ncott Glover has in him.\nWho is Halcott Glover ? He writes\nplays and he can write them, but Who's\nWho 1926 \" doesn't tell me a word about\nhim, nor 44 Who's Who in Literature 1926\n\" nor \" Who's Who in the Theatre 1925\nYet Mr. Glover is someone.\nMay be he was no one three years ago\nand 1 must get the latest \"Who's Who\"\nto inform me.\n1 have yet to read the third of the\n\" Three Comedies \" of his issued by George\nRoutledge in 1928, but I here recommend\nthe first of them to Henry Ainley, that Ainley\nwith all his senses of humour and humanity\nawake.\nWhen I have read the third I'll attempt\nto review the volume."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c082", "article_bluemountain": "bmtnaau_1929-07_01#c082", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "132", "page_fin": "132", "image_debut": 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=bmtnaau192907-01.2.27.5", "titre_corps": "MR. G. K. CHESTERTON", "titre_sommaire": "MR. G. K. CHESTERTON", "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": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.44", "debut_caractere": 6309, "fin_caractere_exclue": 7792, "texte": "MR. G. K. CHESTERTON.\nr~PHE more I read Mr. G. K. Chesterton's\nbooks and I read those I can buy in\nforeign book-shops the more I am delighted\n(to me that means real delight) with his way\nof writing.\nAnd so is everyone else '* you will\nsay : yes, and I'd not stop to repeat the ob-\nvious, but I came across his name on the co-\nver of a Magazine under those of Mr. Gals-\nworthy and Mr. Bennett, and the name of\nChesterton in smaller print than theirs.\nI wouldn't compare, but it is so like the\nstupidity of things that such a slight should\nbe offered openly and no one pulled up for it.\nChesterton is so very much the artist, and\nmost writers no where in that state.\nThe book I was reading was The\nWisdom of Father Brown \" which has ah\nthe attributes of the thriller of the day and\nthe rare one of being done as only an artist\ncan do it.\nGrace in handling or what is it. It s\naway anyhow, and if the way lacks grace\nit lacks so much : if humour with grace, if\nhumanity with grace—good ; if it lacks grace\nthen it lacks all.\nAnd there are such a number of big names\nof writers who somehow lack this human-\nhumourous-grace.\nMr. Wells at times has far more of it\nthan he seems to care to give himself credit\nfor. Shaw never has it. I seldom find more\nthan an apology for it in Galsworthy ; may\nbe in his case his nobility and gravity outsoar\nthat other thing. It's this other thing which\nto my mind will endure when patient cleverness\nwhich is not strong enough to be gentle will\nbe dust."}]}, {"article_id": "bm-bmtnaau-1929-07-01-c084", "article_bluemountain": "bmtnaau_1929-07_01#c084", "volume": "bmtnaau_1929-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "132", "page_fin": "132", "image_debut": 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=bmtnaau192907-01.2.27.6", "titre_corps": "TIMIDITY", "titre_sommaire": "TIMIDITY", "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": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.44", "debut_caractere": 7794, "fin_caractere_exclue": 8094, "texte": "TIMIDITY.\nOUR CENTURY, WITH-\nOUT HALTING,\nINTERESTS ITSELF WITH\nNEW \" MOUVEMENTS\nMECANIQUES \" BUT\nWHENEVER NEW \"MOU-\nVEMENTS ARTISTI-\nQUES \" OCCUR, PEOPLE\nSEEM TO BE MORE\nFRIGHTENED OF BEING\nRUN OVER BY THEM\nTHAN BY A MOTOR - CAR\nIN THE STREET\nDIAGHILEV\nQUOTED IN \" LITERARY\nDIGEST \" OF AUG. 24 1929."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.1", "texte": "T H F MASK\"\n1 11 J_J IVI KJ I\\\nVOLUME FIFTEEN. NUMBER THREE\nJULY - AUGUST - SEPTEMBER\n19 2 9\nANNUAL SUBSCRIPTION DE LUXE EDITION\nTEN SHILLINGS TWENTY SHILLINGS\n(POST FREE) RTF Z/A*-)ll (POST\no O\nMTCOPYA\nTWO & A HALF DOLLARS FIVE DOLLARS\nFOR AMERICA FOR AMERICA\nADDRESS: BOX 44 4. FLORENCE. ITALY.\n\nLOVELY NANCE OLDFIELD AND HER\nEFFECTS, & THE REVEALING PO-\nWER OF TRIFLES, By Gordon Craig,\nMORE OF MLLE. RACHEL'S POSSES-\nSIONS, Being a further Translation of the\nCatalogue of the Sale held after her death.\nHANNEN SWAFFER, \" Soundest and most\nreliable English-writing dramatic critic alive\"\nby rtuhp rolrreman. _ _\nIV MYSTIFICATION , AND LORD AND\nIVI LADY BYRON, by L. C.\nLORD MELCHETT AND «• THE MASK \".\nA NOTE.\nTHE NATURAL HISTORY OF THE\nBALLET GIRL. As studied in 1847 by\nAlbert Richard Smith. (Concluded).\nAN •• EXCEEDINGLY CRUEL. UNFAIR\nAND UNSPORTSMANLIKE\" CRI-\nTIC. An Open Letter to Mr. St. John Ervine\nfrom Barrett H. Clark.\nARTICLES AND NOTES ON CHEA-\nTING THE BRITISH PUBLIC ; THE\nCINEMA AND THE SILLY-ASS BRIGADE:\nCOSTUME: AN AMERICAN VIEW OF\nTHE ENGLISH THEATRE: GOETHE. ISA-\nDORA DUNCAN, and many other subjects.\n\nILLUSTRATIONS\nA DESIGN BY ANGELO CARBONI FOR A STAGE SCENE. SOME SCENO-\nGRAPHIC AIDS FOR LITTLE THEATRES: THE ELEVENTH OPERA\nHOUSE. PARIS. SCENES IN THE LIFE OF THE BALLET GIRL BY HEN-\nNING, GAVARNI AND GILBERT. A FINE FOLDING PLAN OF VENICE.\nBY CORONELLI, (CIRCA 1700)."}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.2", "texte": "THE MASK. JULY-SEPTEMBER 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.\nFOREWORD J- s page 87\nON THE INVENTORY OF AN ACTRESS'S EFFECTS Gordon Craig ..... 89\nHANNEN SWAFFER Philip Polfreman 93\nCATALOGUE OF THE SALE OF MLLE. RACHEL'S\nPOSSESSIONS. Part 2 Translated by D. N. L. . . . 95\nTHE RAH FT GIRL: Concluded Albert Richard Smith 1847. . .100\nA NOTE UPON CORONELLI'S PLAN OF VENICE J. S 108\nCHEATING THE BRITISH PUBLIC .... John Semar 109\nPANDORA'S BOX X. Y. Z. . . . . . .110\nFINE FEATHERS . . A. C 113\nA STAGE SCENE C 112\nMISUNDERSTANDING; Some Notes on an Essay on Gordon\nCraig D. N. L 113\nCOSTUME Anon 114\nMR. C. W. BEAUMONT'S THEATRE PUBLICATIONS Anon 116\nAN OPEN LETTER TO MR. ST. JOHN ERVINE . Barrett. H. Clark . . . .117\n\" MYSTIFICATION \" and Lord and Lady Byron . . L. C 118\nTHE LONDON THEATRE as seen by an American . D. Nevile Lees. . . . . .12'\nBOOK REVIEWS. EDITORIAL NOTES. LAST WORDS.\n\nILLUSTRATIONS.\nA DESIGN FOR A STAGE SCENE .... Angelo Carboni . . Plate 7. Face 87\nSOME DESIGNS FOR LITTLE THEATRES . . Un Religieux Plates 8 & 9. follow 94\nA PLAN OF VENICE, circa 1700 Large folding plate . Coronelli .... Face 130\nTHE ELEVENTH OPERA HOUSE. PARIS . . Anon 129\nTHE BALLET GIRL, Scenes from her Life . . . Henning, Gavarni & Gilbert . 100-108\nHead and Tail Pieces from old and modern Designs."}, {"page_pdf": 3, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.3", "texte": "19 0 8 19 2 9\n\nFOREWORD\n\nACHEL, Mrs. Oldfield, the Ballet Girl and Lady Byron...\nall of these ladies have a place in this number.\nWe have often wondered why people collected stamps.\nOf all trivial pursuits it seemed to us one of the most trivial.\nYet you will find it is men as a rule who collect these trifles\nwhile it is women, who are always accused (and how illogically) of\nbeing the trivial sex, who do no such thing.\nDid Rachel collect such worthless things ?... or Mrs. Oldfield }\nThe catalogues of their sales and effects, which we are reprinting in these\ndays, reveal no stamps. The Ballet Girl rarely used a stamp : Lady\nByron one or two.\nThat very estimable Lady Byron, to whose character our reviewer\nbarely renders justice, where is the catalogue of the sale or where the\ninventory of her effects ? What effects had she ? We would be glad\nto possess a copy of the list, for, since we began to look curiously\ninto these things , we have come to see therein unconscious portraits\nof the ladies to whom the effects belonged.\nA wise psychologist could deduce therefrom a photographic likeness\nof the lady's soul. That is why we would see a copy of Lady\nByron's list.\nWe do know that she left a written \" Character of Lord Byron \"\ndrawn up before their marriage; we know that she left a judicial\nanalysis of Lord Byron drawn up nearly forty years later and handed"}, {"page_pdf": 4, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.4", "texte": "over to the Rev. Frederick Robertson of Brighton, full of revelations,\njudgments and curious attitudes. But, beyond an abundance of letters\nand \" disclosures we know nothing of her effects.\nSince Actresses be ever acting it follows that the wisest soul-reader\nwould be baulked by what they left behind. Effects and \" properties \"\nbeing their stock in trade, all we can deduce from their lists of fine\nlinen and purple, is that they were very effective.\nThe Ballet Girl is equally thwarting.\nSo poor Lady Byron (who never acted) is left over, and a hun-\ndred eyes will now ferret about to discover what exactly her reading\nmatter may have been.\nAt her sale was there put up and knocked down perhaps a copy of\nSouthey's \" Life of Nelson \" ?\n\nJ. S."}, {"page_pdf": 5, "page_imprimee": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.5", "texte": "ON THE INVENTORY OF\nAN ACTRESS'S EFFECTS\nWITH SOME NOTES\nBY GORDON CRAIG.\nf< The English were prompted by no other Principle,\nin burying Mrs. Oldfield in Westminsten-Abbey, than\ntheir good Sense. They are far from being so ridiculous\nas to brand with infamy an Art which has immortalized\nan Euripides and a Sophocles A Voltaire.\nmil \\\\msKsmssmmsamm\nLOVELY Nance Oldfield was born on\na day unrecorded in the year 1683,\nat a house in Pall Mall 61, London ; she\nbecame one of the most famous of English\nactresses and she died, poor Mrs. Oldfield,\non Monday October 23 rd of the\nyear 1730, at No. 60, Lower Grosvenor\nStreet, Hanover Square, a new-built house,\nin the same old London in which she had\nbeen born.\nIn 1731, Mr. William Egerton (3),\nbrought out his \" Faithful Memoirs \"\nof her \" LIFE \", and also of her\n\" Amours and Performances \" (Price 3s.\nStitched ; 3s. 6d. Bound !).\nHe calls her \" justly celebrated and\nthe most eminent of her time \" and on\nthe title of his book adds this pretty piece\nfrom Rochefoucault : \" The great pains\nwhich the LADIES of this age take to\ncommend VIR TUE, is sometimes a shrewd\nsign that they take but very little to\npractice IT. And, the greatest Part of\nthose complaints against their Neighbours,\nare owing to the Want of Reflection upon\ni lipm cp|\\/pc\nOf all this (and I like it all) I like\nmost the \" 3s. Stitched; 3s. 6d. Bound \".\nTo think that one could get a nice oc-\ntavo bound in good young calfskin, tool-\ned, gilt, and all the rest of it, for six-\npence in 1731, makes me unleash a\nsigh for 1731 again.\n<J Dear Mrs. Oldfield was not a sain-\nted lady : no one could make a joke at\nher expense as they could about Queen\nElizabeth. Mr. Egerton says that she had\namours on the title page, he says it;\nbut she was dear Mrs. Oldfield and her\namours were Nance Oldfield's.\nI mean she was kind and clever, al-\nways tried to please and always tried not\nto hurt.\nDuring her life, the great-great-grand-\nfather of my old friend Drury Pervil acted\nas property-man in the theatre where she\ndid perform in that Theatre Royal in\nDrury Lane. Later he came (at his own\nrequest) to act as stage-door keeper.\nSome historians deny this, but surely\nhis descendant should know, and he asserts\ndefinitely that his great - great - grandfather\nwas property master or man at the theatre\nwhen Mrs. Oldfield acted her many parts\nthere, and he it is who has left us a care-\nful list of those parts.\nEgerton gives us in his \" Faithful\nMemoirs \" a list of her effects. A si-\nmilar list of the great Rachel's effects\nappeared in The Mask• (l) It interested\nme and perhaps you.\nOn reading these two lists, Rachel's\nand Oldfield's, I felt as I did when look-\ning through the effects of Ellen Terry,\n\n(1) Probably The George Tavern, or one of the\nadjoining houses.\n(2) \" Friday, October 23 \", writes Egerton, but I\nmake it out to have been a Monday.\n(3) Edmund Curll, the famous grub, who had his\nbookshop next door to Will's Coffee House, in Bow\nStreet, Covent Garden, who was not liked is not\nliked yet when he liked could write.\n(1) It is continued in this number and will be com-\npleted in the next. Editorr"}, {"page_pdf": 6, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.6", "texte": "sold at Christie's. I felt that all these\npretty things, each having a history, should\nhave that history told, their portraits taken,\nand thus, through word and picture, tell\ngently more of the tale of Ellen Terry or\nof Nance Oldfield than we shall ever get\nin the gusty emotional way.\nAnd this catalogue of Mrs. Oldfieid's\neffects is almost better than a life ill-told\nas some vain admirer would tell it, for we\nare spared the self-portrait of the admirer and\nwe get the admired. And on each item,\nif we like to linger, we can suppose many\ngentle things according to our mind's heart\nor if the mind be without a heart,\nwe can speculate alone in the frost.\nThat \" gold snuff-box, set with Bril-\nliants and Rubies \", catches my eye.\nWhen was it first seen and touched by\nher ? what was she saying ? and in what\nseveral situations, after it was hers, did\nher mind and hand turn to it ? I won-\nder, did she at seven o'clock each even-\ning, always place her light hand on it\nand, raising it, carry it from her dressing-\ntable to her boudoir or her theatre? And\nwhy ? Did the brilliants always remind\nher of the same thing or of several things ?\nDid it inspire her versatile wit or did it\nbring calm to her noble character ? What\nsize and weight was it ? Did it ever\nfall ? What did she say then ? And\nfalling, as she stooped to recover it, did\nshe not once strike her forehead on the\nknob of the door, and of this stunning take\nto her bed ? Did she there, next morn,\nturn, put out her hand not find it near\nand whisper, \" Where is my box ? \"\nAnd was there a long hunt for it until\nthe wretch was found beneath the sofa,\nwhere it had slipped, pushed by her heel,\nas she tried to recover herself at her fall ?\nAnd as it came in and her face lighted\nup, did not my Lord Fitz Geralton (coming\nin too) take the joyful look as harbinger\nof his coming and once more grow\nvain ?\nTell us then the story of a woman s\neffects all the lesser details that\nwe may learn to see and hear the woman.\nI had not heard of night jewelry be-\nfore though most of the world knows\nit, I suppose. So that coming upon \" A\nPair of Ruby Night-Ear-Rings, set with\ngold\", in the list of effects, had a pretty\nsound. \" Pier and chimney glasses \"\ninto which she had looked such clear\npools of joy where are they now ?\n\" Carpets of the nicest sort \" over which\nshe passed, and which she saw, and felt\nbeneath her feet. What has happened\nnot only to these nicest carpets but to\ntheir \" Memoirs \" ? Wandering back to\nPersia, their souls are heard saying to the\nhundreds of fellow carpets who never tra-\nvel from Teheran, \" I was the carpet of\nthat justly celebrated and most eminent\nactress, Mrs. Nance Oldfield, and no one\nin London has cared to hear, to inscribe,\nand to remember the lovely things I know\nof her. Her regard for Lord Hxxxx is\nvaguely known ; her love for me is lost\nentirely - and we never fell out; never\nanything passed between us but was a joy.\nShe admired me spoke of me of\nmy expression and colour. She was grieved\nif 1 was wounded by any clumsy spur, and\nwhen a dish of tea tipped up and fell\non me, she was instantly down on her knees\nto put all right again.\n\" And what of that look she once gave\nme when returning at night alone, after\nthe play ? It was the twenty-seventh of\nFebruary 1730. She opened her door\nand came in with lights. To the whole\nroom she spoke little nothings, but full\nof love and then departed, crossing light-\nly over me to her inner room, closing\nthe door. Only the moon was left to\nsprawl over us all as it rose above the"}, {"page_pdf": 7, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.7", "texte": "straight roof of No. 22, across the way.\nAh ! What a Lady ! You have none\nsuch in this abominable Persia of yours \".\nBut really carpets talk better than this\nand Hans Andersen or Valentine Vox\ncould have given a more Persian accent\nto its voice.\nNo laces are recorded as having been\nin Mrs. Gldfield's sale; yet, \" As the\nnicetye of her Dress was her Delight\nwhen living, she was nicely dressed after\nher Decease, being by Mrs. Saunders\nDirection thus laid in her coffin : she had\non a very fine Brussels-lace Head, a\nHolland Shift, with tucker, and a double\nRuffle of the same lace, a pair of new\nKid-Gloves, and her body wrapped up in\na Winding Sheet \", records Egerton.\nWhat a number of important facts\nshould come down to us with the record\nof a fine woman's lace ! Endless should\nsuch records be of such a woman —-\nand never unassociated with some trinket,\nsome book, vase, or wearing apparel. Yet\nbarely does a biographer tell us of these\nthings of things so very near and dear\nto her.\n1 have two lovely little silver labels\nhung on chains, with the words \" Whis-\nky \" \" Brandy \" cut on them. With\nthese two labels are engraven on my mind\npicture after picture of a lady quite un-\nknown to you, a Madam Taylerren, but\nfamous in Vienna some hundred years ago.\nI have the record of the several times a\ncertain visitor saw these labels what\nshe did to them where they came\nfrom what she said as she opened a\n- certain black and gold cupboard door.\nAnd having the labels and knowing all\nthis is like having two living things which\n. speak to me of this lady.\nChopin's pencil-case perhaps exists\nor the watch-chain given him on Monday,\n. December 21, 1850 in Majorca but\nwhere is the little picture, where the tale,\nof what he did and said when he touched\nthese two relics, so that they shall live\ntheir life and not be deadly mementoes\nof death ?\nHere stood Louis XVI on the day\nwhen the mob burst into the gardens of\nVersailles \", the guide of the Palace will\ntell you. I really can't believe that, for\nhe doesn't know. And besides, the pic-\nture is too big ; neither did the Palace\nlook like that in 1789, nor were the\nsounds the same ; the light was not the\nsame, nor the trees, nor anything. But\nshow me the cane he was carrying ; tell\nme the whole history of that trifle ; and I\nshall then come rather nearer to King\nLouis maybe even at that memorable\nmoment in 1 789.\nAnd now are you tired with all this\ntalk of relics ? I am.\nFROM WILLIAM EGERTON\n(CURLL'S) BOOK\nMRS. OLDFIELD having bequeathed\nher Dwelling-House and Furniture\nto her son CHURCHILL, and directed her\nExecutors to turn and Estate\nand Effects into ready\nconvenient Speed,l thought it would not\nprove unacceptable to my Readers to give\nthem an Inventory of some of her nicest\nCuriosities, &c. because it may in a great\nmeasure confirm the Delicacy of her\nTaste, and shew her judgment in a few\nparticulars foreign to her Profession, where-\nin she was truly a Non Pareil.\nMEDALS, STATUES, PICTURES,\nJEWELS, & C.\nFifty Two Silver Medals.\nSeventy One Gold Counters."}, {"page_pdf": 8, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.8", "texte": "STATUES.\nTwo Marble Bustoes.\nHer Son Churchill in Marble.\nThe Earl of Strafford, a whole Length,\nfinely carved in Ivory, by Mr. Gibbons.\nA Dog curiously performed in Marble.\nThe Judgment of Paris, a Basso Relievo,\nin Ivory.\nA Venus in Brass.\nSeveral fine Heads in Agate Onyx, for Seals.\nA Parcel of Silver Roman Medals.\nA Five Guinea Piece of K. GEORGE 11.\nA TWO GUINEA One with -\nSix different pieces of Gold.\nTwo Gold Snuff-Boxes ; one set with\nBrilliants and Rubies.\nPICTURES.\nThe E. of Essex, by .\nBradshaw's Head, by Cooper.\nA fine History Piece, by Ricci.\nSeveral Landscapes and Battle-Pieces.\nA Sea Triumph, by an Italian Master.\nTwo Dutch Sea Ports, by Brughill.\nVenus and Adonis, by Luca Jordano.\nA View of Plymouth by ncres.\nThe Royal Family of STUART, after\nV andyke.\nAnna Bullen's Head.\nThe Holy Family, after Raphael.\nA Fine Flower-Piece.\nKing George I by Kneller.\nA Madonna with Angels, by Muratti;\nwith some other very neat small Paintings in\nOil, and India Pictures.\nThree Gold Watches, two Repeaters, one\nby Hubert, one by Poy, and another finely\nchased.\nA Gold Equipage finely chased.\nA Gold Smelling Bottle.\nSix Gold Stay-Buckles and Tags.\nSeveral very fine Sets of China, Japan'd\nand Gilt, with a large Quantity of the rich-\nest old China.