{"numero_id": "bm-bmtnaau-1929-10-01", "volume": "bmtnaau_1929-10_01", "ocr_sha256": "61e50b26570edd556b257961c810855b4c871dcb121079235088f5e583624bcc", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1929/10_01/bmtnaau_1929-10_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1929/10_01/bmtnaau_1929-10_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01", "articles": [{"article_id": "bm-bmtnaau-1929-10-01-c002", "article_bluemountain": "bmtnaau_1929-10_01#c002", "volume": "bmtnaau_1929-10_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=bmtnaau192910-01.2.2", "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=bmtnaau192910-01.1.1", "debut_caractere": 278, "fin_caractere_exclue": 1061, "texte": "HENRY IRVING: HIS VOICE by Gordon\nCraig.\nLEAVES FROM AN ARCHITECT'S ITI-\nNERARY setting forth what Giannantonio\nSelva thought of English architecture and artists\nin 1780.\nMLLE. RACHEL'S LIBRARY, being a\nfurther Translation of the Catalogue of the\nSale held after her Death.\nDRURY LANE, AND SOME MEDITA-\nTIONS AS TO WHY THE WEAZEL\nDOES NOT ALWAYS GO POP, by Scotson\nUmbridee.\nCOSTUME VERSUS CLOTHES, AND\nTHE PSYCHOLOGY OF \" DRESSING\nUP \" by Hilaire Hiler.\nTHE MYTH AND NO MYTH, i Some\nConsiderations on Shakespeare and /Eschylus,\ntheir Translators and Commentators, by William\nAddicote.\nTHE GILBERT AND SULLIVAN OPE-\nRAS, and the Need of a Producer, by John\nFurse.\nNOTES UPON TWO NOBODIES : ON\nDUMAS PtRE AND FILS, ON CHRIST-\nMAS CAROLS, SMOKING IN THE/, TRES,\nand many other Matters."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c003", "article_bluemountain": "bmtnaau_1929-10_01#c003", "volume": "bmtnaau_1929-10_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=bmtnaau192910-01.2.3", "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=bmtnaau192910-01.1.1", "debut_caractere": 1063, "fin_caractere_exclue": 1470, "texte": "ILLUSTRATIONS\nA SUPERB MINIATURE BY V. BLARENBERGHE SHOWING THE FOIRE\nST. GERMAIN, PARIS; PORTRAITS OF PHILIP ASTLEY AND GIAN,\nNANTONIO SELVA. BIRD'SEYE VIEWS OF THE TOWN OF BUDRIO AND\nTHE PALAIS ROYAL. PLANS OF THE TEATRO LA FEN ICE, VENEZIA.\nSECTION OF A PLAN OF PARIS SHOWING THE POSITION OF THE FOIRE\nST. GERMAIN, AND SECTION OF G. B. NOLLI'S PLAN OF ROME, 1848,\nSHOWING THE LITTLE-KNOWN TEATRO GRANARI."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c004", "article_bluemountain": "bmtnaau_1929-10_01#c004", "volume": "bmtnaau_1929-10_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=bmtnaau192910-01.2.4", "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=bmtnaau192910-01.1.2", "debut_caractere": 531, "fin_caractere_exclue": 1134, "texte": "LITERARY CONTENTS.\nFOREWORD j. S 133\nHENRY IRVING: HIS VOICE Gordon Craig 134\nLEAVES FROM AN ARCHITECT'S ITINERARY . Giannantonio Selva . . . .142\nBIOGRAPHICAL NOTE on Giannantonio Selva . . P. B. . . . . . .13#\nCATALOGUE OF THE SALE OF MLLE. RACHEL'S\nPOSSESSIONS, Part 3 14#\nTHE THEATRE IN BUDRIO C. 15.\nCOSTUME VERSUS CLOTHES Hilaire Hiler 153\nDRURY LANE ........ Scotson Umbridge . . . . 1\nTHE MYTH ......... William Addicote . . . .161\nNO MYTH \" \" .... 162\nTWO NOBODIES X. Y. Z. . . . . . *164\nWANTED - A PRODUCER John Furse 166\nGETTING ON WITH IT J. S 167\nBOOK REVIEWS. EDITORIAL NOTES. LAST WORDS."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c005", "article_bluemountain": "bmtnaau_1929-10_01#c005", "volume": "bmtnaau_1929-10_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=bmtnaau192910-01.2.5", "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=bmtnaau192910-01.1.2", "debut_caractere": 1136, "fin_caractere_exclue": 1804, "texte": "ILLUSTRATIONS\nPHILIP ASTLEY 10 Face 135\nGIANNANTONIO SELVA . . . . •• , j •• ,4(\nPLAN OF ASTLEY S THEATRE. . Giannantonio Selva \" 12 Precede 14<\nBIRD'SEYE VIEW OF THE TOWN OF BUDRIO \" I3 Face ,52\nBIRD'SEYE VIEW OF THE PALAIS ROYAL, PARIS . . . \"14 »• !6C\nLA FOIRE ST. GERMAIN V. Blarenberghe . \"15 \"164\n(Enlargement). ... \" \" . \"16 \"164\nTEATRO LA FENICE ,3g\nPLANS OF THE TEATRO LA FENICE . . . j Giannantonio Selva . • . . 139\n) The Meduna Brothers . , ]\nSPA CCA TO OF TEATRO LA FENICE. ....... 14|\nMAN CONSIDERED ARCHITECTURALLY [ ,55\nPLAN OF LA FOIRE ST. GERMAIN . . . . [ ,64\nPLAN SHOWING TEATRO GRANARI, ROMA ' 166\nHead and Tail Pieces from old and modern Designs."