\nTwo very fine Antique Vases.\nFine India Chests, Cabinets, Etc.\nThree Gold Medals of Q. Anne and\ntheir present Majesties.\nA Roman Wolf, Antique.\nA Gold Repeating Watch and Chain,\nenriched with Brilliants, Rubies, and Lapis\nLazuli.\nTwo fine Pieces of after 7e-\nniers.\nTables of Marble, Agate, and Jasper.\nA Curious French Repeating Clock by\nDelander.\nA fine Riding Equipage embroidered\nwith Silver.\nA Set of wrought Dressing Plate.,\nJEWELS.\nA Necklace with 37 Garnets, and a\nDiamond in each.\nA Fine large Pearl Necklace.\nA Seed Pearl Necklace.\nA Large Brilliant Ring.\nA Brilliant Weighing 11 'A Grains.\nA Diamond Necklace, containing 34 Bril-\nliants.\nTwo Seals set with Brilliants and Lapis\nLazuli.\nFive Brilliant Crochets.\nA Pair of Brilliant Ear Rings,, contain-\ning 8 large and 12 small Diamonds.\nA Pair of Brilliant Ear-Rings with Eme-\nrald . Drops.\nA Pair of Brilliant Ear-Rings with three\"\nDrops each.\nA Cross with; exceeding fine Emeralds,\nset with small Brilliants.\nFive Diamond Crochets.\nA Diamond Buckle with Rosen.\nAnother, with 24 Brilliants.\nA Locket set with Pearl.\nThirteen Brilliants unset.\nA very fine Yellow Brilliant Ring.\nA small enamelled Brilliant Ring &nrr\nFour Others. \"\nA Pair of RubyNight-Ear-Ri set\nwith Gold.\nA Pair of large Garnet Ear-P ;an(j\nDrops.\nA Cross and Couland of the, <§ame<\nAn enamelled Picture of vkp. vm*®. >nl.\nry • f v-, illC piCSI Jill\nisang or trance.\nAnother, of a Nobleman,, Gold.\nBesides these Curiosities -she had at prel tty\nCollection of Books, m French & EkdisFi;\na large Quantity of Plate; Beds and Chairs\nof Damask Chmts and Needle-Work; Fin e\napestry ; Pier and Chimney-Glasses* Scon -\nces, branches and Lustres; Carpets of thi i\nnicest Sorts; in short the wlhole Ft'irniture of"}, {"page_pdf": 9, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.9", "texte": "her House was adjusted in the most elegant\nand fashionable manner.\nPage 209 to 212.\n\" Memoirs of the Life of Mrss Oldfield\nWilliam Egerton, 1751, London.\nI think that those who have spoken ill\nof Mr. Curll a hangdog name as-\nsuredly should they ever read this life\nof Mrs. Oldfield, should pause then and\nconsider carefully whether perhaps the men\nwhom he damned were not just a bit more\n\" scurrilous \" than silly old Curll of whom\nMr. Thomas Amory could say with gra-\ntitude that \"he brought me to the play-\nhouses and gave me a judicious account\nof every actor. He understood these\nthings well. No man could talk better\non theatrical subjects \".\nIt is much to say of anyone for\npeople like Curll, Sarcey, Swaffer, talking\nwell on theatrical subjects, are not to be\nmet with every day.\n\nTWO DEFINITIONS.\nTHE ART OF THE THEATRE.\nTHIS TERM •• ART OF THE THEATRE \"\nIS TAKEN TO MEAN THE PICTORIAL\nPART OF A STAGE PICTURE. THAT IS\nTHE INCORRECT WAY TO TAKE IT. THE\nTERM MEANS THE WHOLE RESULT AS\nHEARD AND SEEN ON THE STAGE :\nPLAY - MUSIC - SCENE - ACTING - DAN-\nCING - LIGHTING - SINGING - ALL. THE\nPLAY-MAKING TAKEN ALONE IS A CRAFT :\nDANCING A CRAFT : EACH PART IS\nA CRAFT. TAKEN TOGETHER THEY FORM\nA WHOLE, AND THAT WHOLE TODAY GOES\nBY THE NAME OF THE THEATRICAL ART.\nPLAYWRIGHT.\nPLAYWRIGHT SHIPWRIGHT WHEEL-\nWRIGHT.\nA WRIGHT IS PLAIN ENGLISH, AND MEANS\nA WORKMAN: A WORKMAN WHO IS\nCRAFTSMAN.\n\nHANNEN SWAFFER\nBY ONE WHO ADMIRES HIM.\n\nT was once in London, and, though my\ni particular occupation is far removed from\nthings theatrical (as a matter of fact I'm\na farmer), I have a particular liking for\nthings theatrical and I study them.\nI have never known how a theatrical\ncritic could find anything interesting to\nwrite about the London theatre today, and\nthis is why 1 have such an admiration for\nHannen Swaffer. He is fairly well hated\nby the theatrical profession but no one\nknows why. I, who know lots of thea-\ntrical people, do not know why; neither\ndo they. I've asked them. All they\ncan do is to splutter.\nThe first time I heard Swaffer's name\nsome time about 1920 I think, I took\nit to be an assumed name. I read his ar-\nticle and saw a portrait of him and still\nfelt assured certain in fact that no\nsuch person ever existed. I had a notion\n(absurd as it may sound) that it was a\nname under which Dr. J. M. Bulloch\noccasionally wrote. I then saw it again\nand passed it by. Then, as I say, I was\nonce in London, and, being amongst thea-\ntrical people and, hearing six or seven all\nSwaffering around cursing Swaffer\nsneering at Swaffer by-playing about\nSwaffer I thought for a moment and,\nat a lull in the commotion, asked, \" Who\nis Swaffer? \". A roar went up. It dazed\nme, but before long I discovered that I\nhad been supposed to have made a smart\njoke 1 suppose I said it so naturally.\n\" That's knocked him \", thought one\nof the roarers. \" That's a good 'un \",\nfelt another. \" Who's Swaffer ? \" Ha,\nha, ha \".\nBut I had meant what I had said.\nI had meant to say, \"I do not know"}, {"page_pdf": 10, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.10", "texte": "Mr. Hannen Swaffer ; I don't even know\nif he is an important critic. I have heard\nhis name, but who is he ?\n€J 1 was asking, obviously, for infor-\nmation, but 1 was not enlightened. In\nLondon that is the last thing one must\nlook to be. 1 was merely emotionated\nI felt I knew not what.\nThe mere thought of Swaffer stirred\nthe whole room curiously... but the peo-\nple in it all failed to give me his measure\nor his portrait. They always do. Some\none may have even said \" Old Swaffer\nthereby showing that at any rate he\nwas held in a far-off sort of toleration by\none of them but I fear that no one\nshowed the slightest affection for him\nsome of his fellow journalists were present.\nI left the house as ignorant as ever who\nSwaffer was or might be. No one in\nLondon, in that circle, ever makes anything\nclear. As an example of this there\nwas an actor present whose work 1 had\nnever seen. I wanted to know about it.\nNo one enlightened me. Yet I Was there\nto meet him ! !\nA year later, i met Swaffer ca-\nsually and then 1 began to read his\npages in The Daily Express. It is far\nand away the best conception of London\ntheatricals that you get on that page. I\ncannot say exactly why but I guess\nit is because Swaffer is intelligent never\nsatisfied with himself always hopeful\nabout the stage expecting nothing\nutterly sceptical but distinctly full of hope,\nelse he had died in three years of such\nexperience. Swaffer has an unfortunate\nserious love for the stage unfortunate\nfor him fortunate for us so what-\never he may purpose to write is to be\nwritten by him to the noblest ends. Yet\nSwaffer is obliged to witness daily the cun-\nning antics of a crowd of professionals all\nbent on deceiving themselves and one another\nfrom meanest motives and thereby degrading\nthe British Theatre. And these people are\nthe riff-raff who have the audacity to hate\nand despise Hannen Swaffer. Even oetter\nmen and women in the theatre indulge\ntheir blind prejudice against this critic\nThey don't like his personal touch. I\nthink that men like Denis Neilson Terry,\nHenry Ainley,... to select two representative\nnames,... understand his worth. Then\nthere is Binnie Hale who has drawn his\nportrait admirably. And there are a few\nothers. It is of course never exactly\npleasant, nor does it conduce to an enthu-\nsiastic liking for a critic, to be sharply\ncriticized by him. But what is a keen\ncritic for, if not to say what he thinks ?\nWhat is a clever one for (and a clever\njournalist) but to make his critiques and\nhis notes readable and entertaining?\nSwaffer is not only readable and en-\ntertaining, he is generally correct. When\nhe announces that £ 1 70,000 has been\nlost in eighteen theatres in 1928, when\nhe tells us that \" Journey's End \" was,\nin February last, making a profit of £l5OO\na week, we can rely on his information;\nand, with the exception of George jean\nNathan, he is easily the soundest and\nmost reliable English-writing dramatic critic\nalive.\nAnd it is useful to know these things\nso that, when we are told that certain\nmanagers never have losses, we can refute\nit, and when we are told that managers\nhave not enough to risk anything oh a better\nclass of work we know that's not true\neither.\n\nPhilip Polfreman."}, {"page_pdf": 11, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.11", "texte": "IN 1649 the third volume of a charming\nwork on Perspective appeared in Paris\nwritten by \" tin religieux de la Compagnie\nde Jesus\nThis good man dealt with every concei-\nvable branch of perspective ; and though un-\nreligioux did not when he came to the ques-\ntion of perspective in Theatres bolt as though\nSatan were after him. He went on and\namused himself and amuses us.\nrT\"lHis first platey he tells us represents how\nto make a scene change thyee times by\nmeans of triangles.\nIt is quite obvious to us without mot e\nexplanation how this is done. Each triangle\nturns on its own central pivot fixed above and\nbelozv.\nHe put four triangles three feet behind\nthe cut architectural opening AB and CD\n(plan a. b. and c. d.J. On the flat side e.\nf. (repeated) a building is painted. Let.\neach triangle turn and- let the side e.g. e.\ng. (repeated) come to the front and lo I a\ngarden : turn once more and lo I there is a land-\nscape g. fg. f. (repeated). The actors will\nenter behind the architectural cut piece and\nthe triangles.\nThus the religueux goes on. What easier\nor nicer.\n\n1649\nSOME STAGE SCENES OF 1649 FOR LITTLE THEATRES.\nPlate 8.\n\nAllan Carric.\n\nTHE MASK\n1929"}, {"page_pdf": 13, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.13", "texte": "XTow to make the two side pieces change (for\nthe passage about these back pieces I leave\nuntranslated it being unnecessary since von\nhave the triangles).\nHe tells us that these side pieces revolve\non their pivots E. They can show two effects :\nhouses and trees.\nCompare these with some notes by Sabbat-\ntini, reproduced in Miss Campbell' s book\nScenes and Machines \" and in Dr. NicoW s\n\" Development of the Theatre\", so as\nto see that you make no mistakes, and there\nyou are equipt with all the scenes you 7/ ever\nzv ant.\nAnd now you''ll no longer annoy the dra-\nmatic authors ; and besides, it will cost rather\nless than most scenes.\npRESUMABLY the stage is a flat one - yet Fur-\ntenbach shows us a distinct slope : a slope\nwhich always has puzzled me.\nI should use a flat stage if I -were you.\n\nAllan Carric.\n\n1649\nSOME STAGE SCENES OF 1649 FOR LITTLE THEATRES.\nPlate 9.\n\nTHE MASK\n1929"}, {"page_pdf": 15, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.15", "texte": "CATALOGUE OF THE SALE OF\nMLLE. RACHEL'S POSSESSIONS\nHELD IN PARIS FROM THE 12TH TO THE 29TH OF\nAPRIL 1858 AT PLACE ROYALE No. 9 BY THE\nADMINISTRATOR OF ME. HAYAUX DU TILLY,\nRUE DU BAC, 26, AND RUE DE L'UNIVERSITÉ, 46, PARIS\nCONTINUED FROM THE LAST NUMBER,\nSILVER, JEWELS AND\nDIAMONDS.\nSILVER\n1. Two stands for hors-d'oeuvres, with\nsilver covers, weighing 400 grammes.\n2. Casserole weighing 253 gr.\n3. Eight stands for bottles weighing\n1,615 gr.\n4. Fish-slice with ivory handle, weighing\n137 gr.\n5. Fish-slice, the Boar-hunt, gross weight\n157 gr.\n6. Mustard-pot weighing 187 gr.\n7. Six bouts de table weighing 282 gr.\n8. Four salt spoons, one for mustard,\nanother for sugar, foreign silver, weighing\n65 gr.\n9. Eight salt spoons in, silver-gilt, weigh-\ning 67 gr.\n10. Six knife-rests weighing 106 gr.\n11. Six skewers weighing 122 gr-\n-12. Six fruit knives weighing 55 gr.\n13. Twelve egg-cups in filigree.\n14. English menagereweighing 970 gr.\n15. Salad set, gross weight 190 gr.\n16. Twelve oyster forks, gross weight\n265 gr.\n17. Sugar tongs weighing 27 gr.\n18. Sugar tongs weighing 98 gr.\n19. Sugar spoon weighing 70 gr.\n20. Two sugar spoons weighing 147 gr.\n21. Twelve couverts(l) a dessert weighing\n1295 gr.\n22. Twelve couverts a dessert weighing\n1295 §r'\n23. Six couverts a dessert weighing 655 gr.\n24. Four plates weighing 1925 gr.\n25. » » » 1895 gr.\n26. » » » 1898 gr.\n27. » » » 1875 gr.\n28. » » » 1917 gr.\n29. » » » 1878 sr.\n30. » » » 1938 gr.\n31. » » » 1878 gr.\n32. » » » 1922 gr.\n33. » » » 1917 gr.\n34. » » » 1912 gr.\n35. » » » 1940 gr.\n36. » » » 1905 gr.\n37. » » » 1885 gr.\n38. » » » 1935 gr.\n39. Two soup plates » 982 gr.\n40. » » ■»» 967 gr.\n41. » » » •» 971 gr.\n42. » » » » 993 gr.\n43. Plate weighing 485 gr.\n44. Two entree dishes weighing 1452 gr.\n45. Two entree dishes weighing 1447 gr.\n46. Two dishes for relevesweighing 1858 gr.\n47. Two dishes for releves v/ei ghing 1800 gr.\n48. Oval dish weighing 1860 gr.\n49. Oval dish weighing 1288 gr.\n50. Oval dish weighing 3805 gr.\n51. Turbot dish with its grill weighing\n7150 gr.\n52. Punch ladle.\n53. Bowl with its tray, with monograms,\nEnglish silver, weighing 268 gr.\n54. Cup and saucer in silver-gilt weigh-\ning 378 gr.\n55. Cup and its tray, silver, with grape-\nleaves in relief, weighing 495 &•\n56. Sugar basin and its tray, twelve cof-\nfee spoons in foreign gilded silver, weighing\n745 gr.\n57. Knife, spoon and fruit scissors, fo-\nreign gilded silver, weighing 227 gr.\n\n(1) Knife, fork and spoon."}, {"page_pdf": 16, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.16", "texte": "58. Silver snuffers and tray weighing\n205 gr.\n59. Four hors-d'oeuvre pieces weighing\n270 gr.\n60. Two butter knives weighing 285 gr.\n61. Four spoons for entremets (side dish-\nes) weighing 288 gr.\n62. Two ragout\" spoons weighing 455 gr.\nTwo ragout spoons » » »\n63. Asparagus tongs weighing 279 gr.\n64. Twelve coffee spoons, gilded silver,\nweighing 225 gr.\n65. Soup ladle weighing 233 gr.\n66. Twelve converts weighing 2115 gr-\n-67. Twelve converts weighing 2100 gr.\n68. Six converts weighing 1050 gr.\n69. Twelve forks weighing 1047 gr.\n70. Twelve forks weighing 1057 gr.\n71. Twelve forks weighing 1060 gr.\n72. Twelve forks weighing 1058 gr.\n73. Twelve forks weighing 1052 gr.\n74. Ten forks weighing 880 gr.\n75. Twelve table knives, silver handles.\n76. A hundred table knives, silver han-\ndles.\n77. Carving set, silver handles.\n78. Twenty-nine dessert knives, silver\nhandles.\n79. Thirty dessert knives, silver blades\nand handles.\n80. Vegetable casserole, weighing 1005.\n81. Two vegetables casseroles, with dou-\nble bottoms, weighing 4010 gr.\n82. Chestnut dish, weighing 1698 gr.\n83. Bread basket, fine English work,\nweighing 1465 gr.\n84. English sugar bowl, weighing 188 gr.\n85. English sugar bowl, with handles,\nweighing 1117 gr.\n86. Silver candlesticks, panthers and rams-\nheads, weighing 1145 gr.\n87. Travelling coffee pot, with monograms,\nweighing 220 gr.\n88. Louis XV coffee pot, weighing 185 gr.\n89. Coffee pot weighing 440 gr.\n90. Four pieces forming a tea equipage,\nweighing 400 gr. net.\n91. Large silver tray weighing 4923 gr.\n92. Two champagne pails, in engraved\nsilver, weighing 7800 gr,\n93. Large basin with water jet and life-\nsized doves, English silver, weighing 5290 gr.\n94. Fine tea service, d'Aucoc, gross weight\n6787 gr. This service is enclosed in its case.\n95. Necessaire de toilette in palissandre\n(violet ebony), d'Aucoc, with silver fittings,\nweighing 4930 gr.\nSILVER PLATE\n96. Small tray for tea service.\n97. Two entree dishes, with borders of\nengraved silver.\n98. Two entree dishes with borders of\nengraved silver.\n99. Two dishes for with borders\nof engraved silver.\n100. Two dishes for releves, with borders\nof engraved silver.\n101. Two oval dishes with borders of\nengraved silver.\n102. Large rich tray with border of en-\ngraved silver.\nARGENTURE CHRISTOFELE.\n103. An incomplete chest.\nRUSSIAN SILVER\n104. Twelve little Russian drinking-cups\nof Toula, weighing 378 gr.\n105. Engraved casserole, Toula silver,\nweighing 572 gr.\n106. Necessaire de toilette with fittings of\ninlaid silver, weighing 4444 gr. (This neces-\nsaire, a remarkable piece of work, was presen-\nted to Mademoiselle Rachel by His Excel-\nlency Prince Gortschakoff, at Moscow, in 1854).\n107. Russian drinking-cup, silver boar's\nhead.\n108. Russian goblet, tree-trunk.\n109. Russian goblet, episode of the Cau-\ncasian war, with raised figures.\n110. Russian salt-cellar, with inscription.\n111. Russian salt-cellar with inscription\nand engraving.\n112. Case of Russian silver of Toula,\nweight 2752 gr.\n113. Case of Russian silver, of Toula,\ntotal weight 9220 gr. A very rich service,\nwith views of Russia.\nJEWELS AND DIAMONDS.\n114. Two bracelets, gilded silver.\n115. Five triangular brooches, gold and\nimitation onyx."}, {"page_pdf": 17, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.17", "texte": "116. Gold brooch, (10 gr.) horn of plenty.\n117. Triangular brooch, gold, on pietra dura.\n118. Brooch, gold, miniature, portrait of\nMarie-Louise.\n119. Earrings, gold, with pendants of\nfruits ; weight, 10 gr.\n120. Earrings, gold, medallions of Alex-\nander.\n121. Fifteen buttons and a brooch in mosaic.\n122. Italian brooch, gold, with a device :\nSignum Amicitiae; weight, 10 gr.\n123. Italian brooch, gold, weighing 16 gr.,\nwith theatre mask surrounded by the de-\nvice : Feliciter.\n124. Italian brooch, Greek form, gold,\nweighing 10 gr., with the device: Vita\ndulcis.\n125. Italian bracelet, gold, weighing 33 gr.,\nwith these inscriptions, Amo te. Ama me.\n126. Pencil-case in gold and malachite.\n127. Bracelet, gold ground, with Egyptian\nbasreliefs and perfume box, enclosed in a\nnut-shell.\n128. Bracelet in gilded silver, with nine\nmedallions.\n129. Chatelaine with Russian fittings in\ngilded silver.\n130. Vade-mecum in gold, mother of\npearl and turquoises.\n131. Bracelet in jaseron (20 grammes)\nwith nine foreign crosses.\n132. Oval medallion, gold and blue ena-\nmel : gross weight 62 gr.\n133. Oval brooch, onyx and sardonyx,\nwith oriental inscription, surrounded by a gold\ncircle.\n134. Gold pencil-case (32 gr.) adorned\nwith enamel, rose-diamonds, sapphires, rubies\nand emeralds.\n135. Two coral earrings, rams' heads.\n136. Coral bracelet; Nereide holding a\nyoung Triton.\n137. Coral brooch, Neptune and Amphi-\ntrite in the centre of a group of Loves and\nTritons.\n138. Coral brooch forming a bracelet;\nram s head surrounded by vine-leaves and\ngrapes.\n139. Necklet, woven gold, and two ear-\nrings with corals ; Egyptian style.\n140. Square necklet, woven gold and pink\ncorals ; weight, 90 gr.\n141. Pin in gold and pink coral, with\ngarlands of flowers.\n142. Brooch, woven gold, weighing 93 gr.\n143. Bracelet, woven gold, weighing 97 gr.\n144. Turkish talisman, gold, rose diamonds\nand rubies on a large triangular turquoise,\nwith chatelaine in chased copper.\n145. Gold Louis XVI watch, in good\npreservation.\n146. Brooch on pietra dura set in gold ;\nItalian workmanship; (Napoleon I, surrounded\nby various attributes of power and glory).\n147. Gold medallion (79 gr.) with the\ninitials L. R.\n148. Set of twenty-two dress arid sleeve\nbuttons in turquoise.\n149. Lap is lazuli flagon, mounted in gold\nand enamel.\n150. Turkish Tarbouch, gold, rubies and\nenamel, in three tones.\n151. Brooch, serpent's head, gold, ena-\nmel, rose diamonds, pearls and rubies.\n152. Necklace and two earrings, with\npendants in Egyptian form, gold, weighing\n155. gr.\n153. Egyptian necklace and earrings, gold\nand scarabs.\n154. Set of two earrings, a pair of sleeve-\nbuttons and nineteen dress buttons, in the\nform of serpents, weighing, with the links,\n548 gr.\n155. Two gold bracelets, with large links,\nforming a girdle, weighing 430 gr.\n156. Gold bracelet (75 gr.) in the form\nof a serpent, set with turquoises, rose dia-\nmonds and rubies.\n157. Pin, eagle, gold and brilliants. Pre-\nsented by the Polish Society of Paris, after\nr\\ rnnritv mfo\n158-159 V') Gold ring, set with a ruby\nand two brilliants.\n160. Gold ring, set with a brilliant.\n161. Gold ring, set with a round sapphire\nand eleven brilliants.\n162. Gold ring, set with an oval sapphire\nand eleven brilliants.\n163. Gold ring, set with an emerald and\ntwelve brilliants. (Presented by His Majesty\nthe Emperor of Russia, St. Petersberg, 1854).\n164. Gold ring mounted with an oval\nruby and twelve brilliants.\n165. Gold ring mounted with a round ruby\nand twelve brilliants.\n166. Gold bracelet (93 gr.) set with bril-\n\n(1) No. 158 appears to have been omitted, or withdrawn, as\nthe list goes from 157 to 159."