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c006", "article_bluemountain": "bmtnaau_1929-10_01#c006", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[132]", "page_fin": "[132]", "image_debut": 4, "image_fin": 4, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.6", "titre_corps": "[Illustration sans titre]", "titre_sommaire": "[Illustration sans titre]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "[132]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.4", "debut_caractere": 18, "fin_caractere_exclue": 27, "texte": "Plate 10."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c007", "article_bluemountain": "bmtnaau_1929-10_01#c007", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[133]", "page_fin": "[133]", "image_debut": 5, "image_fin": 5, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.7", "titre_corps": "FOREWORD AND ANNOUNCEMENT", "titre_sommaire": "FOREWORD AND ANNOUNCEMENT", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "[133]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.5", "debut_caractere": 10, "fin_caractere_exclue": 1023, "texte": "FOREWORD AND\nANNOUNCEMENT\nWITH this number we close the fifteenth volume of this\nMagazine.\n\" The Mask \" has preached a good bit — but it\nhas also done as it preached. Not always, but when\never possible.\nIt serves — as best it can, and we believe that there is no true\ntheatre lover who is not its friend.\nWith its next number The Mask begins a new volume. But\nnot only a new Volume.\nA NEW PERFORMANCE\nIT intends to revise its entire programme.\n— It may be twice the size or half its size — and its price will\nprobably be new.\nIt may not appear until April, it may come out in June: it may\nappear as before in Florence or it may shift its head quarters to Paris,\nRome, or London: and it may offer its readers some surprises; but it\nwill let you hear of what ever it does in good time.\nWhy this indecision ?\nThe Mask generally worn is inscrutable — we never knew a mask\nthat wasn* t.\nLet this fleeting expression of indecision lend life then for the moment\nto these its old and steady features. THE MASK Publishers•"}]}, {"article_id": "bm-bmtnaau-1929-10-01-c009", "article_bluemountain": "bmtnaau_1929-10_01#c009", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "134", "page_fin": "136", "image_debut": 6, "image_fin": 8, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.8", "titre_corps": "HENRY IRVING : HIS VOICE", "titre_sommaire": "HENRY IRVING : HIS VOICE", "signature_source": "GORDON CRAIG", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 6, "page_imprimee": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 1541, "texte": "HENRY IRVING\nHIS VOICE\nBY GORDON CRAIG.\nIT was brought against Irving that he\ncould not speak our English tongue,\nthe English language, his mother-tongue,\nour mother-tongue.\nThis accusation lasted for some twenty\nyears or so, after which folk gave up trying\nto teach Irving how English should be\nspoken.\nIrving, never deaf to criticism, tried\nto speak as neatly, as nicely, as any suck-\ning dove, but, when ever he grew excited,\nas is customary with great actors, he would\nreturn to his old way of utterance.\nHe would say \" for God;\nthrut dug for \"cutthroat dog\"; \"\nthe rup frum mey nek\" for Take the\nrope from my neck ; \" \" Riz \" is how he\npronounced the word \"rich\"riz -\nriz - riz, he repeated, this as some will re-\nmember, during the Dream scene in \" The\nBells \" where he imagines he is in a field\nand, axe in hand, awaiting the coming of\nthe Polish Jew.\nHe hears the bells of his sledge\nafar off coming nearer and nearer and\nRiz -riz - riz - riz,he went on growling and\nhissing as they went on ringing. The effect\nof the z instead of ch was this : instead\nof the sound reminding us of an old house\nwife shooing the fowls from the kitchen\ndoor, we were horribly thrilled, as at the\nominous sound of the serpent (the\nabout to spring, and we were aware that\na duet between the regular throb of the\nbells and this voice was being sung. At\nthe end of a long-sustained series of these\nsounds, riz-riz-riz, he did spring — he struck\ndown the imaginary Jew, and fell in a\nheap on top of him. Again, in \" Mac-\nbeth the passage \"To trammel up the"}, {"page_pdf": 7, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 3243, "texte": "consequence \" became in his mouth \" tram-\nmell up-p the cuncequnce \" — a sharp\ndivision of the two M's, a brief stop after\nthe first, second, and the fourth words.\nTo our English ears other English actors\nwere less curious — they were easier. With\nthese speakers, it was \" do drammel ub ze\ngonseqvence,\"or \" to tr\"\n— and if this last was a simplification of\na puzzle, it will be admitted that ' tis a\ndifficult word to hear, to believe in, and\nremember.\nFor \" good, \" Irving said \" god\nsight \" was \" seyt \" stood \" was\nstod \" smote \" became \" smot\n\" hand \" was often \" hond \" or \" hend \".\nIn short, he seemed to make words\nricher rather than poorer — it may have\nbeen an illusion but to us speech became\nexpressive instead of what in England is\nthought to be refined.\nAnd I was far away from Irving, when,\none day in 1919, I rode from Sabbioneta\nto Casalmaggiore, and as I rode, began\nto read a 16 th century ballad about\nRobin and the potter. The good old\nEnglish song begins like this: -\nIn schomer, when the leves spryng,\nThe bloschems on every bowe,\nSo merey doyt the berdys synge,\nIn wodys merey now.\nIt is not too easy to read smoothly as\nyou ride in an old four-wheeled racketty\ncarrozza on the billowy side-road leading\nout of Sabbioneta, so I took the ballad\ntwice as slowly line by line, reading each\nword aloud to myself, so that the sounds\nwould strike above the noise of the car-\nrozza, keep tune and time, to my ear\nand make good through the hearing what\nwas strange and puzzling to the eyes.\nI had not read more than four to\" jive\nverses when I felt I was in Nottingham-\nshire ; it was summer, green willows and\naspens were on each side, birds sang in the\nwood —it was pleasant. I went on until\nsomething like the fourteenth verse, when\nI was up to an old trick of mine and my\npencil was marking the book, and down in\nthe margin went the two initials\nnot once, but five or six times. But 1\nwent on quickly, and forgot H. I. for\nRobin Hood.\nOpening this book some years later, I\nsee these pencil marks, and 1 think I will\ncopy out the verses around which, for\nsome evident purpose, they flutter as though\nsome little nest was hidden there.\nThese were two of the verses beside\nwhich 1 find my pencilled H. I. s: — and\nthe words underlined which reminded me\nof his voice: —\nTogeder then went thes two\nHet was a god seyt to se;\nTherof low Robyn hes men,\nTher they siod onder a tre.\nLeytell John to hes felow hes seyde\nYend potter Welle stonde.\nThe potter, with a caward stroke,\nSmot the bokeler out of hes honde.\nThen come several more /. s, against\nsuch lines as: - \" Hes bokeler at felte\nwhat we call \" his \" but which\nis here pronounced fette, like wet-t: and\n\" I well prey the, potter and\n\" what ys they name seyde the potter \".\nOn reading the whole ballad again, this\ntime indoors, 1 am no longer in Notting-\nhamshire, 1 am at the Lyceum Theatre,\nand 1 become very aware of Irving, and\nI hear again as it were the fine voice ;\nand as I listen to this pure old English\nstrain, 1 think how odd it is that always\nfor preserving the best do men lay\nthemselves open to the attacks of their\nfellows.\nFor this is the old English speech, and\nIrving brought back to us something of\nthose ripe old sounds — and damme if\nwe didn't object."}, {"page_pdf": 8, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.8", "debut_caractere": 0, "fin_caractere_exclue": 3173, "texte": "Some fifty years before Irving' s time,\n2,000,000 English school boys were being\ntaught by some 8,000 English school masters,\nmistresses and ushers to say \" God \" and\nmean the Almighty; the o was insisted on;\nit was to sound noble - i.e., frozen; it\nwas to sound like the word \" Gourd \".\n\" Once again, Billy, Gourd \".... \" No,\nBilly, Gourd \".... Billy tries, and then says\n\" Guud \".... \" Now Billy, I give you two\nmore chances before 1 use my prerogative \".\nBilly, trembling before the whistling shadow\nof the prerogative, drops one u the more -\nthen another, and, in a burst of religious\nfervour and dashing for it comes out\nwith \" Gorrd \"; and the deadly and the\nhard once more triumph over the real and\nthe beautiful.\nAnd so by Irving's time all \" o \" s\nwere hard and deadly, all \"e\"s were\nbrayed or mewed, all double \"oo \"s be-\ncame \" u \" s, and \" a\"s were flattened;\nall kinds of contortions were employed to\nbring out the full nobility of every vowel\nand the sweetness of each consonant, and\nnow on the day of victory, the nation hugs\nto its breast its immense defects.\nIt comes to it, that it was because\nIrving's calling permitted, even expected,\nhim to boil when about to speak, that,\navailing himself of this permission and doing\nas he was expected, he came to speak\nEnglish as I believe it should be spoken,\nthat same good rich English spoken in the\ndays of Robin Hood, and long before and\nafter.