}, {"page_pdf": 18, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.18", "texte": "Hants and rubies, with portrait of Mile. Mars,\nby Mme. de Michel.\n167. Gold bracelet (47 gr.) enlaced ser-\npents, enamel and brilliants. (Presented by\nHer Majesty the Queen of England).\n168. Note-book, in gold and enamel, with\nminiature, pencil-case and watch.\n169. Brooch with pendants, uncut eme-\nralds and rose diamonds.\n170. Brooch with five pendants, set with\nemeralds (one large and other smaller ones),\npearls, rubies and brilliants.\n171. Plaque in brilliants, (twenty-six small,\ntwenty-four larger) and a turquoise.\n172. Gold and blue enamel brooch, set\nwith seventeen brilliants.\n1 73. Brooch with pendants, set with bril-\nliants, rubies and three pearls.(l) (Presented\nby His Majesty Napoleon III).\n1 74. Gold bracelet in the form of an Ara-\nbian saddle, set with rubies, sapphires, eme-\nralds, pearls and brilliants.\n175. Earrings with rubies, emeralds and\nbrilliants. (Presented by His Majesty the\nEmperor Nicholas. St.. Petersberg, 1854).\n176. Gold bracelet (98 gr.) with a heart\nformed of seventeen rubies and forty-seven\nbrilliants, medallions of sapphires and bril-\nliants.\n177. Diamond brooch with garlands and\nthree pearls in pendants.\n178. Necklace of imitation pearls with\nplaque of uncut emeralds surrounded by thir-\nteen brilliants.\n179. Bracelet of sixty-six pearls adorned\nwith rose diamonds and brilliants.\n180. Brooch in the form of a snail, set\nwith rubies, brilliants and pearls. (Presen-\nted by His Majesty the Emperor Nicholas at\nSt. Petersberg, 1854).\n181. Brooch with pendant in opals, rose\ndiamonds and 54 brilliants. (Presented by\nHis Majesty the Emperor Nicholas, at Ber-\nlin, 1854).\n182. Two earrings with pendants, caho-\nchons and sixteen brilliants. (Gift of Her\nImperial Highness the grand-duchess Helene\nof Russia, Hambourg).\n183. Necklace of brilliants and pearls set\nin pendants.\n184. Two earrings, rubies and brilliants\nset in pendants.\n185. Brooch with pendants in rubies and\nbrilliants.\n186. Bracelet-bandeau, in the form of a\nwreath (l) adorned with brilliants.\n187. Bracelet forming a ador-\nned with turquoises and brilliants.\n188. Demi-collier in rubies and brilliants.\n189. Gold bracelet, weighing 88 gr., set\nwith about 89 rubies and 352 brilliants.\n190. Three brooches and aigulets set with\nbrilliants and forming a rich\nsage.\n191. Two brooches with brilliants\n(pear-shaped), mounted in fuchsias.\n192. Two diamond earrings, mounted in\nthe form of bees.\n193. Two pendant earrings, in brilliants.\n194. Riviere of thirty-two large brilliants.\n195. Silver filigree bracelet, with little\nchain. (36 gr.).\n196. Two silver curb bracelets, not clo-\nsed, (135 gr.).\n197. Bracelet cable (cable bracelet), not\nclosed, (96 gr.).\n198. Iwo silver bracelets with rounded\npoints, (88 gr.) (The six foregoing brace-\nlets were brought from Upper Egypt).\n199. Small filigree coffer.\n*2OO. Two gold Italian earrings, weighing\n27 gr.\n201. Antique gold seal; weight 17 gr.\n202. Silver gilt seal and amethyst bust.\n203. Brochetteof foreign decorations, gold\nand silver, weighing 31 gr.\n204. Chaplet in silver and garnets.\n205. Chaplet in silver and agates.\n206. Chaplet in gold and blue glass.\n207. Musical harp, gold, enamel and ipse:\ndiamonds, with key.\n208. Portrait of la (2)\n209. Gold medallion with portrait..\n210. Gold and emerald ring.\n211. Waist-belt clasp, mask, in gold, rose\ndiamonds and rubies, (15 gr.).\n212. Gold chain and scarabs.\n213. Gold Egyptian bracelet, with medal-\nhons in silver and gold : weight 177 gr.\n214. Seventy-six gold sequins, weighing\n83 gr.\n215. Seven gold medallions,\n(31 gr.).\n\n(I) The pearls are in each case described as \" pedes fines\" ie\ngenuine or native pearls. Translator.\n(1) En forme de couronne ' * may have been either in the form\n°t a wreath or a coronet. Translator\n(2) Presumably Beatrice Cenci. Translator."}, {"page_pdf": 19, "page_imprimee": "109", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.19", "texte": "CHEATING THE\nBRITISH PUBLIC.\nSHOWMEN OR SHOPKEEPERS.\nFREDERICK BALSIR CHATTERTON (1855-1866)\nAND LORD GEORGE SANGER (1827-1911).\nBY JOHN SEMAR.\nIT is of Lord George Sanger we will not\nwrite; his book published by the Dents\nis sufficient testimony to the glory of the style\nof old showmen since the year one and never\nto go out of date.\nBut a few words about Mr. Chatterton\nmay be useful.\nYou never heard of him?., strange, for\nhe was the manager in London from 1866\nto 1879 when he failed for £40,000 liabilities,\nhaving just produced \" The Winter's Tale \"\n\" elaborately \" but badly.\nYou have heard of Sir Alfred Butt, of Mr.\nC. B. Cochran : well, Mr. Chatterton was\nas celebrated as these in those days. He\nwas the author of the notorious saying\n\" Shakespeare spells ruin and Byron bank-\nruptcy \".\nIt is the excellent Robert W. Lowe\nwho calls it \" notorious \".\nToday, as yesterday and as tomorrow, there\nare people who are ever so proud to echo\nMr. Chatterton without even knowing\nwhom they echo.\nShakespeare having written plays of a\nhighbrow kind, every whipper-snapper (in-\ncluding the big shop keeper who manages\nTheatres), everyone is proud to be contemp-\ntuous of him.\nIt is an astounding pose and one which\nwe have tolerated too long.\nExactly when Chatterton said this is im-\nportant. It was either precisely during the\nseason when Henry Irving was in his com-\npany, 1869, or it was in September 1873\nwhen Chatterton failed with a spectacular\nrevival of \" Antony and Cleopatra\" and\nByron's \" Sardanapalus \".\nMr. Chance Newton gives us 1869 as the\ndate: Mr. Austin Brereton gives us 1873.\nIn 1871 Irving electrified London in\n\" The Bells \" two years after Chatterton had\nfailed to recognize his genius. In 1874-73\nand '76 Irving played Hamlet for a run of\ntwo hundred nights, Macbeth and Othello,\nand proved that Shakespeare spelt anything\nbut ruin except to incompetent egotists like\nlittle Chatterton.\nIn writing of Irving at this time the English\ncritics showed neither discernment nor pluck,\nnor did they do the spirit of Dramatic Criticism\njustice: but E. R. Russell, Editor of the\n\" Liverpool Daily Post\" wrote a pamphlet\nentitled \" Irving as Hamlet\" which must be\nread with care by anyone who wishes to\nunderstand the Irving of that day.\nThe English Critics all stood up boldly\nfor little Chatterton for little Chatterton was\nmore \" important\" in 1871 and '79 in their\neyes than Irving, the greatest artist on the\nstage.\nThis attitude of theirs would seem to be\nas traditional as the more ancient tradition\nof sucking up to the big boy at school\nand Chatterton this little Chatterton\nwas the big boy at that time. Today cer-\ntain London Managers are the big boys\nof the school, and the press men buzz around\nto get their orders, and then off they go to\nspread the lie, and thus is the Public once\nmore swindled.\nI mean this and I mean it straight from\nthe shoulder.\nThe best work of the best artists of today,\nbe they actors or playwrights or producers,\nis the only work these critics should call\nfor and go on calling for till they get it\nfor us all. This best work is not seen\nthe best artists are lied out of work and\nby these toadies.\nThis is some of the harm some London\nmanagers are doing.\nBut to return to Chatterton. He did a\nlittle harm too.\nAs a sample of his particularly mean\nmethod look up a copy of \" Diprose's Book\nabout the Stage and the Players \", 288 pages\nwith many woodcuts. No date is on it but\nit was published in 1876. Irving had just"}, {"page_pdf": 20, "page_imprimee": "110", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.20", "texte": "played Hamlet for a two hundred nights run\nand Macbeth for eighty.\nNow NOT ONE WORD OF THIS\nIS TO BE FOUND IN THIS BOOK.\nNot only that, but Irving's name is banned\nfrom the book except for a single mention\nin Pearl type which couldn't be excluded,\nit referring to a Complimentary benefit to\nMr. Benjamin Webster: \" Mr. Henry Irving recited\nTom Hood's famous poem of Eugene Aram \" •••• Th6SC de-\nven words only.\nNow this is obviously the old Theatre\ntrick and a despicable one at that. Chat-\nterton is lauded to the skies as \" the most\nsuccessful theatrical manager of the present\nday \" and a portrait of him is given. Sal-\nvini, Ellen Terry, Helen Faucit, Mrs. Sterling,\nBoucicault, Mrs. Keeley, all have their por-\ntraits here or eulogies, or both silence\nabout Irving.\nIt is a curiously interesting little book\nfor many reasons, whoever prepared it. John\nDiprose is unknown even to the authors\nof \" The Dictionary of the Drama \", \" English\nTheatrical Literature \", and \" The Concise\nDictionary of National Biography \". Mr. H.\nM. Walbrook does not mention him in his\nexcellent \" Playgoer's Wanderings \" and\neven Mr. Chance Newton hasn't a word to\nsay about him. Who was he, this Dip-\nrose? Chatterton's fag, presumably.\nChatterton was lessee of two other thea-\ntres besides Drury Lane, ...of the Adelphi\nand of the Princess's Theatre. And it was\nfor the latter theatre that Chatterton engaged\nPhelps at £6O a week ...a very big sum\nin those days ...and tried to boom him and\nwith him Fechter in Shakespeare.\nChatterton was the acting manager for\nDillon the actor the same Charles Dillon\nwho pretended not to know Irving in 1875\nwhen Irving was playing Hamlet for the two\nhundredth time. A story told by Chance\nNewton about this meeting is illuminating.\nWe seem to collect one more of the gang,\nDillon, Chatterton, and who else ?\nWHY do we concern ourselves at all with\nall this today ? because the same\nsort of thing is going on now, this same\ndenial by silence of the artists of most va-\nlue, and the exaggerated adulation of self-\nseeking men not worth twopence to the\nTheatre or to England, the pushing of\nforeign goods, while the best work of the\nbest men in all branches of stage work is\nousted from the Theatres of their own land.\nIt is an old profession, the Theatrical one\nbut that is not sufficient reason to justify it for\ndeveloping its passion for meanness and for\nits deft and deadly use of \" the silent lie .\n\n(')\nMISS Farjeon has a verse for every letter\nof the alphabet and all the verses are\nabout those nice mechanical toys Wireless,\nMicrophones, Jazz, Cinema, ...not that Cinema\nis mentioned, but who thinking of the Wireless\ncould forget the Cinema ?\nMiss Farjeon, with all a woman's tact,\nalmost succeeds in making us feel that she\ncares about what she is saying: makes us\nthink for a moment she is fond of her subject,\ninterested in the tarradiddles she lets drop so\nneatly and takes them for truth. She almost\ncovers up every trace of insincerity.\nWhat is Cinema what Listening in\nRadio Talkies and the rest ? They are\nthose things which Pandora always lets escape\nfrom a box every time she is curious about\nwhat is in it.\nWhen from that store-house the secret of\nmoving photography was stolen out came\na second swarm.\nWhen the secret of telegraphing from\nEurope to America without wires was filched\nfrom the Gods, out swarmed a hundred ills\nin the wake of the thing.\nAnd the thieves, clever as they are, are\nnot quick enough over their robbery; when\nthey collared the secret of the microphone\nout poured more pests.\nIt is no new trouble —it is as old as\nlonging. Mankind seems to benefit by these\ndiscoveries, but mankind is really being tortured.\n\nPANDORA'S BOX\n\nHERA CLITUS or The Future of Films hy Ernest Betts.\nKegan Paul. Price 2{6.\nWRITING FOR THE SCREEN by Arrar Jackson. A. &\nC. Black Ltd. Price 51-.\nFILMS OF THE YEAR, 1927-1928 by Robert Herring.\nThe Studio. Price 5/-.\nCINEMA TOGRAFO by Mimo Doletti. Bologna. Price\n9 lire.\nTHE ABC OF THE BBC by Eleanor Farjeon. Collins.\nPrice not given."}, {"page_pdf": 21, "page_imprimee": "111", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.21", "texte": "These Cinemas, Talkies, Radios and\nthe rest are all toys ; nuisances or great fun\naccording to your mood, they were no more\ncontrollable than will be like hordes of new\ntoys ; a gallant attempt will be made to keep\nthem in order a good face will be put\nupon the matter for the sake of the big\nsecrets stolen these countless little lies will be\nendured.\nBut anyone who stops to think about the\nmatter will question very seriously whether it\nis not time to pass some few universal laws\nforbidding under pain of death any further\norganized larceny.\nFor the final theft is destined to dest-oy\nthe earth and you are all of the Silly-ass\nBrigade and double-dyed plunderers. You\nscowl, you gape at me. Mais oui. alors.\nEvery day this simple little truth can be\ntested and found (unfortunately) to be true.\nYou go to the beehive with a spoon, you five-\nyear-old, and you put your hand in to get\nsome honey, and then..,. You go when you\nare six years old and ever so much wiser\nnow, to walk on the frozen lake and in\nyou go. You go at seven years old entirely\nexperienced at last and crawl up a ladder\ninto a tree and the ladder then falls. You\ngo at eight .... is it necessary to tell over the\nthousand mischances which the perfectly\nconfident and thoroughly able child, man,\nwoman and old person must encounter, has\nencountered, without adding to these and\nmaking them two thousand ?\nBut you ask \" Who would be without\nthe Wireless? ... look how it saved three men\nlast week \".\nWho would deny that; and look how it\ndestroyed three thousand in the same week.\n\" But seriously, its value is immense.... \"\nOh yes, to admit that is easy ; my question is\nmerely how can you secure wireless keep\nit from the babies use it to save and\nprevent it assisting towards our extermination.\nElectric light is a discovery I am grateful\nfor, and it has helped us all; but the know-\nledge gained when the secrets of electricity\nwere stolen from nature has not always been\nturned to good has more often been turned\nto ill.\nYou and I are serious scientists, let us\nsay: tomorrow we discover how to control\nthe sun: while at work some members of\nthe Silly-ass Brigade come sneaking around :\nas we cannot keep the whole secret to our-\nselves they discover little bits of it in the\nwaste-paper basket: they piece these together,\nmake some kind of sense out of it, go crazy\nwith joy, rush out and sell the fragments\nand the earth blows up.\nIt's these fools who must be stopped from\ntrading in the fringes of profound secrets.\nBut can you prevent them?\nCould Pandora prevent the escape of the\ntroubles which afflict the world to this day ?\nBut what you can prevent is the stealing of\nthe big secrets of Nature.\nIt was primarily the fault of the Poets :\nthey imagined too much. Simple souls, they\nnever supposed that the Silly-ass Brigade\nwould attempt to realize what they had\ndreamed ...and organize !... even organize t6\ndo it.\nFor they knew this that no dream can\never be realized and no real thing is like a\ndream. You can take your choice, dream\nor reality or both apart, but you cannot carry\nout a dream and your reality cannot be as\nyou would dream it.\nSo that this Cinema which fondly believes\nbelieves hard that it is an ideal come\ntrue, is utterly deceived.\nOf the trade 1 know nothing ; like every\nother trade it is to be supposed that the\nright men have hold of it. Tradesmen who\ndon't deceive themselves that they are poets,\nor artists, are always sound .... they do not\nbelong to the Brigade above referred to.\nSo that these three books by Doletti,\nJackson and Herring will be of use, whereas\n\" Heraclitus \" by Mr. Betts will let everyone\ndown.\n\" They told me Heraclitus, they told me\nyou were dead \". Poor Mr. Betts is worse\nthan dead ; he is thoroughly deceived.\nBetts writes of \" the future of Films \" ;\nthe future!!! He refers to \" films which\nare works of art\". Mr. Betts, once he is\nthoroughly self-fooled, is quite sincere; let\nthat be realized ; and after all, Mr. Betts is\nas much at liberty to destroy himself in\nwhatever way he thinks most enjoyable.\nMr. Betts writes so well on art that I\nwould have him turn his thoughts to an art\nand write on that. To architecture or to\nmusic, or any one of the minor arts. He is\ndelightful when he goes for the fatuous\nendeavour of the commercial man to turn out"}, {"page_pdf": 22, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.22", "texte": "something that's good: but it is being delightful\nwhile Rome is within five minutes of bursting\ninto flames: he is heart-rending when he\nwrites down that \" the theatre and the cinema\nhas each its own excellence and appeal \" :\neach its own idiocy is what we have to\nrealize, Mr. Betts, and that idiocy deliriously\nrampant.\nI think 1 see Mr. Betts' hope his\nargument one could not fail to attend to\nbut his hope is the most forlorn hope ever\nplayed on one string.\nHis little book of 96 interesting and\namusing pages should be added to your\nlibrary : no study of this appalling catastrophe\nis complete unless you fill in an hour of the\ninterim with \" Heraclitus \". After that, in\nyou go to the lethal chamber and get it over.\nThe book is one of the series \" Today\nand Tomorrow \" and is bound in black.\n\nX. Y. Z.\n\nFINE FEATHERS.\nA. C.\nTHERE is an increase of fine editions these\ndays which as often as not issue, not\nfrom a printer-publisher, not even from a\npublishing house, but from some private\nindividual who gets a goodish printer to\nprint him, say, 150 copies of a book which\nhe sells.\nHe is a distributor, not a publisher.\nThis distributor then turns to another\nbook, and, sending it to another printer, has\n250 copies of that printed. These he sells\nand starts on book three.\nAll these books are very much of a\nmuchness.\nI don t like the idea; I am prejudiced\nagainst it unreasonably.\nAnd this is one of the reasons why I\ndo like the fine editions which Mr. Peter\nDavies issues from 30 Henrietta Street,\nCovent Garden.\nThere is an especial favourite of mine,\nVoltaire's \" Letters concerning the English\nNation . Paper, type, size, weight and all\nare perfect. It costs fifteen shillings which\nis a little expensive, and only 750 copies\nwere printed and that seems to me too few\nor too many. But I like the volume as a\npiece of book making so well that I could\ngive you reason after reason for its excellence.\nIf Mr. Davies has prepared many such\nvolumes, and if he keeps up to this standard\nfor long, he will establish himself in a very\nfirm position.\nAt least so one supposes. One knows\nthat it entails every conceivable hardship to\ndo anything well. But some one must set\nan example in this matter so that a new\nsaying about fine feathers become the fashion.\n\nA STAGE SCENE\nC.\nTHE Scene given in our Frontispiece is re-\nproduced by the courteous permission of\nMartin Hardie Esq. from the Collection oj\nthe Victoria and Albert , London.\n/\\T first glance this scene seems to have little\n* distinctive about it as a construction :it\nhas nothing very distinctive but appears to be\nthe usual Italian dodge of the Bibiena family\nfor making a Sala grande on the stage.\nBut on looking more curiously at the work\nand enquiring about the designer, Angelo\nCarboni, one finds that the nine small dia-\ngrams showing the side wings are somewhat\nunusual, for those marked B and H show a\ndistinct cut, a perspective slant, whereas we\nhad always believed that these perspectives\nwere merely painted.\nNow we are led to suppose that wings\nB and H were placed, not at right angles with\nthe footlights, but slantingly up stage.\nAs for the designer, enquiry led to no\nclue as to his birthplace, his masters or other\nwork that he had done. He is of the school\nof the Bibiena and Galiari families."}, {"page_pdf": 23, "page_imprimee": "113", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.23", "texte": "MISUNDERSTANDING\nSOME NOTES ON AN ESSAY\nON GORDON CRAIG.\n\nMR. A. Hyatt Mayor has spent a good\ndeal of time over his essay on Gordon\nCraig in \" Hound and Horn,\" a Harvard\nMiscellany. I think, however, that in about\nfifteen years from now he will regret that he\ndid not spend a little longer: for he is mis-\ntaken. He does not know Gordon Craig\nin the least: and yet his article is clever one\nof the cleverest that has been written for a\nlong time.