\nIt was an unfortunate thing for Irving\nand his critics; for while they both agreed,\ntheoretically, that \" ° \" should be pronoun-\nced like \" o\" and not like \" u , Ir-\nving fell from grace every time he got\nnear an \"o\": and uttered it like a \"u'\nand his critics, while theoretically quite\nin sympathy with him, had in the presence\nof an enlightened public to rap him sharply\nover the knuckles for what they con-\nsidered sheer carelessness. \"Do I say\n\"Gud \" when I say \" Gud\" ? \" asked\nIrving ; and it had to be admitted with\nsundry apologetic coughs that he\nthough some had the grace to add \"but\nyer Inglish is perfict, mi dear fellar\".\nAnd so, while Irving's was \" perfict\nInglish\", it was none the less asseverated\nthat he could not speak our mother\ntongue — that his amazing range of sound\nwas monotonous !\n\" Apres Fesprit de discernement, ce\n\" qu'il y a au monde de plus rare, ce\n\" sont les diamants et les perles\", says\nLa Bruyere ; and indeed, if something rare\nbe worth the having, it is well to wait\na long time before asserting that an Irving\ncannot speak English, a Lope de Vega\ncannot write plays, a Rossini cannot\ncompose an Opera, and a Bruegel cannot\ndraw. Yet this is what we hear, and\nhave heard continually, year in and year\nout — and Byron is no poet, Mozart no\nmusician, and Mussolini cannot rule.\nTo sum up, Irving was not only a\ngreat actor, he was a polished actor in\nas much as he spoke perfectly, and moved\nfaultlessly, amongst people who for the\nmost part spoke sloppily and moved with-\nout significance.\nLate in life, he said to an old friend\none day, on reading in a newspaper a\nfresh attack on his \"de\" of speech\nand deportment, \"For one who can nei-\nther speak English nor carry himself like\na human being, I seem to have got\npretty far\"."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c012", "article_bluemountain": "bmtnaau_1929-10_01#c012", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "137", "page_fin": "146", "image_debut": 9, "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=bmtnaau192910-01.2.9", "titre_corps": "GIOVANNANTONIO SELVA VISITS ENGLAND : LEAVES FROM AN ARCHITECT'S ITINERARY", "titre_sommaire": "GIOVANNANTONIO SELVA VISITS ENGLAND : LEAVES FROM AN ARCHITECT'S ITINERARY", "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": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 2782, "texte": "BIOGRAPHICAL NOTE\n\nIOVANNI ANTONIO SELVA was born, according to\nmost authorities, on June 13, 1753 in Venice;\nsome however put the year as 1 755.\nHe died in Venice January 22, 1819.\nSelva was architect and art historian. He was pupil\nof Temanza (1705-1789) 44 a man of extraordinary\nmerit \" who in 1 778 published a work on the 44 Lives\nof the most excellent Architects and Sculptors of Venice \".\nSelva is perhaps best known as being the successful\nentrant in the 1788-1790 competition for the building\nof the Teatro La Fenice in Venice, inaugurated on\nMay 17 1792.\nThis competition was an interesting one for several\nreasons. To begin with not one of the first 39\ncompetitors is mentioned by Milizia in his 44 Lives\".\nNor by Russell Sturgis A. M. Ph. D. in his Dictionary\n\nSELVA AT TRIESTE\nSOME NOTES ON THE\nTEATRO NUOVO, TRIESTE.\nJune 11th 1798 the magistrate\nof the town accepted the plans\nof the architect Giannantonio Selva*\nThis Theatre, the largest in Trieste,\nchanged its name five times. First\nit was called \" Teatro Nuovo then\n44 Teatro di Trieste \"; in 1820 \"Teatro\nGrande\"; in 1861 \"Teatro Commu-\nnale \", and, by unanimous vote of the\ncity Council on January 29th 1901 it\nwas renamed, presumably for the last\ntime, \" Teatro Giuseppe Verdi \".\nIt is curious, in the little Guide to\nTrieste published about 1907 to find\nthe secretary to the Magistrate, Ignazio\nKollmann, writing that the project of\nthe Teatro Nuovo was executed from\nthe design of Matteo Pertsch, honorary\nmember of the Academies of Roma,\nVenezia, Bologna and Firenze and cor-\nresponding associate of those of Parma\nand Napoli. The documents possessed\nby the archives of Trieste do not,\naccording to Giuseppe Caprin, who\npublished a brochure on the subject\nin 1801, in any way indicate this\ncollaboration, attributing the work to\nthe Venetian artist Selva. In fact, so\nfar as the exterior of the building goes\nwe suspect that all that Pertsch did\nwas to make a few modifications of\nthe first plan by Selva.