\nLike many another writer in this number\nof \" Hound and Horn \", Mr. A. Hyatt\nMayor seems to have studied under T. S.\nEliot: they quote him, they review him, and\nthey advertise his Quarterly which is all to\nthe good, but its a good long distance from\nCraig. If Mr. Mayor had not stopped there\nto look through the field - glasses lent him by\nMr. Eliot, he would have seen more.\nTo begin with, he tells us that Craig\nbelongs to the generation of the Moscow\nTheatre, of Duse, of Isadora Duncan, as-\nserting that this is the Theatre which is the\nimmediate predecessor of our Theatre of\nto-day.\nNow it is perfectly obvious to anybody\nwho will look a little closer at Craig and\nlook through his own eyes, instead of through\nfield-glasses at some dummy on a far-off hill-\nside, that Gordon Craig belongs to the\nTheatre of the future, until that day when,\nhaving his own theatre for a spell of at least\nten to fifteen years, he shall be able to demon-\nstrate that he belongs to the generation 1930-\n1945. But even then it is unlikely you will\nbe able to confine him to these days, because\n1 believe it is again obvious that he has\nprojected a Theatre of the future I will not\nagain say the Theatre lest it annoy the un-\ngenerous. As for the Theatre of to-day, to\nwhich Mr. Mayor refers what is that, pray ?\nMr. Mayor does not tell us, and so we\ncannot know what is in his mind.\nWhile this graduate of Princeton, who\nhas been a master at Vassar and is now\nliving in New York City, admits that \" Gor-\ndon Craig's ideas are widely accepted,\" he\ncannot \" determine just what those ideas are\"—\nwhich is rather extraordinary in a graduate\nof Princeton and a master of Vassar setting\nout to pass judgment on these ideas. But\nthere is something so pleasant about his\nattempt to confuse his readers, something so\ncharming in the way he tries to make them\nonce more misunderstand what is obviously\nso simple to follow, that anyone seriously\ninterested in the Theatre of the future or\neven in any Theatre of the future should\nwithout delay secure No. 3 of volume 2 of\n\" Hound and Horn.\" It costs but 50 cents,\nand is a nicely-printed magazine of more than\n125 pages.\nMr. Mayor is agreable enough to say that\nthis article \" misrepresents Craig by not con-\ncerning itself with his destructive criticism \"\nand of course that clearly points to what\ntroubles Mr. Mayor. It troubles him that\nCraig prefers to wait to construct his own\ntheatre before the eyes and for the ears of\nthe world, rather than pessimistically throw\nup the sponge and say, \" Damn it all, there s\nno more time left let me turn jerry - builder\nand hurriedly rig it up in a book of constructive\ncriticism. In order to do that, he had only\nto enlist Mr. Mayor in his service ; to ask\nhim to come and show him how you do\nwrite a nice piece of constructive criticism\nwhich is not worth a damn. Not worth\na practical damn, because no theatre has\never yet been created by constructing the\nmost perfect critical work, and no theatre\never will be so created. Is there anyone\nwho could suppose for a moment that if this\ncould have been done, it would not have\nbeen done long ago ? The Greek theatre\nwas not so constructed, the Japanese No\ntheatre was not so constructed and the Eli-\nzabethan stage was not constructed in that\nway. There would seem to be only one\nway of creating a theatre, and that is, on a\nstage.\nIt is plain to many people that what Craig\nhas done has been to fill in the most appalling\nstage wait that any stage man can experience,\nand to fill it in so that he entertained the\npeople in front, and those in the wings. He\nhas, through defects or through qualities,\nprobably through both, refused to do his\nwork under the conditions which theatrical\nmanagers would impose upon him: yet he\nhas positively kept alive and kept his flag\nflying mast-high even after being twenty years\nout of his element. His element is the stage"}, {"page_pdf": 24, "page_imprimee": "114", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.24", "texte": "not necessarily the stage that Mr. Mayor\nmay have in mind or the stages which you\nand I have in mind, but the stage since the\nyear One, the genuine stage at its best.\nAnd here we come to a very important\npoint: he trained on a stage that of its kind\nwas the very best and he is blood and bone\nof the stage. Mr. Mayor, had he ever\nvisited the Lyceum theatre in London, would\nknow what I mean: and Craig advanced\nfrom that theatre, forwards. That was his\nstarting-point, and it is a point which theatres\nof to-day have hardly reached; yet it was\ndistinctly theatre, though the best part of it\nhad but little to do with the written play,\nand he had witnessed scenes played there\nwhich were every scrap as wonderful examples\nof acting —of improvised acting —as any\nthe 18th century in Venice could show.\nYet Mr. Mayor says that England never at\nany time had so strong an improvised comedy\nas Venice had, and he seems surprised that\nCraig should have stated that the written\nplay is of no deep value to the art of the\nTheatre. He considers that Craig is dreaming\nfantastically about these things. Let Mr.\nMayor remember that Craig saw these things.\nThis, then, is the fault of the master of\nVassar's article: it fails to take into conside-\nration the two facts first of his birth and then\nof the powerful theatrical school in which\nCraig studied. Members of Harvard Uni-\nversity, especially those who were under Pro-\nfessor Baker, will not under-estimate this last\nfact.\n\nD. N. L.\n\nCOSTUME\nMAN with all his faults is a kind creature\nat heart. Unfortunately the heart has\nbeen in the past and would be for ever\ndressing itself up. Even a world of undressed\nbodies would have muffled up their hearts\ncalling it protection.\nPart through fear, part through fancy, comes\nthis treatment, and, having clothed the heart,\nthe face is the next thing to undergo operation :\n.... after the face the form.\nWhere are we then ? where are we\nnow ?\nIt weighs down on man, it oppresses him\ntoday, this thought —he troubles about the\ntangled complication into which he has\ntwisted himself.\nHis wife doesn't trouble: it doesn't\nweigh her down ; it buoys her up, she is so\nplayful. She sees the folly that her good\nman, her great man, her angel briefly her\nsilly fool has got the whole world into\nthrough his failure to control his vanity and\nhis fear and she will dress, drink and be\nmerry because of tomorrow,\nToday she still clothes herself in silliness\nand gaudiness : whoop-la : her man puts on\na black coat.\nMan has at last slowly come to a reali-\nzation of what it is he has done this is\nwhy he has taken to drink in the last sixty\nyears or so. This dry business in America\nis an unkind (cruel to be kind) pinch\npart of a hideously cruel plan devised by\nunsympathetic women to teach man his first\nbig lesson. Thus had begins but worse\nremains behind, said Hamlet. I don't know\nexactly what he meant nor did he know\nbut he knows now. I see it by his face\n....and that black coat.\nYou would think that I was expounding\nthe theories which Mr. Hiler gives us,(1) but I\nam not; I am only airing my own grievance.\nFor I cannot think of any sound reason\nwhy man should have transformed himself\ninto a monkey such as one saw on barrel\norgans in those days when Queen Victoria\nand Louis Napoleon reigned in England and\nin France.\n\n(0 FROM NUDITY TO RAIMENT by Hilaire Hiler, with\nan Introduction by Sisley Huddleston. Procurable from Foyles, Charing\nCross Rd. London, 25/- postage inland 9d."}, {"page_pdf": 25, "page_imprimee": "115", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.25", "texte": "This is the moment when Mr. Hiler,\nasking us to allow him, offers us his valuable\nbook with the whole thing made quite plain\nthat everyone is wrong and no one knows.\nYet so infernally silly are we all that on\nhearing Mr. Hiler's revelation of the truth\nwe go off and cut out one more patch of\ncloth and come back with it pinned on\nsaying \" That's that and so much for your\nopinion, Mr. Hiler.\"\nBriefly we don't know, we won't listen,\nwe will argue, and we are driving Mr. Hiler\ncrazy. We have determined to break Mr.\nHiler's heart.\nFor he has devoted at least ten years of\nhis life to telling us the truth, solving this\ntrifling question and so we determine to let\nHiler go hang.\nFor we know what Mr. Hiler is : he is the\nunforgiveable thing he is an artist: and if\nthere's a thing on earth we mistrust, hate\nand can not forgive, it is the artist, for we\nknow he won't hit back for he can't. While\nit is permitted, legal and all quite necessary\nfor political leaders, our governors, to shoot\ndown and punish by the extreme punishment\nthose who would prevent good coming to the\nmajority and would substitute evil for it, no\nsuch permission, law or need is found when\nan artist wishes to bring good to the majority.\nBriefly what Hiler seems to be saying in\nhis book is this: Man dresses as he does\nfor no known reason. Sex, climate, religion,\ncommerce and so forth, these and more such\npowers move him, first here, then there, to\ndress so and so, but no good reason has been\nfound why he etcetera why he and so forth.\nThe harmless necessary hat is not worn\nalways nor always is it one and the same hat.\nAll sorts of hats were, have been and will\nbe .... A book of Hats would help.\nI love little Pussy her coat is so warm,\nbut why don't she protect her dear little head\nwith a hat.\nMy cat last month lost one of her lovely\neyes one of his eyes as a matter of fact\nthough all cats are girls to the dark to\nignorance which will not be illumined every\ncat is surely a nice girl thing. A torn cat\nis a fact, I know, but an inconceivable one.\nAnd I grieve that my dear little cat went\nout last month one night and returned so\nsadly mutilated. Why didn't she wear some\nhead-gear, some helmet some hat. Not\nshe : she is so brave she'd sooner lose an eye\nthan that anyone should think she feared, and\nso vain she'd hate that her rival should lose\na single flash of green so she came home\nhurt. Still her coat is so warm she has\nher coat still, and mittens.\nThis volume issued by Mr. Hiler is as\nit were the introduction to a big series of\nvolumes on the costume of all the ages. I\nhope those next volumes will be all pictures\nand little text, for that's what is needed.\nTen volumes with 2000 designs in each\nvolume and one volume to each century.\nThis would then become the standard\nwork for it seems clear that Mr. Hiler is\nthe best informed of editors.\nCarl Kohler's book is after all a very\nsmall dish though its 464 pages for 18/-\nis a wonderful achievement of the publishers\nMessrs G. G. Harrap & Co. (i) Messrs. A. &\nC. Black have issued (2) \" English Costume \"\nby Dion C. Calthrop with four full page\nillustrations in colour, thirty-three pages of\nblack and white plates, lots of thumb nail\nsketches. But the prospectus in colour which\n1 received showed that the rugged strength\nin English Costume, and its sharp-faced\ndelicacy, had been given a far too sweet\nprettiness by the interpreter. 12/6 is the price\nof this volume. The Hiler book is classic\nthis is sweet.\n\n(DA HISTORY OF COSTUME by Carl Kohler. Edited\nand augmented by Emma von Sichart and translated by Alexander\nK. Dallas M. A. : G. G. Harrap & Co. Price 18/-.\n(2) ENGLISH COSTUME by Dion Clayton Calthrop. A. &\nC. Black. Price 12/6."}, {"page_pdf": 26, "page_imprimee": "116", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.26", "texte": "A BRIEF LIST OF\nMR. C. W. BEAUMONT'S\nTHEATRE PUBLICATIONS.\nBEING A ONE-MAN CONTRIBUTION IN\nWRITING, TRANSLATING AND PUBLISHING,\nFOR USE OF THEATRE STUDENTS.\n(1)\nDANCING.\nBIBLIOGRAPHY.\nA Bibliography of Dancing.\nBIOGRAPHY.\nEnrico Cecchetti: A Memoir .(2)\nIMPRESSIONS OF\nBALLET.\n1. Cleopatra.\n2. The Good-Humoured Ladies.\n3. Le Carnaval.\n4. Scheherazade.\n5. Petrouchka.\n6. La Boutique Fantasque.\n7. L' Oiseau de Feu.\n8. Children's Tales.\n9. The Three-Cornered Hat.\n10. Thamar.\n11. The Sleeping Princess. Part 1.\n12. The Sleeping Princess. Part 11.\nSTUDIES.\nThe Art or Lydia Lopokova.\nThe Art of Lubov Tchernicheva.\nThe Art of Stanislas Idzikowski.\nA Burmese Pive at Wembley.\nSerge Lifar.\nTECHNIQUE.\nA Manual of the Theory and Practice of\nClassical Theatrical Dancing : (Methode\nCecchetti) ; Written in collaboration with S.\nIdzikowski.\nTRANSLATIONS.\nOrchesography by Thoinot Arbeau.\nVaslav Nijinsky by Francois de Meo-\nmandre.\nLetters on Dancing and Ballets by Jean\nGeorges Noverre. (in the press).\nThe Dancing Master by P. Rameau. (in\nthe press).\nEDITIONS.\nThamar Karsavina by Vaierien Svetlow.\nNew and Curious School of Theatrical\nDancing by Gregorio Lambranzi.\nTHEATRICAL HISTORY.\nThe History of Harlequin.\nTRANSLA TION.\nConstantini(Angelo). The Birth, Life\nand Death of Scaramouch.\nTECHNICAL.\nEDITION.\nThe Continental Method of Scene Pain-\nting by Vladimir Polunin.\n(1) 75 Charing Cross Road, London.\n(2) Published, in Part, in \" The Mask #\\ Volume XIV, No. 4,\nDecember 1928.\n(1) The name should be spelt Costantini : it is the French who\nin 1695 added the letter n. Editor."}, {"page_pdf": 27, "page_imprimee": "117", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.27", "texte": "AN OPEN LETTER TO\nMR. ST. JOHN ERVINE\nFROM BARRETT H. CLARK.\nTHE FOLLOWING WAS SENT TO SEVERAL\nNEWSPAPERS, BUT AFTER A WEEK'S\nDELAY, HAS BEEN NEITHER PRINTED NOR\nANSWERED. B. H. C.\n\nBriarclijf Manor. N. Y.\nMarch 10, 1929.\nMY dear Ervine,\nWhen you came to our shores as a\nguest critic 1 believed that you would bring with\nyou a fresh viewpoint and give us the benefit\nof your keen judgment, your honesty, your\nhard-hitting and fearless style. I have read\nyour articles in The World with a sense of\nincreasing disappointment, until I am no longer\nable to sit back and hold my tongue. That\nyou have praised inferior plays and damned\ngood ones, that you have made mistakes of\ntaste and judgment and sometimes distorted\nfacts in order to turn a pretty phrase, would\nhardly cause me to address you in this fashion.\nThere is something besides.\nIf you were merely a high-priced perso-\nnality writer brought here to amuse readers\nat the breakfast table, I would not bother\nmy head about you ; but you are an artist, a\nwriter of plays that command our respect and\nadmiration, and at one time you waged battle\non behalf of the best standards that could be\nraised in the world of the theatre. You are\nyourself the product of an idealistic venture\nwhich first gave you a chance to try your\nhand at playwriting, and for some years you\nvery ably directed the Abbey Theatre in\nDublin. Your first success in America was\nachieved through the efforts of a small and\nenthusiastic group of penniless producers (who\nhave since become our Theatre Guild), who\nrecognized in John Ferguson a play of rare\nquality.\nA few days ago, in reviewing the opening\nperformance of Virgil Geddes' play,\nEarth Between, at the Provincetown Playhouse,\nyou revealed yourself as a perfect intellectual\nsnob, a traitor to your ideals as I conceive\nthem, and an exceedingly cruel, unfair and\nunsportsmanlike criticS1) I don't object to your\nseeing little in Mr. Geddes' play ; it is your\nright to knock it to pieces and then advise\nMr. Geddes to get a job selling ribbons;\nthough personally I find the play, in spite of\nits faults, a beautiful if imperfect thing. I\ncharge you with gross unfairness for having\npermitted your own discomforts to put you\ninto a frame of mind at once bitter and\ndisdainful; with using up thirty-four lines of\nyour review in complaining about the rain\nand the uncomfortable seats ; with making\nstatements about the author that a glance at\nyour programme would have instantly belied ;\nabove all, with the cantankerous attitude you\nadopt toward a group of disinterested pro-\nducers and actors, and toward a new, young\nand unknown writer, all of whom were evidently\nin earnest.\nCan't you realize, or have you forgotten,\nthat the experimental theatres cannot furnish\ncomfortable seats ? Don't you know that they\nhaven't the money to bring their troupes up-\ntown ? I have no doubt that the management\nof the Provincetewn Playhouse made every\neffort to prevent the rain, and I am credibly\ninformed that on the other occasion of your\nvisits to the Village theatres, the weather\nmen were appealed to in vain.\nI am not at all interested, my dear Ervine,\nin hearing the reiterated litanies of your per-\nsonal discomforts : your endless chants have\nconvinced me only that you ought never to\ngo to the theatre except when your mind is\nserene. What in the name of heaven has all\nthis to do with dramatic criticism ? Because\nlate-comers fell over you in Macdouga! Street\nmust you accuse Mr. Geddes, who was born\nand brought up on a farm, of \" reading about\nagriculturalists in Greenwich Village ?'\nMust you call the author \" simple-minded,\"\nand refer to all his characters as \" mentally\ndeficient,\" \" half-wits,\" and \" semi-insane \" ?\nIf you had taken the trouble to inquire or\nlook at your programme you would have seen\nthat Mr. Geddes hasn't had much chance to\nlive in Greenwich Village, and that he has\nbeen writing plays for less than three years.\nDo not imagine that I would ask you or\nany critic to be easy on a writer just because\nhe is young : a play is to be judged on its\nown merits (forgive me for saying this, but I\nthink it well to make the point), and The\nEarth Between is no better for being the\nwork of a beginner.\n\n(I) The italics are ours. J. S."}, {"page_pdf": 28, "page_imprimee": "118", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.28", "texte": "Where you have failed, and failed igno-\nminiously, is in bringing to bear all the power\nof your position and influence to flout, ridicule\nand insult an author, of unquestioned sincerity\nand no mean talent, and a group of players\nwhose efforts entitle them to greater respect\nthan can be properly accorded to any other\ncompany of its kind in this country.\nYou conclude your review with a graceful\ncompliment by saing that there were moments\nwhen you \" devoutly wished \" that the theatre\ncould be restored to its \" original purpose\n—as a stable. This may be considered\ncourtesy and fair play by lovers of horses ;\nit is hardly criticism.\n1 don't know if you remember the time,\nsome years ago, when you were given a\nchance to see your own plays acted by semi-\nprofessionals. and doubtless you have forgotten\nthe two pleasant conferences you and I had\nwhen we discussed new writers and new\ntheatres and what might be done to encourage\nthe younger men to write truthfully and pas-\nsionately about the world they knew ? You\nwere poor then (as I still am), but there was\na gleam in your eye and a determinntion to\ncarry on the fight.\nThis is why I address you thus publicly,\nwith some anger but with more sorrow.\nThink it over, won't you ? Aren't you just\na little ashamed ?\nBut what would you. Mr. Clark ?\none would expect \" cruel, unfair and unsports-\nmanlike \" misrepresentation\nMr. George Bernard ShJ.\n\nBarrett H. Clark.\n\n“MYSTIFICATION”\nAND THE PROBLEM \"TOO SIMPLE\nFOR WORDS\" OF LORD AND\nLADY BYRON.\n\nTHE Byron affair, which stirred up keen partisan\nfeeling a century ago , still seems capable of\narousing it today, though a majority claims that\nLady Byron was a greatly wronged woman, and\nthe critic of a popular weekly this book\na final and triumphant \" vindication of the lady,\nwhile a writer in one of London s best month-\nlies, after reading it, declares poor little Anna-\nbella \" to be \" the best intentioned, honestest,\nmost simpleminded little innocent that ever threw\nherself away upon a cad \", ...a curious word\nfor a leading literary journal to countenance re-\nspecting such a man as Byron.\nMiss Colburn Mayne, who gives us this \"Life\",\nis well fitted for her task. She has already writ-\nten a book. on Byron : she has had access to the\nfamily documents, and the cooperation in her work\nof Lady Lovelace : and, in writing of Miss An-\nnabella Milbanke, Lady Byron, she certainly very\nproperly puts her best foot forward in her desire\nto present her heroine in a favourable light.\nWe are we must be told of her mag-\nnanimity, her patience, her affection, her endu-\nrance, her silence under wrongs, her rectitude,\nher good deeds, even of her gaiety and her sense\nof humour ; yet this compound of all the excel-\nlences somehow leaves us feeling chilly, leaves\nus feeling, in spite of it all, evening is coming on.\nWhy?... What Was at the root of it all ?\nWas it lack of love ? and yet we are assured\nwe have to be that she loved Byron, was\nhis, only, \"to the last \". Was it some spiri-\ntual blindness ? Perhaps Mrs. Anna Jameson\ncame nearest to divining it... she who loved Lady\nByron dearly, enjoyed such intimacy that they\nwere described as \" almost one being \", and li-\nterally died of the final rupture, ...punishment for\nhaving been discovered to be more in the confi-\ndence of Ada than was her own mother. For\nMrs. Jameson summed up her first impression of\nLady Byron in one word : '' implacability ''.\nMiss Colburn Mayne herself admits \" the harsh\n\" unyielding temper which did underlie Anna-\n' bella s tenderness, devotion, yearning for the\n\" love of chosen fellow-beings \" : and recogni-\nzes her conduct in many instances as showing\nthe lack of imaginative sympathy '' : and it was\nthrough these qualities that, with all her excel-\nlences, she caused so much misery for others as\nwell as for herself, did such incalculable harm to\nthe man she claimed, and doubtless in all since-\nrity, to love.\nThe whole story of their coming together and\nbrief married life is given here in detail, and one"}, {"page_pdf": 29, "page_imprimee": "119", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.29", "texte": "has to admit that, unfortunate as that marriage\nproved, Lady Byron herself brought it about.\nByron had proposed to her and been refused.\nThe matter was at an end. But Miss Milbanke,\nhaving refused the man around whom all the\nwomen were crazy, soon regretted her refusal,\nand then the problem arose as to how to get him\nback.\nThe matter had, even at the time, been given\nripe consideration by this precious old lady:\nshe was never young. She had sought to cla-\nrify her feelings by writing down a \" Character\nof Lord Byron \", but evidently had, not clarified\nthem enough she was too grown-up. Having\nrejected him, she wanted him back, and was\nsoon sending Lady Melbourne (What must\nthat astute and witty lady's secret thoughts about\nher niece have been?) ...a document tabulating\nthe qualities she desired in a husband. Among\nthese were \" Consistent principles of Duty \" ;\n\"An equal tenor of affection towards me, not\nviolent attachment \". (Poor Annabella !) and so\non and on through a list relating to feelings, for-\ntune, rank, appearance, manners : and finally \" I\nwould not enter into a family where there was\na strong tendency to insanity \".\nClearly Miss Milbanke knew exactly what she\nwanted. Her head was all right. Perhaps that\nwas what was the matter ...perhaps, all through\nlife, while she was analysing and classifying and\nclarifying, she missed her moment, when at times\none spontaneous impulse or gesture of the heart\nwould have saved the situation ...one scrap of\nyouth !\nAnyhow, having analysed the character of Lord\nByron and enunciated her requirements in a hus-\nband, she did not clarify her feelings ...or her\ninstincts... enough to tell herself that Byron in\nthat role would never do. She wanted him, and\nso began ...if one may use so colloquial a phrase\nof so dignified and correct a lady, to whistle him\nback. Taking up her pen, she commenced hat\namazing series of letters, with their lofty senti-\nments, their long involved sentences and many-\nsyllabled words, which were to recall Byron, and\nset him finally on his knees beside her on that\nhard cushion in the Milbanke drawingroom where\nhe and she were presently to be made man and\nwife.\nDid any young girl in the world ever write\njust so to the man she wanted as her lover !\nIn her first, and lengthy, letter, we find such\npassages as these :\n\" Early in our acquaintance, when I was far\n\" from supposing myself preferred by you, I\n\" studied your character. I felt for you, and I\n\" often felt with you. You were, as I concei-\n\" ved, in a a desolate situation, surrounded by\n\" admirers who could not value you, and by friends\n\" to whom you were not dear. You were ei-\n'' ther flattered or persecuted. How often have\n\" I wished that the state of Society would have\n\" allowed me to offer you my sentiments without\n\"restraint!... My regard for your welfare did\n\" not arise from blindness to vour errors ; I was\n\" interested by the strength & generosity of your\n\" feelings, and I honoured you for that pure\n\" sense of moral rectitude which could not be\n\" perverted, though perhaps tried by the practice\n\" of Vice... I intreat you to observe more con-\n\" sistently the principles of unwearied benevo-\n\" lence... I have lately had very little informa-\n\" tion concerning you on which I could depend.\n\" On ill reports I never rely, for if I desire to\n\"be a Christian, it is more especially in the\n\" Charity which thinketh no evil \"... (Poor An-\nnabella ! had she always practised the which\nthinketh no evil '' how different her life had been).\nThe letter is very long, and very immoral, as\nyou have already guessed. ,' Fortunately \", ob-\nserves her biographer, \" she wrote a very clear\nhand \".\nByron, surprisingly, seems to have liked and\nadmired the letter and its many successors, and\nthe correspondence flourished.\nMiss Milbanke laid down the lines upon which\nit was to run. It was to be of a purely plato-\nnic and elevating nature, and, to safeguard her\nown dignity, she invented a hopeless attachment\nfor another man ...selecting Hugh Montgomery\nfor the purpose... and revealed this to Byron as\na proof that their intercourse could never by any\nchance fall from its lofty elevation to the ordi-\nnary weaknesses of mankind.\nThus did Miss Milbanke, to get her own way,\nskid off the strict paths of truth... and found it\nextremely inconvenient at a later date to have to\nconfess to Byron that the \" attachment\" had\nbeen a fictitious one and that he was free to pro-\npose a second time.\nThe correspondence went on at great length\non either side, till at last Byron had the folly to\nsee that his suspicions were correct his awful\nsuspicions and that all Miss Milbanke was\nreally saying in her endess pages of noble sen-\ntiments and solicitude for his moral welfare was\n\" I love you\". Thereat he, falling, actually\nproposed again and was accepted, the marriage\nfollowing in due course.\nIt was a fatal union, and it is not impossible\nto understand why. The thing was horrible\nto last. Oh Miss Milbanke, unfortunate Miss\nMilbanke !\nOf course one feels all through this \" Life \"\nthat it's a pity that Lady Byron could not have\nweighed and considered a little less, could not\nhave acted on the impulse of her heart more.\nYes, - - one feels that because it's what eve-\nryone feels. What one feels further than that is\nthe horrible sensuality of this lady, Miss Milbanke."}, {"page_pdf": 30, "page_imprimee": "120", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.30", "texte": "That she put it over on to my little lord\nthat was and is the mystery which surrounds the\npair and which people pretend they cannot solve.\nAnd yet people write of this delightful yet ab-\nnormal woman that \" spite of all her virtues one\ncannot like her. \" I should rather think not.\nThe writer of this book tells us of the ago-\nnies she, loving him, suffered when she left By-\nron and refused to see or communicate with him.\nOne can well suppose it. Thank God that love\ndid not laugh at lawyers and wise relations and\ndid not lead her to him to, as who might say,\nface the issue with him alone. We are told\nthat to have, yielded to Byron's entreaties would\nonly have led to fresh miseries but miseries\nis hardly the word. •\nThe honeymoon is represented as a kind of\nnightmare, yet we find in Mr. Murray's latest\nvolumes of Byron's letters that, during those so\ntragic days, he was writing the most normal\nletters to his friends as if everything were as\nright as ram. Isn t it sweet ?\nHe writes from Halnaby on the day after the\nwedding to Lady Melbourne : \"You would think\nwe had been married these fifty years. Bell is\nfast asleep on a corner of the sopha \" : and on\nJanuary 7th : \" Bell and I go on extremely well\nso far, without any other company than our own\nselves as yet \". \"1 got a wife and a cold on\nthe same day \".\nThen, on January 22nd., back in her home at\nSeaham, where Annabella is represented as retur-\nning in a state of such tragic disillusionment from\nher wedding tour : \" Yesterday I came here some-\n\" what anent my imperial will. But never mind,\n\" you know I am a very good-natured fel-\n\" low, and the more easily governed because I\n\" am not ashamed of being so : and so Bell has\n\" her own way and no doubt means to keep it.\n\" 1 am scribbling in my dressing room and\n\" Bell is in bed \".\nNone of this sounds so very terrible unless\nyou listen very carefully. So where was the\ntrouble ? It was not Augusta it was not\nMedora We shall never know, exactly, what\nit was, for it was all too simple for words, as\nLord Byron wrote later.\nOne of the reasons certainly was that, as her\nbiographer admits, Lady Byron was an \" adept\nat self-deception \", an adept in a ceaseless and\nbadly working mental activity : an adept, one\nmust also admit, in deceiving others, for how\notherwise could even Miss Colburn Mayne be\nfound using of her such phrases as \" the sick\nand wounded deer , \" the sick and wounded\ndeer was learning her lesson \" ?\nY ears later, in a letter to their daughter, Lady\nByron writes : \"If the Mythic idea generally\nentertained of your father affords you satisfac-\n\" tion, do not forget, dearest Ada, how much\n\"of it is owing to my own line of conduct.\n\" The partisans of Byron amongst whom you\n\" have lately been living, consider me as having\n\" taken a hostile position towards him. You\n\" must not be infected with an error resulting\nfrom their ignorance & his mystification. I was\n\" his best friend, not only in feeling but in fact,\n\" after the Separation, & saved him from invol-\n\" ving himself in what would have injured his\n\" private character & reputation still further. The\n\" proofs & witnesses are in existence\nYes, Lady Byron was always sure to the end\nthat she loved him: sure that she had been\nhis best friend '' ; sure that he did not want\nher, ...he who had written \" 1 did do and\never shall love you '' ; sure always that she was\nin the right, and, though she crucified herself\n...and him also ...in doing it, must hold to her\nown sense of right, retain her \" implacability\nat all costs. Terrible double self-deception •\nMrs. Jameson's niece, Geraldme Macpherson,\ncalled Lady Byron the \" Sphinx Woman . For\nByron she had been first his \" Bell \", his \" Pip~\npin to become later his \" moral Chtemnestra .\nLady Wentworth records : \"my mother said\nLady Byron was the sweetest gentlest person she\never knew, and Very amusing. \" Robertson of\nBrighton called her \"superhuman \". Among\nthem all, what are we to think ? She is credi-\nted with endless good deeds ; she is said to have\npossessed innumerable virtues : folk believed that\nwith some ordinary man she might have been a\nhappy and devoted wife : her biographer even\nwrites, of her later friendship with the Rev. Fre-\nderick Robertson of Brighton, \"Had Robertson\n\" been free, had their ages been less disparate,\n\" this was the one other man she could have\nloved ; and he could have loved her. But the\n\" gods saw it otherwise ; she was to be Byron's\n1' to the last''.\nA wonderful pack of notions.\nIt was an ill-fated impulse of Miss Annabella\nMilbanke, when she took up her pen on that\nday in 1813 to incite Byron to reform and virtue\n(and \" to secrecy as to this communication and\nits contents \"!) She asked her boon her\n\" own harm \", and the \" wise powers \" unkindly\ngave it to her. Poor girl but what a terror !\nStill, she paid for it all with suffering to her\ndying day and others had to pay too.\nAnd all because the times were out of joint\nand she a very abnormal woman a cloud by\nday and a pillar of fire by night.\nThe awful suffering of that cloud by day\ntry and conceive it. No ! I pity Lord Byron not\nat all. I pity Lady Byron entirely. I once\nhated her but I couldn't understand her. Now\nthat I do it seems just one more hideous kick\nof mother nature which cripples without killing.\n\nL. C."}, {"page_pdf": 31, "page_imprimee": "121", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.31", "texte": "THE LONDON THEATRE\nAS. SEEN\nBY AN AMERICAN\nD. Nevile Lees.\n(1)\nMRS. Flanagan is the Director of an Experi-\nmental Theatre at Vassar College, and re-\ncently spent a year abroad, as a fellow of the\nGuggenheim Foundation, in exploring the thea-\ntres of Europe, studying the'history, problems\nand technique of the stage in different countries,\nand meeting some of the leading figures and per-\nsonalities of the theatre world.\nIn her Prologue she announces that the cur-\ntain rises on an impressionistic drama of the Eu-\nropean theatre '', her dramatis personae being\n\" certain brilliant personalities who are creating\nthat theatre *', and the list of them includes\ngreat, and less great, workers in the theatre along\nall lines : artists, producers, directors, actors,\nplaywrights, critics.\nGordon Craig, of whom she writes a chapter\nof fifteen pages, she met in Copenhagen where\nhe had gone on the invitation of the Poulsen\nbrothers to cooperate with them in their perfor-\nmance of Ibsen's \" Pretenders \". Stanislavsky\nshe found at work in his Moscow theatre : Karel\nCapek in Prague ; Lady Gregory at Coole Park ;\nPirandello in Rome, and many others here or\nthere: she saw a puppet theatre in Prague\nand the Stenterello theatre in Florence ; heard\nold Venetian plays in Venice, and visited the\nArts Theatre in Riga under the direction of J.\nMuncis, and a play given by villagers in a vil-\nlage near Moscow, and so on, north and south,\neast and west.\nOf London she has little to say save that\n*' apparently the audience does not mind that the\ntheatre in London is dead \" \" Curious to see\nrows and rows of people politely applauding a\ndead thing \". She finds \"The theatre is dead\nbecause there is no wonder in it and no belief .\nHer impression was that \" the London plays are\nsymptomatic of a great national weariness\n\" Strangeness has gone from the theatre, and\n\" with it reality. No bells ring in the lines of the\n\" dramatist, nor in the soul of the beholder\nShe found the English actors condemned to '' being\nperpetually charming, well-bred and dull in an\nendless succession of drawing-rooms . The\nOld Vic Shakespearean productions, \" robust and\nhonest as they are, left me with a vague sense\nof disappointment\", and, both there and at the\nStratford Theatre, she sensed \" the lack of the\nmadness mentioned in the Phaedrus \".\nWell, she reveals in her year's dramatic diary\nthat she got plenty of pointers as to why the\nLondon stage is so dead as it is ; why our Bri-\ntish Isles are so behind the other lands of Eu-\nrope. One was when she heard Frank Fay,\nwhom she asked \" whether he thinks Gordon\nCraig's plan for pillars and screens might not be\nunobtrusive yet atmospheric\", reply: \"Screens\n\" are silly, except, of course in such a play as\nThe School for Scandal.Curtains I hate —\n\" no chance to make a proper entrance or exit.\n\" There's a great deal of nonsense about the\n\" theatre written nowadays.\n\" I just read a very silly book by Constantine\n\"Stanislavsky all about his \" in Art\".\n\" The book is tosh. It doesn't get you anywhere.\n\" It doesn't show you how. There's more common\n\" sense in old Joe Jefferson's Autobiography\n\" than in fifty such books. Jefferson knew that\nacting is the art of getting an effect. He shows\n\" you how to turn the trick \".\nAnd another pointer towards the explanation\nwas this : she found the most eager and intelli-\ngent men of other lands working their own\nlands, — Russians in Russia, Germans in Ger-\nmany, Italians in Italy, Latvians in Latvia, Swedes\nin Sweden ; but she found Gordon Craig, the\ngreatest figure of the English theatre, at work,\nnot in London but in Copenhagen.\nPut two and two together, Mrs. Flanagan, and\nyou will understand why the English theatre is\nthe dead thing it is. The minds of too many\nof its actors are closed to all ideas or theories\nor practice which do not run along the tram lines\nto which they are accustomed ; the doors of the\nLondon theatres are closed against its great artists,\nits men of wide experience and valuable ideas.\nSt. John Ervine told the author, \" — as for\nknowing London, — there's only one way to\nknow any place. Go to the theatre \".\nWell, if that be so, then is the London thea-\ntre so cruel a give-away that surely a patrio-\ntic government would close every theatre in the\nland, that England, in the eyes of the world,\nshould not be put to shame.\n(1) SHIFTING SCENES of the Modem European Theatre\nby Halite Flanagan. Coward McCann Inc. New York. Price\nDollars 3.50."}, {"page_pdf": 32, "page_imprimee": "122", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.32", "texte": "BOOK REVIEWS.\n\nEQUIPMENT FOR STAGE\nPRODUCTION by Arthur Edwin\nKrows. D. Appleton & Co. New\nYork and London, Price 5/- net.\n\nPART I.\nA BEGINNER'S POINT OF VIEW.\nh. c.\nDOOKS on this subject have appeared\none after another since the middle\nof last century but none come up to\nthe originals for amusing reading and\nbrilliancy. This book has nothing new\nto say.\nWhat the beginner waits for is this;\nA cheap edition a shilling or six-\npence with one chapter on making\nmodel scenery, one chapter on the\ncarpentry of elementary things, with\nmeasured drawings reproduced, and a\nselect glossary of technical terms such\nas braces, borders, flies, and so on.\nNow who's going to do it?... And\nwith an Index ?\n\nPART 2.\nTHE OTHER POINT OF VIEW.\ng. c.\nJT is only to the old pro that a book\n* like this can prove valuable. It\nreminds him of what he knows so\nwell that he is in positive danger of\nforgetting it all.\nHe long also despaired cheerfully of\never seeing a standard work written\non this subject. How often he needed\na book of reference alphabetically\nplanned telling him anyhow as much\nabout his house the Theatre as a se-\nrious reference work for Doctors will\ntell them all that is needed about the\nHospital, the home of the doctors.\nThe worst of it is that to produce\nsuch a work we need the combined\nbrains of a group of scholars and\ncraftsmen.\nSuch a scholar as Dr. Allardyce\nNicoll, given sufficient funds to enlist\nthe services of the best thirty students\nand craftsmen in Europe, could produce\nsuch a volume but in my opinion\nit would easily develope into a se-\nries ...like the Dictionary of Music.\nIt is certainly over-due, this work.\nThere is no set of serious profes-\nsional workers, and I am thinking of\nthe eight hundred best men, who stand\nmore in need of some practical help,\nsome education and some encourage-\nment than do the theatrical workers,\nbe they actors, students, producers,\nprompters, stage managers or crafts-\nmen. 4\nIf I want to refer to some book\nwhich tells me how to make a raised\nsolid, light and noiseless structure, over\nwhich Macbeth and his army can\npass, I can discover it nowhere. I\nmay by searching through ten or\ntwelve books come across the way to\nmake a rostrum which is heavy and\nnoisy, but that is all and that is no\nuse to us in 1929.\nIf I want to discover the final word\nthat is to be said on how to paint\nthe face, I cannot find it unless I\nrefer to another eight or ten books,\nand even then I am at a loss how to\nmake my own paints. Buy them at\nthe dear old German firm is all 1 am\ntold to do.\nBut while I appreciate the service\nrendered to the stage by the great\nfirms which manufacture grease paints,\nwigs, costumes and the rest, I think it\nis time that the craftsmen who work\nin theatres and who are not in the\ntrade should do their share of work\nshould waken their slumbering powers\nand should experiment.