\nSelva had, without in any way\ndeserving it, many enemies, who recog-\nnized neither his vast culture nor his\nlofty and noble taste, but only envied\nhim his influential relationships and his\nfriendship with Canova, and lost no\nopportunity of wounding him.\nWhen the Teatro Fenice of Ve-\nnezia was brought to completion the\ninscription SOCIETAS was set upon\nthe attico as a reminder that the buil-\nding had risen by the will of the members\nof the Teatro S. Benedetto. Selva's en-\nemies at once composed this epigram;—\nSINE\nORDINE\nCUM\nIRREGULAR1TATE\nEREX1T\nTHEATRUM\nANTONIUS\nSELVA\nAnd when, after his death, as a\nperpetual memorial, his bust was set\nin the atrium, the same foes of the\narchitect manifested their ill-will afresh.\n\nGIOVANNANTONIO\nSELVA VISITS\nENGLAND.\nLEAVES FROM AN\nARCHITECT'S\nITINERARY"}, {"page_pdf": 10, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.10", "debut_caractere": 0, "fin_caractere_exclue": 2384, "texte": "of Architecture; yet several famous archi-\ntects competed, among whom were Cosimo\nMorelli of Imola, Pistocchi of Faenza and\nCossetti of Colorno.\nijj There were eighteen designs sent\nin and twelve models. Where can any\nof these models be? They would be all\nworth seeing. I possess the original set\nof Designs, by Cossetti. It is a very\nlarge oblong book containing some dozen\ndrawings in colour which are certainly\ntechnical achievements of no mean order r\nthe text, though written, looks as if it were\nprinted. But I keep on wondering who\nit is can possess the other designs and the\nmodels ?\nThere is one set of designs which\nshould be curious, those by a certain\nOnorato Vigano. Filippi does not mention\nhim, nor does Sturgis; nor Milizia.\nCould it possibly be the dancer Onorato\nVigano who, for this once, so ambitiously\npirouetted into the realms of architec-\nture ? who knows ? if so he was still\nwriting Ballets, making up Ballets, in 1 799\nin Venice, in the very Teatro Fenice\nerected by his rival Selva, and his son\nSalvatore Vigano was dancing in them.\nOnorato had even designed the Ballet\nfor the opening night in 1792, May 16\nor 1 7 (the authorities differ as to the day).\nWhen Onorato died, or when he\nwas born, 1 have not discovered in any\nof the seventy books which 1 possess on\nthe Dance. What is the matter with\nthese historians! ...or Onorato?\nBesides all this, the Teatro la Fenice\naroused a good deal* of discussion when\nit was put up, and even before.\nHis Excellency the Procurator Andrea\nMemo came out with a volume of a hundred\npages, which would seem to caution folk\nagainst the project by Selva which was\ninteresting the people who were to pay\nfor it.\nSelva's project was submitted in the\nform of a model, not designs; doubtless\nhis designs were under lock and key, safe\nin his own house — and they call artists\nunpractical !\nCosimo Morelli, always enthusiastically\nactive in building Theatres, came out with\nhis design and the explanation of it in a\nvolume which has an interesting folding\nplate — which \" The Mask \" must re-\nproduce unless forestalled now that I've\ndrawn the attention of the ferrets to its\nexistence. — Also for \" The Mask \" I\nshall search to discover something about\nthe dancer Onorato's designs; — they may\nhave been his, or may be he had speculated\nin a design and put his name to it.\nBut to return to Selva.\nIn 1780 he visited London and"}, {"page_pdf": 17, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.17", "debut_caractere": 40, "fin_caractere_exclue": 2410, "texte": "Paris; when in Paris for the second time\nin 1 781 he carried out \" with satisfaction\nto the Ambassador Dolfin \" an illuminated\ntransparency of an allegorical nature in the\nambassador's palace to celebrate the birth\nof the first son to the king in the month\nof October — that poor Dauphin who\ndied on June 3rd 1 789.\nIn November 1 781, taking the Alsace\nroute, Selva returned to Venice, where\nhe prepared the Box at the Teatro\nSan Benedetto for the reception of the\n\" Conti del Nord \" under which title the\nhereditary Grand Duke of Russia and his\nwife travelled in Europe in that year.\nIn 1791 he began building the\nTeatro la Fenice, first contemplated in\n1 788, and completed by May when it\nopened with \" I Giuochi d'Agrigento \",\na Drama in Musicain three acts by\nConte Alessandro Pepoli : Music by\nGiovanni Paisiello. Also a ballet,\n\" Amore e Psiche \" by Onorato Vigano.\nIn 1 799-1800 Selva submitted designs\nfor a new Theatre to be built at Trieste,\nwhich were accepted; the builder was\nFrancesco Zucca, and the Theatre opened\non April 2 I st 1801.\nSelva died in Venice on January 22\n1819, of apoplexy, while walking along\nthe Riva degli Schiavoni, but they did\nnot close the Fenice in his honour that\nday or on the day of his funeral. Lord\nByron who was in Venice at the time,\ndoes not mention the fact of his death\nin any of his letters.\nSelva was not so very famous, though\nfew better Theatres were built at that or\nat any later day than his Fenice.\nIn 1836 the great opera house was\nutterly destroyed by fire on the night of\nthe 1 2th of December 0) and the Meduna\nbrothers assisted by Tranquillo Orsi (1 791 -\n1844J erected it afresh in seven months\nupon Selva's plans, and it was opened\non January 30th 1838. How faithfully\nthe Medunas followed Selva is made\nevident for the first time by printing side\nby side the two designs — that of I 790\nand that of 1837. (See pg. 139).\nI have come across Selva's Notes on\nAstley's Amphitheatre with a rough plan\nof interest to English students, even though\nthe notes are in the hand of Baccani his\npupil, for the Theatre he visited was the\nfirst one built by Philip Astley in 1 773\nand burnt in 1 794. (2)\nThree times Astley had fires which\nwere devastating, and three times he rebuilt\nhis circus.\nInteresting too are Selva's notes on\nfamous English houses.\n\n(1) On the night of December 13 says Tassini,\n(2) See plate 12."}, {"page_pdf": 18, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.18", "debut_caractere": 0, "fin_caractere_exclue": 3695, "texte": "Cav. Giovanni Baccani made a copy\nof this Selva manuscript and it is this copy\nwhich I possess and from which these extracts\nhave been taken: it consists of eighteen\ndouble leaves of paper, sewn loosely\ntogether. Whether the original in Selva's\nhandwriting still exists I do not know.\nIn the year 1837 F. Lazzari, writing\na biographical Note on Selva in the \" Bio-\ngrafie degli Italiani Illustri \" says it is in his\npossession.\nThis copy of Baccani's was made\nsomewhere near the year 1833.\nBaccani was born in Florence about\n1 792 and flourished in the first half of\nthe 19th century, and flourished so well\nhe became almost as well known as his\nmaster and probably more successful.\nIn 1824 he reconstructed the Palazzo\nBorghese later called the Casino; in 1832\nhe designed the monument for the funeral\nof the Grand Duchess of Tuscany. He\nwas living at Casa Baccani No. 4604\nPiazza Santa Maria Novella in Florence in\nthe year 1838, and in 1845 designed\nand built the campanile of Santa Croce.\nI don't care much for Baccani's work,\nbut a few sketch books of his which came\ninto my possession contain a number of\nvery endurable pen drawings of bits of\narchitecture — not sketches, but careful\ndrawings — many plans — and, what\npleased, and decided me to purchase the\nbooks, many Theatres.\nBeyond this I have been able to gather\nlittle information regarding this diligent\npupil of Selva's, this enthusiastic young\nman who later in life lost perhaps some\nof his buoyancy as he settled down at\nNumber 4604 Piazza Santa Maria No-\nvella in 1845, to jolly well damn Florence\nwith the ugliest campanile it possesses,\nbut to remind all sentimental lovers of\nlate English architecture of the beauties\nof the Earl's Court Road.\n\nP. B.\n\nSELVA IN ENGLAND.\nEXTRACTS TRANSLATED FROM THE\nMANUSCRIPT ACCOUNT OF HIS TRAVELS\nr I 1HE Fine Arts in England, although pro-\ntected, have never attained perfection.\nIn Painting the English have only been\nLandscape and Portrait Painters; now they\nbegin to devote themselves to the Historic,\nbut are not very successful in Heroic subjects,\neven in the History of their own country. Of\nSculpture one may judge from those works in\nWestminster Abbey ; there are few which\ndo honour to the Nation. (The Fine Arts\ncannot endure mediocrity). The two pieces\nwhich are now being erected to Milord\nChantan will be the best, and Signor\nBacon, who is their author, does himself\nmuch honour, although he has not been in\nRome.