\nHow do that when hardly one of\nthem can tell you how to make a\npaint that is good for the face and\nhow to put it on?\nThe one and only Theatrical Pub-\nlishing house of 1877, which even to\nthis day supplies the profession with its\nbooks, issued a book called 44 HOW\nTO MAKE UP \", 44 a practical guide\nto the art of making up \" etc. written by\n44 Haresfoot and Rouge But in the\nopening lines of its Introduction we read\nas follows:\n44 In placing this book before the\n44 public, the author wishes it to be\n44 understood that it has been written not\n44 so much with the idea of offering\n44 advice to Professionals as with that\n44 of instructing Amateurs \".\nRather depressing, isn't it ?\n\nENGLISH COMIC DRAM A 1700-1750,\nby F. W. Bateson. Oxford,\nClarendon Press. Price 7/6 net.\n\nIV/|R. Bateson has written a model\n* ** critique. Into this \" English\nComic Drama (1700-1750) he has\nwoven character-studies, criticisms, and\na glimpse of eighteenth century life,\nwith grace and skill. As a book, it\nis amusing and brisk, scholarly and\nyet 4 alive and kicking ' ; as a criticism,\nit is sane and competent; and it is\nnot overburdened with footnotes. If\nthe introduction is rather vague, Mr.\nBateson's lively studies of Gay and Cib-\nber make ample amends. A tempting\nselection of extracts from plays and\ndramatic criticisms has been chosen.\nSome remarks by William Archer,\nfrom The Old Drama and the New,\non the * material condition ' of perfor-\nmances in an eighteenth century theatre\nare discussed in the closing chapter.\n44The Elizabethan platform-stage\", says\nMr. Archer, 44 survived in the shape of\na large 4 apron ' jutting out into the\nauditorium beyond the curtain line, and\nactors, in order to be thoroughly well\nheard and seen, habitually moved to\nthe front of this apron, relinquishing\nall attempt to live as it were within\nthe picture . This is dreadful and\nit is surprising to find that Mr. Bateson\ncalls it reasonable. So much for the\nbook, but what of the English Comic\nDrama itself from 1700-1750 ?\nI will not ally myself to that group\nof quite able nincompoops who, headed\nby Collier, backed up by Macaulay, and\ntrumpeted by Mr. Bernard Shaw, put\nout a tongue at the Restorationists.\nThe propriety of those comic plays\ndon't matter a fig only the leaf\ncounts and the leaf tells against\nShaw, Macaulay, and Collier who can\nwear it and share it and stamp it with\nB but keep the damn nonsense from\nBaby and me. For what is immoral\nin the plays is but one thing it is\nthe sly thieving on the part of these\nEnglish Comic Dramatic authors from\nthe French but still more from the\nItalian.\nMost of the plays came to Lon-\ndon cribbed from Gherardi, Scala,\nBeolco, Ganassa, Grazzini, Moli£re; and\nthese too had stolen bits, parts, or the\nwhole from earlier men. And on\ncoming to London these bits done into\nplays were successful : they were im-\nportant for their success alone : its im-\nportant for a play to succeed. Shake-\nspeare would have been successful\nin 1700-1750 but he was dead\nhe would be successful today but he\nis dead. Let him appear in London\nin 1930 and everyone would want to\ngo to see one of his great plays...\nand everyone would be touched, deligh-\nted, and rave about them saying that\nthey were far more wonderful than\nanything that Tchekov had ever done.\nWell then, since these little plays\nby Cibber, Steele, Centlivre, and the\nothers, had success while they were"}, {"page_pdf": 33, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.33", "texte": "still fresh from the foreign markets,\nwhat does it matter whether they be\nremembered or no ? If recalled, give\nthem a brief round of applause ; but\nwhy more ? Don't hiss at them from\nyour 4 moral * barracades which you've\nthrown up across the excellent old\nPiccadilly, and Adelphi.\nWith Cibber's 44Love's Last Shift\",\nacted at Drury Lane, 1695, compare\nGherardi's 44 Le Banqueroutier \", acted\nin Paris, 1687, and published in Am-\nsterdam before 1695 (I have a second\nedition dated 1695). Note for exam-\nple the passage quoted by Mr. Bate-\nson on pages 23-24, and compare this\nwith the passage from Gherardi quoted\nin The Mask, Volume 111, pages 171-\n172.\nIts just one of the lazzi to fill\nin but its the same Italian ribbon...\nvery frayed. There is very little of\nGherardi in it but there's no Gib-\nber.\nShakespeare knows how to crib\nlike a cracksman. Cibber and these\ncomics of 1 700 didn't: they bungled\nit so why write so many books\nabout them ? If it is to avoid writing\nanother about the sweet swan of Avon,\nI'm sympathetic. But these Restora-\ntion studies show a more positive love;\nits no mere distaste for something else\nthat has driven the present age to fuss\naround the Restoration drama as it\ndoes.\nI ll allow Etherege as on the verge\nof being a stunning fine thief and doing\nus all proud on it but Etherege\nalways had to be off to political work\nand playing the great gentleman in Hol-\nland or France, or where was it ?\nAnyhow, after a playlet or two, he\nwas too busy to do much more in that\nline.\nExcept for Etherege, I have no\nuse for any of them. Gay ? Gay\nand his 44 Beggar's Opera \" ? Well\nwe' ve had that and we know that it\nwas not Gay's opera that we liked but\na pretty little giggle in the corner...\nwith Playfair to tell us when to giggle\nin the right places.... that was our joy.\nBut Gay's 4 opera ' had the swing\nin the 18th century. It had some force\nonce. It wasn't pretty then —it\nwasn't A. A Milne, whose verse, since\nnothing is prettier, we, who like pretty\nthings, must admit to be the very posy\nof all modern prettiness it reduces\none to a state of sobbing prettiness.\nWhat a pity that Mr. Alexander\nPope never wrote his comedies\nthen we should have had a Comic\nDrama, 1700-1750, worthy of our\nIslands.\n\nC. V.\n\nPLAYWRITING FOR PROFIT,\nby Arthur Edwin Krows. Longman's\nGreen and Co. Price 21/- net.\nHOW TO WRITE A PLAY,\nSt. John Ervine. George Allen and\nUnwin. Price 5/-.\nh. c.\n\" IVf EITHER I nor anyone else can\n* tell the reader how to write a\nplay \", Mr. Ervine says in his Pre-\nface. So this rules out Mr. Krows\nas well ■— much to his disgust, one\nfeels. For not only does his book run\nto five hundred pages, but he proclaims\nthat 44 this book has taken fifteen years\nof desultory writing\". That is its\nfault. It is a large subject, but it can\nbe treated too largely. Fifteen minutes\nclear thinking would have been more\nbeneficial. Or if, like a Japanese me-\nditater, he had pondered for fifteen\nyears on his subject and had suddenly\nattained complete understanding, he\nm'ght then have written a few inspi-\nred lines deftly. As it is he has\ncompletely stifled his idea. During those\nfifteen years of desultory writing, three\nquarters of the work has died and lit-\nters the path. The reader has to hack\nhis way through a pile of corpses to the\nchapter on Production, whence he\nshould have started with but an easy\nhundred pages to go. Here we at last\nfind something which is important about\nthe theatre and plays are written\nfor the theatre... especially when one is\nPlaywriting for Profit.\nAfter merely hinting at the work-\ning of the stage, Mr. Krows assumes\nthat the reader will write his play\nwell and he starts to encumber him\nwith advice as to how to place a play\nwhere, why, when but the time\nis not ripe. No wonder that Mr. Krows\nreceived offers to turn his book into a\ncorrespondence course.\nThe book has some interesting fac-\nsimiles and on its saffron cover are re-\nproduced some tit-bits of praise from\nAmerican reviewers, and I give praise\nfor the index.\nI turn with relief to Mr. St. John\nErvine, with his pleasant English and\nhis realisation of so much that Mr. Krows\nhas missed. He says quite frankly that\nhis title is merely catchpenny. He\ncannot tell you how to write a play ;\nhe can tell you how to wreck a play,\nor what is wrong with your play, for\nMr. Ervine is primarily a critic. As\nan essay on dramatic criticism, allow-\ning for Mr. Ervine's limited out-look,\nyou may find the book worth the mo-\nney, even if the title has duped you.\nIn so far as both writers regard\nthe Writing of plays as 44 the thing \",\nrather than the performance, and the\nplaywriter as a visitor to the stage ra-\nther than one of the family, their point\nof view is limited and their books are\nout of date already.\n\nISADORA DUNCAN' RUSSIAN\nDAYS by IRMA DUNCAN and\nALAN ROSS MACDOUGALL.\nVictor Gollancz Ltd. Price 15/- net.\n\nJ HIS is a touching book of remem-\n•*' brance by the most faithful pupil\nany man or woman could wish to have,\nassisted by as faithful a secretary, for\nMr. MacDougall was secretary to\nIsadora Duncan for many a day.\nIt tells something interesting to him\nwho may chance to have known Miss\nDuncan. It once more bears testimony\nto her intense distrust and even hatred\nfor organization. In the future, a stran-\nger, eager to understand why she did\nas she did, will be able to explain to\nhimself if not to the world the\nreason for her seeming egoism, her ap-\nparent lack of discipline, her supposed\nhabit of terminating friendships, provi-\nded he bears in mind her contempt for\norganization. He will have to trace\nthis hatred for organization to the right\nsource before he will arrive at the rea-\nson behind most of her acts. The\nreason Will be found to be quite unrea-\nsonable, and Isadora Duncan will then\ncease to be a mystery, without anyone\nbeing able to explain her.\nYes, I doubt whether anybody will\never discover the secret, and so her,\nname will become even more of a le-\ngend than it is already. They will\nerect statues, to her, and more statues\nto her; and these monuments, unless\nsomething happens to stop the tendency,\nwill all by then have something sor-\nrowful and tragic in them... all very\nunlike her. Round her is growing a\ngrave legend thoughts associated\nwith death and tears linger where her\nname is spoken which of all things\nis the most ridiculous, since this sad\nfigure was but a dummy put up\nand put up by herself to draw the\nfire of the enemy. On one statue I\nwould like to see the words, 44 She\nfooled them to the top of her bent \"\nand under the words, in bas-relief,\na copy of her book.\nI once met Miss Duncan it was\nin a train, going to Zurich, and I\nhad one of the most interesting con-\nversations with her that I have had\nwith anyone I have ever met* I had\nbeen in Paris interviewing President\nWilson, Mr. Lloyd George, and Cle-\nmenceau, and was going to meet a far\nmore extraordinary man than any of these,\n...the then unknown Signor Mussolini,"}, {"page_pdf": 34, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.34", "texte": "Miss Duncan never hesitated in\ntalk, gesture, or idea, as many girls do\nand Miss Duncan, you will recall,\nwa3 always a girl essentially young\nand, to use a poor word, 44 idealistic \".\nIt is as though I had called Lord\nReading, 4 4 always a boy \" and 44 up\nin the air * but so he was —so\nhe is.\nI listened to this girl then, not as\nI would listen to a worldly woman\nthis girl whose speech never halted\nwho seldom blushed yet who was all\ngirl who skipped woman, as it were,\nand became something more: I\nlistened and I heard her utter things\nwhich the world calls mad.\nSome things she said made me alive\nto her hatred for organization although\nshe was full of schemes which included\na considerable amount of organization\nbut I perceived she hated it.\nEverything she said after this took\non the most original complexion. Her\nunconcern that her school had recently\nbeen scattered to the four winds\nan indifference which flowed like a\ndeep undertide, even while she bewail-\ned her loss. She bewailed in uncon-\nvincing tones she was not born to\nbewail she was only born for joy\nand the joy in her was evident to\nme. She told me grievous things\nI could not grieve with her for under\nall was Joy.\nI began to realise I say that\nshe it was who broke up her school\nso often; she who prevented America\ngiving her a million to establish a school\nthere, and that she knew what she was\ndoing when she broke things up\nshe was saving the thing she treasured\nmore than the world.\nAs compensation she gave to the\nworld some performances. Of one of\nthese she wrote (but not in a book),\n44 the Lady what dances, danced all\n44 over the place.... the yellow dog and\n44 the gas man liked it and so appa-\n-44 rently did all the Kings and the\n44 Queens in the audience it was full\n44 of Imperial Loges and Kings and\n44 things like that the lady what dan-\n-44 ces was in an awful rage and dan-\n-44 ced horrid at all the people then\n44 she went to the dressing room and\n44 fought with the other lady \".\nBesides performances she gave the\nworld a book memoirs and here\nagain she knew what she was doing\nand gave it nothing threw dust in\nits eyes and it has felt really flattered.\nThat is why I call the Miss Duncan\nwho is known to the world, her dummy.\nIhe real being will neyer be known\n- as for the girl,... who knows }\n\nF. M. Florian.\n\nISADORA DUNCAN; Twenty-four\nStudiesby Arnold Genthe; with\na Foreword by Max Eastman.\nMitchell Kennerley. New York 1929.\nPrice not given.\nl. l.\njV/fR. Mitchell Kennerley has pro-\nduced a good plain book of\nremarkable photographs by Mr. Arnold\nGenthe twenty-four studies of Isa-\ndora Duncan, nine of which I recog-\nnize. In a brief but able Foreword\nMr. Max Eastman claims her as an\nAmerican.\nSurely when all's said and done\nshe was without nationality.\nUntil nations jealously protect and\nsupport their artists, artists can have\nno nation they then belong to the\nworld.\nIt will not do for a nation to treat\nwith indifference any artist they wish\nat death to claim as their child.\nIsadora Duncan was treated shame-\nfully by America, and America no\nlonger has a shred of claim on her.\nBut this book ... a tribute to her\ngenius by Genthe .... is really well\nworth getting.\n\nFOUR PLAYS.\n1. MARIA MARTIN, or the\nMurder in the Red Barn.\n2. SWEENEY TODD, the Demon\nBarber of Fleet Street. Qeorge\nDibdin Pitt. Qerald Howe. \" Barn-\nstormer Plays \" Series. Price\n2/6 each.\n3. THE WAY TO KEEP HIM,\nArthur Murphy. Oxford Univer-\nsity Press. Price I /-.\n4. THE SERVANT OF TWO\nMASTERS, Carlo Goldoni. Cam-\nbridge University Press. Price 3/6.\nA S plays, Goldoni's is the best all\n** round, ...best for acting and best\nwritten; but it*s in translation, and\ntranslation is what it's always been\nheld to be treason.\nAs plays for an English audience\nthe Barnstormer Plays, \" Sweeney\nTodd \" and 44 Maria Martin \" are\nbest for it's English stuff, not\nwell written not good for good\nacting.\nI [Murphy's play would be not bad\nif only we had a second Garrick to\ngive it us and a sound repertory\nTheatre in which to make the presen-\ntation.\nIf the Oxford University Press book\n(No. 3) costing 1/- can be made to\ncover expenses, ought not the Cam-\nbridge University Press to have issued\ntheir book (No. 4) for less than 3/6?\nThe paper is a little better, in size\nit's rather larger, but one shilling\nshould be the price for each of these\nfour books.\n\nAMATEUR AND\nPROFESSIONAL\n\nHARLEQUINADE; The Story of\nMy Life. Constance Collier. The\nBodley Head. Price 15/-\nSYBIL THORNDIKE by Russell\nThorndike. Thornton Butterworth price\n21/- net.\n\nHERE are two books about two\nEnglish actresses, the one written\nby herself, the other by her brother.\nBoth have made a conspicuous po-\nsition for themselves, in England and\nfurther afield ; both have worked hard ;\nboth have been prompted by a keen\nlove for the theatre, and have given it\nof their best.\nBut they came from entirely diffe-\nrent worlds and environments, and this\nis one of the most salient points of\ndisparity which strikes the reader in\ncomparing the two.\nSybil Thorndike came of that\nwell-established English class which is\nmade up of the highly placed and\nconspicuous dignitaries of the army\nand the church. She had an assu-\nred and dignified background, and, her\ntastes turning early to the theatre, every\nassistance along the perfectly conven-\ntional lines of the carefully-protected\ndramatic student, with an affectionate\nand provident family in the background.\nShe early entered Ben Greet's\ncompany and toured America, and\nmoved onwards progressively, in later\nyears with the cooperation of her hus-\nband, Lewis Casson, towards an ever-\nextending popularity.\nConstance Collier, born four\nyears earlier, was, on the contrary,\nwhat the Italians call a \" figlia\nd'Arte . Her forbears were actors\nand dancers and wardrobe mistresses;\nher father and mother were both play-\ners, and, being almost always engaged\nseparately, in small roles in different\ntravelling companies, were usually com-\npelled to live apart.\nThe little girl wandered around\nwith her mother, who played 44 second\nboys and such-like parts in travelling\npantomime companies, and knew all\nthe hardships of the third-rate strolling\nplayers, the wretched lodgings, the\nlong Sunday journeys, the irregular life,\nthe abject poverty when gaps between\nengagements were long. She played\nin the gutter before cheap lodging houses"}, {"page_pdf": 35, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.35", "texte": "with the street children, and got no\nschooling save the few days a week in\nthe ever-varying round of towns where\nthe company travelled, and a few\nmonths in a tenth-rate boarding school\nwhere she was half-starved, and tor-\nmented as the child of play-actors.\nShe tells of the long hungry walks\nacross London with her mother to the\ntheatrical agents in search of engage-\nments, of their desperate straits as her\ncharming and courageous little mother,\nfading into middle age, could no lon-\nger get work ; and of how she her-\nself, at fourteen years old, became the\nbread-winner and support of the fa-\nmily. Then of her good fortune two\nor three years later in attaining, through\nher beauty, to a position among the\nfavoured 44 Gaiety Girls \", and, after yet\na few more years, her advance into His\nMajesty s Theatre under the management\nof Sir Herbert Beerbohm Tree, and\nher incredible good fortune, as a still\nyoung, unknown, actress, in being en-\ngaged for a leading part in Stephen\nPhillips 44 Ulysses \" ; followed, from\nthen on, by success after success, in\nassociation with the leading figures of\nthe London stage of that day.\nShe has much that is affectionate,\nadmiring, and genuinely interesting to\nrelate of Beerbohm Tree, and also of\nthose who surrounded him, ...painters,\ncritics, playwrights and players; and\nat times, as in her account of Dan\nLeno's midnight visit, when, the moon-\nlight in the dark room revealing his\nwhite distraught face, he poured out\nall his dream of becoming a great\nShakespearean actor, she makes the\nscene very real for us, produces an\nimpression both touching and tragic.\nEveryone who has known the Lon-\ndon stage and the London personalities\nof the last thirty years or so will find\nmuch that is both interesting and enter-\ntaining in these two books and, by\njove, much that explains how it is\nthat the English theatre is so infernally\ndull, smug and contemptible.\n\nn. l.\n\nSEVEN MODERN COMEDIES,\nby Lord Dunsany. Putman's. Price\n7/- net.\nTHE CROWN\nLICE ; THE INVISIBLE DUKE;\nTHE SACRED CAT, by F. Sladen-Smith.\nGowans and Gray. Price\n1/- each.\na. v.\nHE Seven Modern Comedies could\nhardly be performed satisfactorily.\nIt would be difficult, if not impossible,\nto convey the qualities of Lord Dun-\nsany s highly individual writing and\nrestrained humour to a theatre audience,\nand if these passed almost unnoticed,\nlittle would remain of the plays. Even\nthe reader, carried away at first by\nthe amusing naivete of The Journey\nof the Soul and The Hopeless Pas-\nsion of Mr. Bunyan, finds places\nwhere the polished surface of style\ngives way and lets him go tumbling\ndown into the author's mind, at spots\nwhere, alas ! very little is to be found.\nOne does not expect plays like Holy\nRussia from a writer of Lord Dunsa-\nny's intelligence. They are a thing\nof the past by now. Poor old 1 che-\nkhov ! Still there is much in the book\nwhich is extremely amusing and anyone\nwho doesn't read it will be missing\nsomething.