\nArchitecture is in little better state. The\nEnglish character is dry and poor. They are\nobservers of the good rules but without\nunderstanding in what consist the ultimate\nrefinements of the Arts; thus, although they\ncopy the works of Palladio existing in the\nVenetian state, they do not produce the same\neffect. Inigo Jones has been their best\nArchitect, and, if he truly entered into, and\nsucceeded in, the Art, Palladio was his guide;\nand, had the English carried out his project\nfor the Palace for the King of England, he\ncould boast of a fine achievement. One may\nknow this from the portion accomplished,\nwhich is called White-Hall or Bang netting\nHall; in it the whole and the parts are in\nadmirable accord. The and the\nwork are executed with understanding. I\nbelieve it to be the best piece of Archi-\ntecture which the English possess. From\nthis Palace the unfortunate King Charles\ncame out when he was beheaded.\nHorse-Guards. The House for the\nmounted guards is too heavy.\n€| The Palace of the King could not be\nmore clearly indicated for a sovereign. It was\nonce a convent. It looks upon St. James's\nPark, and, in the same park there is the\nPalace of the Queen. The Palace of the\nQueen belonged to a Duke who had built it\n\n(I) Presumably Lord Chatham."}, {"page_pdf": 19, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 4612, "texte": "for himself, nor is there anything Royal\nabout it.\nSt. Paul's is by the Cav. Cristofolo Wren,\nbegun in 1670 and completed in 1725. I\nexpected to see an amazing thing but found\nthe descriptions given of it to be exaggerated.\nThe interior could not be worse in both\ndesign and execution. The exterior is much\nbetter, but of two orders, which robs it of the\nmajesty which it might possess were it of one\norder only. That which pleases me is the\ncupola which has a stately drum with isolated\nintercolumns. Inside it is entirely bare of\npaintings and sculptures.\nThe churches in London are very numerous,\nand, especially in their exteriors, magnificent,\nbut of bad Architecture.\nThe Reformed religion does not use\npainting in their decoration, or at most a\npicture on the communion Altar, and this,\nperhaps is one great reason for the scarcity\nof Historic Painters in England, owing to\nlack of exercise. (l)\nSt. Stephen's is a very clebrated church,\nbut is not a building which impresses itself\nupon connoisseurs ....\nAt Covent Garden, a piazza in which\nthere is the fruit market, there is a church of\nInigo Jones which is very beautiful in its\nexterior fagade, which is like a vestibule of\nthe Tuscan Temples described by Vitruvio.\nWestminster Abbey.The church is\nGothic, and magnificent for those times.\nWhat principally distinguishes it is the tombs\nof the illustrios personages of England. It is\na monument to the robust thought of the\nNation because the Sovereign, the Philosopher,\nthe Artist<2) is there not distinguished save by\nhis own merit, in the Chapel of St. Michael\nthere is the monument of Giuseppe Gascoigne\nNightingalle and his wife, of picturesque\nW \" l'Album\ntheatral. \" I myself came\ncopy, but then I have never seen \" L'Argus\ndes theatres \", quotidien, sold at 20 cen-\ntimes a copy by its Directeur-proprietaire\nL. Huar, Rue du Croissant 16, with its\ndesigns by Cham, by Daumier and Maurisset.\nYes, Rachel must have liked just these\ntwo extremes, the Religious books and the\ntwopenny theatrical newspapers.\nWith a copy of l'Eventail in her hand,\nwaving it gently to and fro, 1 almost see her,\nhear her, as she sits in her low chair near\nthe window at TV. 9 lo\nRoyal, the only place for an artist to live\nin if a French artist — that glorious square\nenclosed by Henry IV — that pretty good\nPrince.\nAnd it was a noble house she lived\nin; none other than the de\net de Nicolay. Its Ro\nRevolutionary number\nnumber the magic number\nShe installed herself on the first floor,\nand there she sits on a Sunday evening of\n1856 at about the hour of 6 fanning herself\nwith l'Eventail, that \" journal de la coulisse\ntheatrale \" — that \" organe special des\nartistes dramatiques, \" that organe whose\nredacteur en chef boasts\nMonsieur Turpin de Sansay. It came out\n\" to us le dimanches \" and was petit in folio,\nonly a trifle, costing ten centimes — mais\nformidable —\nIn I 856 it was in\ndo not know how old\nYes, I know it has occurred to you that\nI seem to know quite a little about the thea-\ntrical journals of those times — I do. I know\nall their names — and their prices, the\nnames of their Editors and of a gerant or two.\nThere was no\" Mask\" then — no\n\" Masque \" even, yet there were to my\nknowledge, in Paris alone, fifteen journals\nand magazines devoted entirely to the Theatre\nand twenty-seven in part devoted to it.