\nAlthough we are aware that as a\nform of criticism comparisons are ge-\nnerally to be avoided, yet when two\nsuch finished exponents of fantasy as\nLord Dunsany and Mr. Sladen-Smith\nboth produce a series of comedies at\nthe same time, we are almost forced\nto compare their work. So here goes.\nSladen-Smith shows a far more\nreal sense of the theatre than does\nLord Dunsany. Though when reading\nhim much of his dialogue and hu-\nmour seem far from subtle, both would\nprobably come to life when spoken\nand acted on a stage. The plays are\nnot encumbered with any insistent lite-\nrary style and they have action. Of\nthe three, The Invisible is the\nmost ingenious. The Crown of St Fe-\nlice is an amusing little piece and is writ-\nten with great spirit. Mr. Sladen-Smith\nknows how to design a plot and how\nto take his place in a theatre,\n\nTHE EIGHTEEN-SEVENTIES.\nEssays by Fellows of the Royal Society\nof Literature. Edited by Harley\nGranville-Barker. Cambridge University\nPress. Price 12/6\nd. p.\njHESE are all charming essays\n-*• but here I must skip them all to\ncome to that by Sir Arthur Pinero\nwhose 44 Theatre in the Seventies \"\nis perfect. Why the word 4 seventies '\nshould be repeated over and over\nagain as title to nine of the eleven\nessays the Editor best knows.\nSir Arthur Pinero, once a member\nof Henry Irving's Company of come-\ndians, at the Lyceum Theatre, knows\nhis subject: and so we are told autho-\nritatively of Robertson and Byron (why\ndid this witty fellow lack wit about\nhis name ?), of the Bancrofts and no\none knew the delightful couple better\nthan Sir Arthur : of W. S. Gilbert\nand of James Albery. Last of\nW. G. Wills ; and then he comes to\nHenry Irving—and to Ellen Terry too.\nOf these he says just what I would\nlike to have said, and that means he\npleases me infinitely. When I first\nsaw them acting I had been a scribbler\nin Fleet Street for at least eight to nine\nyears: and in eight or nine years there,\nunless one breaks away, one learns to say\nnothing: I always marvelled how Cle-\nment Scott could say the things he\ndid in his critiques: but no one to\nmy knowledge was ever called Clement\nbefore or after, and that name had a\nmagic in it in the seventies.\nThe name of Irving was hardly\nknown at the beginning of those ten\nyears, but by the end it was known.\nSir Arthur refers to Irving as 44 this\nextraordinary man\" and quotes from\nBurke when he comes to Ellen Terry.\nMr. Barker also writes on the 1 heatre,\non Tennyson, Swinburne and Meredith\nas would-be dramatists. He says some\nspirited things, but I always feel that Mr.\nBarker is self-conscious, aware of\ncleverness observed or possessed,\naware of defects observed, rather\nthanking God he is not .... and so forth.\nI never can %et away from this in\nall Mr. Barker's work and I find it\nhere again. I feel that he is clever\nand when I doubt it I hear eve-\nryone else telling me that he is, really\nis, clever.\nThat's all to the good but beyond\nthat ? yes, he is spiritual, but not in\nthe least theatric, though of course a\ntrifle theatrical. He is even pontifical\nat times, and, do you know, I don't\nlike that.\nWhat would Shakespeare have made\nof him? what Moliere? what Byron?\nHe is indeed fortunate to live and\nbelong to the times and in the circle\nof Bernard Shaw.\n\nGOETHE by Emil Ludwig. 2 Vo-\nlumes. Putnam's. Illustrated. Price\n£ 2.2.0 (2nd impression).\nHIS capacity for happiness was\nnot dependant upon himself\nor he had been but a dull or a rabid\nmaterialist; was not dependant upon\nothers or he would have been a me-\nlancholy lunatic : .... it was not a bitter\nhappiness and it was very like the real\nthing.\nAnd yet he was Director of the\nCourt Theatre of Weimar.\nDr. Luclwig considers him as more\nof a level-headed mentor than an in-\nspiring influence before and behind\nthe curtain of that Theatre.\nHe was for twenty-six years ma-\nnager of the Weimar stage and during"}, {"page_pdf": 36, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.36", "texte": "that time, writes Dr. Ludwig, 44 the\ndramatist may be said to have proudly\nwithdrawn his best works from 'he\nmanager's eye, rather than that the\nmanager was prudent enough to de-\ncline them,\" for Goethe the Dra-\nmatist 44 stood haughtily aloof from\nGoethe the Manager \".\nWhat a wise man and what a\nhappy one. To be a dramatist, to\nhave a theatre, and yet only to use\nthat theatre as a place wherein to enjoy\nhimself.\nHow this explains the whole man.\nBut such an attitude is so new, so\nwell-nigh incomprehensible to all modern\nmen and women that if they will\nread these two astonishing volumes\nthey will find themselves in the pre-\nsence of a man who will always be\na hundred years or so ahead of the\nage.\nGoetne was a man who could enjoy\nall things, and this he taught himself\nto do. Granted a nature rich enough\nto be able to reject (see how he\nrejected the stage) and granted a ca-\npacity for adding each day, each mo-\nment to the wealth of that nature,\nand you have a Goethe, a Byron\nand a hundred out of a million.\nEver serious and courteous\nalways gay, powerful yet sweet\nhappy and an observer of fine\nmanners ....what a lucky man, and what\ngood luck for Germany to have him\nas a son.\n\nGOETHE AND FAUST: An In-\nterpretation; by E. M. Stawell and\nG. Lowes Dickenson. G. Bell &\nSons. Price Isj- net,\nis one of the few men\nwho knew how to live and, what\nis more, could explain all about it.\nHe knew how to work and how to\nlove, and that is something towards\nknowing how to live.\nThe authors of this book do not\nquite know how to interpret Goethe,\nbut their translations of his 44 Faust \"\nare very interesting, and many will\nget this volume so as to compare the\nnew versions with the old ones.\n\nTHE CASE OF Mr. MOREL.\nKaren Branson. Philpot. Price 5/-.\nreally exciting story for those\n** who like being excited.\n1 have read it once a year ago and\nnow am reading it again. I had for-\ngotten it. It s really exciting.\n\nTHE LIFE OF SIR PETER PA UL\nRUBENS. Hon. M. A. Cantab, by\nAnthony Bertram. Peter Davies Ltd.\nj\\/f R. Peter Davies is the fifth En-\nglish publisher to issue a book\non Rubens, and is to be severely\ncensured for not having put a clause\ninto his contract with Mr. Bertram :\n44 index essential \".\nRubens greatly admired the houses\n44 in the superb city of Genoa ', a\ncity tourists pass by.\nRubens had to press Her Serene\nHighness some serenity or other\nfor money. Rubens is rather to be\npitied the Serenity is to be ... re-\ncognized. Rubens had to advertise\nhis existence, his 44 excellence in his\nart \", saying he 44 was much esteemed\nthroughout Europe can add 44 li-\nterary talent and knowledge of history\netc to his rare merits as a painter ',\nand begs for an engagement, or for the\nnotice of Philip fourth King of Spain.\nRubens has to claim 44 half the\nsalary due to him \" from some king,\nduke or prince I am not clear which\none a Gonzaga I think yes. it\nwas Gonzaga.\nRubens in time grew wealthy. He\ngathered around him a shoal of colla-\nborators, assistants and pupils and\nsimply turned out paintings by the\nhundred.\nRubens did this after he discovered\nthat wealthy lords and princes did not\npay up. Bully for Rubens ; but col-\nlectors curse the day he did this.\nThey shouidrA curse Rubens but\nmight guess again.\nRubens was 44 very celebrated and\neminent \".\nOne Otto Sperling, a Dane, called\non him in Antwerp.\n44 We paid a visit to the very ce-\n-44 lebrated and eminent painter Rubens,\n44 whom we found at work, and, while\n44 he went on with his painting, listening\n45 to a reading trom Tacitus and dictating\na letter. We kept silent for fear of\n44 disturbing him; but he spoke to us,\n44 without stopping his work or the rea-\n-44 ding or the dictation, and answered our\n44 questions as if to give us proof of his\n44 powerful faculties. Then he ordered\n44 a servant to conduct us round his mag-\n-44 nihcent palace and show us his an-\nCi t\" \"\ntiques .\nRubens was hard in money matters,\n44 a blemish a banker would call a\nvirtue \" writes Mr. Bertram.\nRubens was apt 44 to regard art\nmerely as work \" 44 to measure his\ngem us at so mucn the day ; to bow\nto tue 02tiers of interior men of supe-\nrior rank .\nHe was prepared to furnish pictures\nat all prices from smali studio works\nat fourteen florins eight sous to enor-\nmous pieces at three to four thousand\nflorins. Rubins is a bit like Shakes-\npeare, I'm thinking.\nRubens unfortunately had genius:\nwhat was he to do with it ? die on it\n44 my dear doctor, that's the very\nlast thing I shall do sell it, my\nboy sell it .\nHe arrived at this excellent point\nof view some years after the princes\nand lords of wealth had failed to pay\nhim his wages. He cut adrift\nopened a shop had all his assis-\ntants hard at work and sold by the\nweight or the height.\nRubens is the best model any artist\nafter forty years of age* with little in\nhis pocket can take.\nAltogether a delightful book\nfull of quiet fun and beautifully\nprinted, as is the Peter Davies habit.\n\nTHE MOONSTONE, Wilkie Col-\nlins. Oxford University Press. The\nWorld's Classics Series. Price 2j- net.\nMR. T. S. Eliot in his Introduction\nsays 44 The Moonstone is first,\nthe longest, and the best of modern\nEnglish detective stories\"; but he\nadds, 44 it is something more important\nthan that; it is the best of all the\nnovels written by that man who among\nthe novelists of the nineteenth century\nwas in every way the most closely\nassociated with Charles Dickens \".\nEven leaving Dickens out of it...though\nwho can forget the long friendship, the\nlong association between the two men,\ntheir mutual interest in drama and the\nstage.... 44 The Moonstone \" is a fine\nthrilling tale in which the interest and\nexcitement never flag, and all who have\nnot yet read it can count on some\nhours of enjoyment if they buy a copy\nof this new and handy edition from\nthe Oxford University Press.\n\nTHE BACK WAY; GEORGE\nPROPOSES; THE PROOF, by\nJames Lonsdale Hodson. Gowans and\nGray. 1/- each.\na. v.\nTHE PROOF has some pretensions\nA to drama and is written with a\ncertain amount of skill, but it would\nbe difficult to find two more puerile\nlittle plays than the other two. If the\nLeeds Dramatic Festival can find no-\nthing better than this sort of stuff for\nthe award of its first prizes, it would\nbe more beneficial to drama and more\nencouraging to dramatists, not to award\nprizes at all."}, {"page_pdf": 37, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.37", "texte": "A LISI OF BOOKS ETC. TO\nSER VE AS AN INTRODUCTION\nTO THE BIBLIOGRAPHY AND\nMETHODS OF ENGLISH LITE-\nRARY HISTORY, by Torn Pete\nCross (Fourth Edition) University of\nChicago Press. Price 75 cents.\nfcHil*—l»ll 11*11 I UUMmUIHIII HIIIHI Bill II II IB >| 111 !■ nM WMlMllill HIIHI I nf|ilffrnwnfTiT\"t|-ir\nJUST because by one touch it for-\ngets that it's a book of reference\nthis book is to be praised. That touch\nis that it's interleaved by white paper\nwhich renders it a proper book of re-\nference.\nWhy on earth there isn't a law\npassed insisting that all such books\nshould be interleaved passes everyone's\ncomprehension since everyone wants it.\nBut then we are only in the 1429 th\nyear of our development; by the time\nwe reach the year 1929, for example,\nthen we shall have solved all the larger\ndifficulties which beset us and, the\npounds once looked after, we can con-\ncern ourselves with the pence.\nThat's the theory isn't it ? Well,\nnone of us need worry for we shan't\nsee 1929.\n\nIDOLS OF THE \"HALLS\" by\nH. Chance Newton (\"Carados\" of\nthe \"Referee\") Heath Cranton.\nPrice 12/6 net.\nOld Stager.\nPHIS old buffer this 'ere Chance,\nas we may call im —God, what\nan old daisy he is to be sure.\nMark you, I don't mean any dis-\nrespect. I for one need not deflect\non his memory : besides, has not my\ngood old pal and ever to be venee-\nred chief Oswald Stoll said of him\nthat 44 Age cannot wither, nor custom\nstale his vision or his pen \" : and after\nthat I ask you who's saying any\nmore... or any less.\nNo Sir!! H. Change Newton is in-\ndeed to be compared with Cleopatra\nwhose infinite variety (though she ne-\nver really went on the halls) 44 age\ncannot wither nor custom stale \" (Sha-\nkespeare).\nTalking of that, did it ever strike\nany of my readers that what Shake-\nspeare wrote was not 44 age cannot\nwither \" because that makes nonsense,\nbut 44 the stage cannot wither \".\nBut to this book.\nI do urge everyone who cares for\nwhat44 The Mask \" has stood for during\ntwenty years to buy this book. For\nhere, in Mr. Chance Newton's hand,\nis written all the testimony we need\nto prove that all we've ever thought,\nfeared and said about Butt, Stoli,\nMoss and the others is true?.\nAnd here, too, is the fact printed\nthat it was Mr. Chance Newton whose\nopinion was listened to by Butt, Stoll\nand Moss.\nThere is a portrait of Stoll, of\nwhom Mr. Chance Newton writes:\n\"TVo man ever deserved k.nightkood\nmore \" But then Mr. Chance Newton\nhas an astounding capacity almost\namounting to second nature for mis-\nstatement.\nFor example, where he refers to\nthat dear old man, the late Signor\nEspinoza. He tells us that he 44 was for\nmany years producer and stage director\nfor everything spectacular presented\nby the renowned actor-managers Charles\nKean, Sir Henry Irving and Sir Her-\nbert Tree \".\nBut get this book, you who in\nAmerica or in Europe are eager to\nknow of a book which utterly misrepre-\nsents all that's worth while in the\ntheatre, and which is ever incorrect\nabout the wretched and ridiculous\nthing calling itself 44 Theatre the\nlow-down money-governed brutality of\nLondon Stages.\nNewton shows the whole thing up\nas no enemy to that sort of wretched-\nness could do, and 1 treasure his book.\n\nMUSSOLINI, THE MAN OF\nDESTINY, Signor de Fiori. Dent,\nPrice 6J- net.\nI 'HE search-light and the camera do\nnot have it all their own way:\nthey can be checked better than is\nsupposed.\nThe camera may catch an ugly\nglimpse of truth it will never catch\nthe truth itself : only art may translate\nthat. 44 No man has seen God and\nlived \", and no camera will be quite\nquick enough to do that and remain\nin working order.\nSo while ail the snapshots of Mus-\nsolini render to Demos the things\nwhich are of Demos, God still keeps\nhis own secrets.\nMan does after all, and with all his\nmachinery and understanding, and with\ndue respect be it said, dawdle in the\nuptake.\nThis volume by Signor de Fiori\nis compact and gives you all you\nrequire : for six shillings you get a\nvivid sketch of the most romantic, the\nmost classic figure of these days.\nThe picture is one of Caesar without\ntoga, Napoleon without arrogance,\nand Cromwell with brilliance ad-\nded.\nMussolini what is he? you ask\nbefore you open the book; and after\nyou've read it, ...what is he?\nIt puzzles you to find so much of\nthe Holy Ghost strong and bright in\nanyone for quite so long.\nYet to the artist.. and many artists\nread 44 The Mask \" ...it must seem\nonly one more powerful manifestation\nof all they have loved since they first\nbegan to plough their particular solitary\nfurrows.\nAll artists are not D'Annunzian\nartists ; some plough on unseen till the\ndusk neither caring for applause nor\naware of disapproval 4 simply and\nalways obedient * ...to quote a phrase\nof the Duce ; always modest as is the\nDace with his 44 we have accomplished\nnothing as yet \". I know a number of\nthese artists in Italy.\nI wonder if the Duce knows of them\n...knows that this is so ?\nOnly one thing do those artists with\nideas, big ideas, envy the Duce ;\nthey envy him his right to punish\nthose cowardly and secret persons who\nwith impunity lie every idea out of its\nexistence.\nThere are some the artist would\npunish severely and it is only by\npunishing these assassins that ideas,\ngood and noble ideas, can flourish\nunder a good government.\nSome protection given by such a\nman armed, like Mussolini, is needed\nby his Italian artists who face their\nenemies unarmed.\n1 wonder if Mussolini realizes this\ntoo !\n\nAN OUTLINE HISTORY OF\nTHE JAPANESE DRAMA by F.\nA. Lombard. George Allen. Price\n16/- net.\nDR LOMBARD has given us a valu-\nable book full of information though\noften in manner of writing it seems a\nlittle strange. Why, for instance, does\nhe write that the 44 students of inter-\nnational drama are turning more and\nmore to study of Japanese Drama \" and\na line further on say 44 its development\ndiffers from the evolution .\nWhy omit the word the in the first\nparagraph and put it in the second ?\nAnd why does he repeat 44 not only\nthree times in twelve lines ? And why\n44 the inner urge to self expression\n44 the primal elements of the drama ,\n44 the essential oneness \" and 44 inter\noperating influences \" ? And 44 when refer-\nring to the Buddhist priest's courtesy to\nhim \" he writes 44 whose uniform kindness\nis worthy of comment\nIt's stiffly written, but it contains a"}, {"page_pdf": 38, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.38", "texte": "fund of valuable information, and for\nthis we must feel grateful to Dr.\nLombard.\nThat he seems to value Kahuki* the\npeople's play, more than the No, the\nartist's play, is natural to one who ap-\nproves of 44 closer contact between au-\ndience and actor \". I know the mood\nand it's a good one when the age is\nchildish, nay 44 still finds us children...\nThe author tells us much about Chi-\nkamatsu his and plays and their puppets;\nbut there again its Kahuki he prefers\nto puppet stage, it being, he holds 44 limi-\nted in possibilities \".\nIt is an inveterate delusion, an incor-\nrigible error, this notion that because a\ngrand art limits, defines with strict and\ndeadly limits in the path of the artist,\nit is less splendid than a lesser art which\ndoesn't care.\nDr Lombard for falling into this error\nis not so much to be blamed ; I'd pre-\nfer he did so rather than that he witheld\nfrom us this able book : but students\nmust take care. Take care to realize\nthe wonders of Kahuki first : nothing\ntoo good can be said for it : but never\ndeny that the No and its Puppets are\nthe most worth while.\n\nENGLISH COMEDY by Ashley\nH. Thomdifae.\nThe Macmillan Company. Neu) York-\n-1929.\nF\\R THORNDIKE gives us a compact\nof over 600 pages, a com-\npanion to his book on Tragedy issued\ntwenty years ago,\nAs was to be expected, it is a learned\nwork, and of course one alights on the\none error at once ; it is the cursed luck\nof one who spots things now and again :\nBiancolelli and not Biancoletti (page\n314) is the name of the family of Italian\nactors of the 1 7th : and 18th : centuries.\nThis said, one can but admire this\nexcellent work, as erudite as it is\nlightly handled.\n\nEDITORIAL NOTES\nJULY: AUGUST: SEPTEMBER\n\nA THEATRE MUSEUM\no FOR VIENNA o\nVIENNA in the past was a city\nwherein the theatre once flourished,\nenjoying the sunshine of royal enthu-\nsiasm. Artists were summoned from\nItaly and other lands to develope? it\nand it vied with Paris as a centred of\nculture.\nThe National Library of Vienna,\nunder the able direction of Dr. Joseph\nGregor, has long had in its possession\na rich collection of works dealing with\nthe theatre, including large numbers of\nworks on dramatic subjects which were\nbequeathed to it by the famous actor\nHugo Thimig. It also possesses manu-\nscripts, portraits, designs, records, al-\nmanacks, and many other records of\nincalculable value to students of theatre\nhistory, costume, and scenography, and\nall the other arts and crafts which come\nwithin the theatre worker's province.\nReproductions of some of these have\nalready been issued in a series of splen-\ndid portfolios under the title of t( Monu-\nmenta Scenica \" and include many\nfinely coloured scenic and costume de-\nsigns of the Bibienas and other artists\nwho found encouragement and oppor-\ntunity for their gifts at the Viennese\nImperial court.\nTill now, owing to lack of space, the\nexpansion and adequate arrangement\nand display of all these theatre trea-\nsures has been impossible in the Natio-\nnal Library ; but it has now been de-\ntermined that a special theatre museum\nshall be arranged, the whole collection\nbeing transferred to one of the unused\nState Buildings and opened at an early\ndate.\nThe intention is that the exhibition,\nwhen arranged, should furnish a com-\nplete survey of the theatre, not of Vienna\nonly but of the world, as the collection\ncovers a wide field, including, for ex-\nample, some valuable Chinese log books\nrecently acquired, in which theatre\nscenes are depicted ; also a rare model\not a peasant theatre built in three stages.\nSpecial rooms will be reserved for\nstudents, . . historians, actors, scenogra-\nphers and all who wish to avail them-\nselves of the opportunity which access\nto suchjsources affords, and many will\ncertainly be drawn to Vienna to profit\nby the study of this magnificent collec-\ntion of theatre works.\n\nREP RESEN TAT lON\nVERSUS REPRODUCTION\nWRITING in the - Daily Mail\"\nof September 10th on \"One-\nPart Actors \", Mr. Alan Parsons, who\nis always interesting in his point of\nview, discusses what Sir Gerald du\nMaurier has defined as \" casting a\na dog for a dog \" in relation to the\nselection of Mrs Bugler, a Dorsetshire\nfarmer's wife, to play the part at a\nLondon theatre of Tess of the d'Ur-\nbervilles.\nIn explanation of the fact that this\nmethod seldom produces satisfactory re-\nsults, Mr. Parsons writes : \" The reason\nis that the business of the stage is\nto represent, rather than reproduce\n...to hold the mirror up to nature\n\" and all the rest of it. And when\nyou get one member of the cast\n\" \" reproducing \" and all the rest hard\n44 at their natural job of \"representing\"\n\" there is an ugly clash \".\nWhich is true enough.\nBut that \" ugly clash \" is so contin-\nually and inevitably present in the\ntheatre, quite apart from the matter of\nthe living figures who \"represent\" or\n\" reproduce \" the parts for which they\nare cast.\nIt occurs between the \" represen-\nting actor and the \" reproducing \"\nscenery; between the parts of the\nscenery which represent and those\nwhich reproduce : between the real\nflowers and the artificial trees; the\n4 represented * canvas castle and the\nhorse for a horse \" which paws\nbeneath it.\nThis clash will never be eliminated\nuntil scenery, properties, and all 44 re-\npresent instead of reproducing the\ndramatic scene or idea; or ...to go\nfurther still and base the material and\nart of the theatre on an ideal and\nwholly controllable basis ...until the\nliving actor himself gives place at\nleast to the masked actor, if not to\nthe 44 Über-Marionette"}, {"page_pdf": 39, "page_imprimee": "129", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.39", "texte": "THE OPERA HOUSE: PARIS IN 1850."}, {"page_pdf": 43, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.43", "texte": "LAST WORDS.\n\n''THE MASK'' AND\no LORD MEL CHETT. o\n\" R~FIHE MASK \" congratulates the \" Theatre\n* Arts Monthly \" on having at last found\nsolid financial support: and The Mask ,\nlooks towards Lord Melchett.\nI had better say at once whe is writing\nthis. . . . On second thoughts, I feel it is\nnot necessary : you will know who is writ-\ning it.\nNow, why do I say \" The Mask \" looks\ntowards Lord Melchett ? WTat has Lord\nMelchett done that we should seem to be\nabout to teaze or importune him ?\nNothing.\nYes. That is just it. He has done\nnothing ...for us.\nWhy should Lord Melchett do anything\nfor The Mask\" ? you ask.\nI will say why.\nLord Melchett is at the head of a very\nfine scheme ... I believe the originator of that\nscheme ... for providing financial backing and\nsupport for worthy, valuable and spirited enter-\nprises which lack capital.\nIt is as fine an idea as one could wish,\nbecause it aims to spread encouragement,\nnourish endeavour, and give opportunity for\nthe realisation of projects which contribute\nto the public good.\nIn having originated and organized such a\nscheme Lord Melchett proved himself both\nintelligent and patriotic.\nNow, at the time when details of this\nscheme were being given to the public some\neighteen months ago, the largeness of its aims,\nits readiness to extend support to any worth-\nwhile projects whether at home or abroad,\nwas emphasized.\nWe of \"The Mask\", reading all this,\nfelt that here at last was that large-minded,\nclear-sighted man with resources, with capital,\nready to help an enterprise which had proved\nits worth and vitality and solidity by fighting\non unaided for twenty years,\nTHE following letter was accordingly sent:\nFlorence June 1 1928.\nTo the Secretary\nThe Finance Company Ltd.\n14 Cornhill\nLondon E. C.\nDear Sir,\nWe have read with much interest an\narticle in \" The Daily Mail\" of April 13th\nlast respecting the organization and aims of\nthe \"Finance Company and ask you to\nbe so courteous as to send us further infor-\nmation on the subject.\nWe should like to know whether Sir\nAlfred Mond's plans for the assistance and\ndevelopment of enterprise Will be available\nfor such activities as our own publication of\nThe Mask which, founded by an\nEnglishman in 1908, has been carried on\n(save for a War interval) ever since, and\nwithout any capital.\nThis journal has been recognized as having\naccomplished more than any other for the\nbetterment of the Theatre and its art, and\nestablishes links of good-fellowship in all\nparts of the world.\nIt's further development and extension\nhas always been limited by lack of capital,\nand it Would indeed be of value if the\npresent scheme accorded facilities by which\nWe could develope our work•\nWe hope you will be so klrid as to let\nus have all possible information ; and also\ninform us, should our enterprise come within\nthe Company's programme of action, what\npreliminary steps We should take.\nAnticipating your courieous attention,\nFaithfully yours,\nTHE MASK Publishers.\nThe reply to this was as follows :\nThe Finance Company of Great Britain and\nAmerica. Ltd.\n37 Threadneedle Street\nLondon E. C. 2\n11th June 1928.\nThe Mask Publishers,\nP. O. Boxx 444,\nFlorence, Italy.\nDear Sirs,\nWith reference to your letter dated\nIst June, 1928, I am directed to inform\nyou that while thanking you for your pro-\nposal, this Company regrets that it is not\nable to avail itself of your kind offer.\nYours faithfully,\nFOR THE FINANCE COMPANY OF\nGT. BRITAIN AND AMERICA LTD.\nSigned . . . (1)\nSecretary.\n.... Which is a pretty definite turn-down.\nAlso a rather incorrect formula, since no\n\" offer \" had been made but only a question put.\nAlso a strange repudiation of the definitely\nstated aims of the Company, since it rejects,\nwithout enquiry, an application which has\nbehind it the exact qualifications which the\nCompany ostensibly requires in those enter-\nprises to which it announces it will extend\nits help.\nIt is on the strength of the above two\nletters that I say that Lord Melchett has\ndone nothing for \" The Mask \".\nNow Lord Melchett is not in the least\nresponsible for having done nothing for \" The\nMask\", of that I feel confident. But Lord\nMelchett will be, I am equally confident, the\nvery first, because he knows about the arts,\nto sympathise with and appreciate what I\nam going to say, and it is this :\nSo long as army men, even the very grea-\ntest, are called upon to reply to serious\nletters sent to the organizations with which they\nare associated by artists or groups of artists,\n...English artists, and artists who for many\nyears have done their very best to stand firm\nfor all their brother artists... matters are\ndamnably ill arranged.\nLord Melchett will agree with this, I am\nsure.\nThe machinery of a large undertaking is,\nI dare say, not so easily managed, nor can\nits regularity in functioning, \" tic-tac \", be\nrelied on to the extent that some of us think;\ngranted, and granted again. But such a\ncase as this, set forth in the two letters which\nI have printed here on my own responsibility,\n...is not one that should be allowed to pass\nwithout being enquired into.\nI had at first thought to communicate this\nprivately through friends, who would approach\nX, who would call on Y, who would see Z,\nin case Z felt that it came within his pro-\nvince to permit the matter to go forward,\nand so on and so on.\nBut I am not good at that sort of method\nof moving to the point I have in view, and\nas * * The Mask \" really circulates only among\nfriends, I felt that I would like them as well\nas Lord Melchett to know of this interesting\nsituation.\nBecause I am going to try and make of\nthis a case that shall be helpful to the artists,\nand not, I hope, unhelpful to this immense\norganization, this company which, with Lord\nMelchett at its head, has set out to stand by\nthose —»— artist or not who stick to\ntheir guns and continue to make an effort,\nhaving nothing behind them of support, and\nnothing of encounagement in front.\nSuch an organization should do itself justice\nfirst of all, ...and next be very careful that it\ndoes no injustice by repulsing just those whom\nits programme ssts out to help-\nNew The Mask \" from the beginning\nhas been what some would call a crazy affair.\nThe original project for it in 1907 havtng\nbeen turned down by various publishers, who\npronounced it a magnificent idea hut incapable\nof realisation with a capital of less than\n<£ 10,000, it went ahead and began without\na penny. It has gone on without a penny,\nfor twenty years, and it is still without a\npenny, ...and there has been no one in\nEngland who has thought good to help it.\nYou may feel that there is sufficient reason\nfor it not being carried on any longer : but\nwe go on, simply for the reason that\nthere are some things .which English men and\nwomen never put down once they have taken\nup, ...and this \"Mask\", and what it stands\nfor a*d embodies, is one of them.\nWe have been told by the Press of Great\nBritain that '* The Mask \" is \" One of the\nmost noteworthy -magazines rpublished in the\nEnglish language ...quite unique and a credit\nto English letters \"... and the most admirable\nand original magazine of its kirid \". That it\nis A unique production \" : that \"As a\ncorrective to the false sense of values which\nrules in London * The Mask * does a great\ndeal of good Work That it is \" A\nconstant source of pleasure to all serious\nstudents of the drama \", and that it is \" The\nbest theatrical magazine in the world \".\n\" The best theatrical magazine in the\nWorld \" ! ...and without one scrap of financial\naid I Think of it.\nIs it not something ...some service to Eng-\nland ... for us to have secured to England\nthe honour of having \" The best theatrical\nmagazine in the world \".\nI should have supposed it was something\nand I believe Lord Melchett will agree with\nme in this.\nI wonder if they organize better in France?\nI cannot believe they do. In America? ...\nwell, \" Theatre Arts \", a friendly offshoot, one\nmight aim:st say a pretty daughter, of \"The\nMask\", has found financial support.\nIn Germany ? .... I am inclined to think\n\"The Mask\" would have been, supported\nseventeen years ago had it been German.\nWell, Lord Melchett is just the kind of\nman who, in Germany, does support the arts\nand artists; who realises it as away of\nhonouring his nation and fulfilling his duty as\nan influential man of culture.\nGermany has many such men. England\nnow has Lord Melchett and his great orga-\nnization. That is why I say that \" The\n\" locks towards Lord Melchett.\n(I) 3he name of a celebrated general.\n\nCHICAGO 1933\nTHERE is to be a World's Fair in Chicago\nin 1933, and Mr. Bel Geddes, the ar-\nchitect and scenographer, has been asked to\narrange the Theatrical section.\nWithout being so extreme as were the Strat-\nford-on-Avon people, when they excluded actors\nand invited Masons to lay the foundation stone\nof the Shakespeare Theatre, Chicago is extreme\nenough, in asking Bel Geddes, when, as a\nmatter of fact, Belasco should have been asked."}, {"page_pdf": 44, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192907-01.1.44", "texte": "Belasco is more of a Theatre man than is\nBel Geddes. What, then, impels an immense\norganization like this to go to a man who has\nalways shown a fine feeling in all that he has\ndone, rather than to the good Belasco who\nhas never been over-scrupulous. Obviously,\nthey know that the artist can always be per-\nsuaded to sacrifice >ix months of his time for\nnext to nothing and they know jolly well\nthat Belasco will do no such damn silly\nthing. .\nBesides, after all, is it not a question ot liking\nto do a thing ? Geddes likes to do this, and\nBelasco doesn't like to: there it begins, and\nthere it ends. Geddes doesn t mind if he has 2d.\nin his pocket or a million he is like Edison\nthere, he is like all artists ; but some 1 heatre folk\ndo care, i have sympathy there with the\ndear Belasco quite a little sympathy and\n1 only hope he is making a lot of money.\nHe has worked extremely hard, and in his time\nhas done a good deal of very excellent\nwork.\nWell, this Exhibition proposes to produce\nsomething that does not compete with presen t-\nday popular theatrical entertainment; is not to\nencourage drama written with the box office\nand the talking picture in mind, but aims to\nencouerage the direct opposite ; to do everything\npossible to show the unlimited possibilities\nof drama, and to return the theatre to its\nown estate.\nThat is Bel Geddes, and we say Bravo,\nGeddes.\" . .\nThe fault of the international 1 heatricai\nExhibitions, in Amsterdam and London, was\nthat the theatrical profession, as it is called, did\nnot coll- borate sufficiently; though encouraged\nto come in, it stayed out. Now although we\nlove the theatrical profession very much, this\nmust be said that it is always the fault\nof the profession that it is not in these affairs.\nIt gets nervous, for no reason whatever, when\nthere is any talk of Art. This is not a little\nextraordinary, since it talks a great deal more\nabout Art than people would suppose: but\nit talks about it in a wrong way, at least ten\ntimes out of twelve. It feels a little uneasy:\nthe actors get uneasy : at least ten out of twelve\nof them do.\nDo you remember Ellen Terry's eagerness\n(we are addressing any actor who may read\nthis) is not that the example to follow ?\nIf someone spoke of a Sargent, or a Rossetti\nor of a book by Henry James, didn't she\nclap her hands, was she not all eagerness to\nknow more and to be among these things ?\nShe had no fear of them: she was never\nknown to say Oh, I never heard of that\nis there such a thing ?\nWhy should not this same Terry eagerness\nreturn and take its place in the actor s being,\nand electrify it just a little bit ? Then would\nnot all actors become happy to hear of this\nExhibition in America in 1933, where every\neffort is to be made to show the world what\ncan be done in a theatre to show the world\nthose things which can not be done anywhere\nelse.\nThe actor has some need to show this,\nand should help to show it 4 as well as the\ndramatist and the producer, for nowadays the\nworld is only being shown what can be\ndone in a cinema studio, or in a talkie\nnot in a theatre, for in the theatre there seems\nto be no spare money for experiments; and\nhere comes Chicago with a big offer to make\nthese experiments.\nAmong the Europeans invited to say what\ncould best be done are two Englishmen...\nGranville Barker and Gordon Craig. But\nthen, that is before any wire-pulling has com-\nmenced.\nPerhaps you will see a while later that\nhalf-a-dozen more Englishmen will pull them-\nselyes in.\nLet us watch. Just those who should not\nbe allowed in, they who are on the make.\nWhen they've done it (since we've given them\nfull warning), we shall announce them as\namong the best wire-pullers in the realm.\nThis anyhow.\n\nBUTT.\nI. F.\nALFRED BUTT was knighted — I never\nknew why. Now he has been baroneted\n— but still I don't know why.\no A FEW FIGURES. o\nRT\",0WARDS the end of 1928, it was an-\nnounced that he and the management of\nDrury Lane Theatre had spent\n£ 1,000,000 in three years,\nin payments to authors, artists, orchestra and\nstaff, and in ether expenditure in connection\nwith the Theatre — which sounds as though\nsomething had been done with this million.\nNothing is said, in the report that I have seen,\nas to how much was paid to actors ; except\nthat \" some of the stars received £250 to\n£300 a week.\"\nButt runs Drury Lane like a Stores, and\nafter all, may it not be a little unwise to\nshovel authors and artists about like sugar and\nspice, however nice ? It may be even more\nunwise to pretend that good authors and good\nartists are being paid, when perhaps such is\nnot the case. For in those three years in which\nthe £ 1,000,000 was spent, the productions\nwere 44 Rose Marie,\" 44 The Desert Song,\"\nand 44 The Show Boat.\" How many good\nauthors, how many good artists, were employed\nto perpetrate these three excellent shows ?...\nwere they excellent shows, by the by ?\nDANGER OF THE PRODUCER.\nAN item which strikes me as rather high in\nthe Drury Lane accounts for these three\nyears is\n£ 134,000, paid in authors' fees.\nThese fees are £45,000 more than was\nspent on the production and renewals of the\nthree plays in those three years. How often\nnowadays we read of the danger of the pro-\nducer to the Theatre, and of the blessedness\nof the author to the Theatre. I take this\nopportunity of pointing to the figures.\nA blessed person does not drain the life's\nblood of the institution to which he devotes\nhis talents — and money is the life's blood of\nthe Theatre. Dramatic authors should be\nwell paid; but dramatic authors should not\nprey upon the Theatre\nBut still I don't know why Butt was\nknighted, or why he was baroneted.\nBut one may hazard a guess.\n\nMR. HALCOTT GLOVER.\nFJY the way what a lot of good stuff Hal-\ncott Glover has in him.\nWho is Halcott Glover ? He writes\nplays and he can write them, but Who's\nWho 1926 \" doesn't tell me a word about\nhim, nor 44 Who's Who in Literature 1926\n\" nor \" Who's Who in the Theatre 1925\nYet Mr. Glover is someone.\nMay be he was no one three years ago\nand 1 must get the latest \"Who's Who\"\nto inform me.\n1 have yet to read the third of the\n\" Three Comedies \" of his issued by George\nRoutledge in 1928, but I here recommend\nthe first of them to Henry Ainley, that Ainley\nwith all his senses of humour and humanity\nawake.\nWhen I have read the third I'll attempt\nto review the volume.\n\nMR. G. K. CHESTERTON.\nr~PHE more I read Mr. G. K. Chesterton's\nbooks and I read those I can buy in\nforeign book-shops the more I am delighted\n(to me that means real delight) with his way\nof writing.\nAnd so is everyone else '* you will\nsay : yes, and I'd not stop to repeat the ob-\nvious, but I came across his name on the co-\nver of a Magazine under those of Mr. Gals-\nworthy and Mr. Bennett, and the name of\nChesterton in smaller print than theirs.\nI wouldn't compare, but it is so like the\nstupidity of things that such a slight should\nbe offered openly and no one pulled up for it.\nChesterton is so very much the artist, and\nmost writers no where in that state.\nThe book I was reading was The\nWisdom of Father Brown \" which has ah\nthe attributes of the thriller of the day and\nthe rare one of being done as only an artist\ncan do it.\nGrace in handling or what is it. It s\naway anyhow, and if the way lacks grace\nit lacks so much : if humour with grace, if\nhumanity with grace—good ; if it lacks grace\nthen it lacks all.\nAnd there are such a number of big names\nof writers who somehow lack this human-\nhumourous-grace.\nMr. Wells at times has far more of it\nthan he seems to care to give himself credit\nfor. Shaw never has it. I seldom find more\nthan an apology for it in Galsworthy ; may\nbe in his case his nobility and gravity outsoar\nthat other thing. It's this other thing which\nto my mind will endure when patient cleverness\nwhich is not strong enough to be gentle will\nbe dust.\n\nTIMIDITY.\nOUR CENTURY, WITH-\nOUT HALTING,\nINTERESTS ITSELF WITH\nNEW \" MOUVEMENTS\nMECANIQUES \" BUT\nWHENEVER NEW \"MOU-\nVEMENTS ARTISTI-\nQUES \" OCCUR, PEOPLE\nSEEM TO BE MORE\nFRIGHTENED OF BEING\nRUN OVER BY THEM\nTHAN BY A MOTOR - CAR\nIN THE STREET\nDIAGHILEV\nQUOTED IN \" LITERARY\nDIGEST \" OF AUG. 24 1929.\n\nAll Rights reserved. September 1929.\nD ireit ore-r esponsabile Antonio Maraini.\nUipografia L. Franceschini - Firenze."}]}