\nHow lovely is the Theatre when one\ncomes to think °f it- How much it offers\nus all. — Those of us who work and those\nwho enjoy the result: yet I should say that\nit offers the workers the most.\nSuppose we cannot write a play like\nL'Avare: we may perhaps be able to act a\npart in it as well as did Mr. Munden: or to"}, {"page_pdf": 24, "page_imprimee": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 498, "texte": "prepare the modern Mr. Munden's dress like\na Mrs. Lovat Fraser does: or write about\nMunden as did Charles\nSuppose we cannot\nmay be we could discov a\nbuilding a theatre or of\nble stall with two arms —or a\nmethod of shortening rehearsals and preser-\nving enthusiasm or of entering the field of\nresearch.\n{IT And to think of\njl when Pachel lived and sat and fanned\nherself at the window of the Place Royal.\nIs 1'EventaiI still — or\ndead now? — alas, poor Rachel is, so what\nmatters the fan.\n\nC.\n\nBOOKS"}]}, {"article_id": "bm-bmtnaau-1929-10-01-c024", "article_bluemountain": "bmtnaau_1929-10_01#c024", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "147", "page_fin": "148", "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=bmtnaau192910-01.2.10.1", "titre_corps": "FOREWORD", "titre_sommaire": "FOREWORD", "signature_source": "C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.23", "debut_caractere": 257, "fin_caractere_exclue": 3155, "texte": "FOREWORD\n\nMADEMOISELLE RACHEL'S\na very interesting so we\nomitted most of them from this list.\nWe would have liked to have come\nacross some book of Preludes or\nEtudes sent and signed by Chopin, even if\nbound in red velvet like TV. 5 bis, or in blue\nmorocco W \" l'Album\ntheatral. \" I myself came\ncopy, but then I have never seen \" L'Argus\ndes theatres \", quotidien, sold at 20 cen-\ntimes a copy by its Directeur-proprietaire\nL. Huar, Rue du Croissant 16, with its\ndesigns by Cham, by Daumier and Maurisset.\nYes, Rachel must have liked just these\ntwo extremes, the Religious books and the\ntwopenny theatrical newspapers.\nWith a copy of l'Eventail in her hand,\nwaving it gently to and fro, 1 almost see her,\nhear her, as she sits in her low chair near\nthe window at TV. 9 lo\nRoyal, the only place for an artist to live\nin if a French artist — that glorious square\nenclosed by Henry IV — that pretty good\nPrince.\nAnd it was a noble house she lived\nin; none other than the de\net de Nicolay. Its Ro\nRevolutionary number\nnumber the magic number\nShe installed herself on the first floor,\nand there she sits on a Sunday evening of\n1856 at about the hour of 6 fanning herself\nwith l'Eventail, that \" journal de la coulisse\ntheatrale \" — that \" organe special des\nartistes dramatiques, \" that organe whose\nredacteur en chef boasts\nMonsieur Turpin de Sansay. It came out\n\" to us le dimanches \" and was petit in folio,\nonly a trifle, costing ten centimes — mais\nformidable —\nIn I 856 it was in\ndo not know how old\nYes, I know it has occurred to you that\nI seem to know quite a little about the thea-\ntrical journals of those times — I do. I know\nall their names — and their prices, the\nnames of their Editors and of a gerant or two.\nThere was no\" Mask\" then — no\n\" Masque \" even, yet there were to my\nknowledge, in Paris alone, fifteen journals\nand magazines devoted entirely to the Theatre\nand twenty-seven in part devoted to it.\nHow lovely is the Theatre when one\ncomes to think °f it- How much it offers\nus all. — Those of us who work and those\nwho enjoy the result: yet I should say that\nit offers the workers the most.\nSuppose we cannot write a play like\nL'Avare: we may perhaps be able to act a\npart in it as well as did Mr. Munden: or to"}, {"page_pdf": 24, "page_imprimee": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 491, "texte": "prepare the modern Mr. Munden's dress like\na Mrs. Lovat Fraser does: or write about\nMunden as did Charles\nSuppose we cannot\nmay be we could discov a\nbuilding a theatre or of\nble stall with two arms —or a\nmethod of shortening rehearsals and preser-\nving enthusiasm or of entering the field of\nresearch.\n{IT And to think of\njl when Pachel lived and sat and fanned\nherself at the window of the Place Royal.\nIs 1'EventaiI still — or\ndead now? — alas, poor Rachel is, so what\nmatters the fan.\n\nC."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c025", "article_bluemountain": "bmtnaau_1929-10_01#c025", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "148", "page_fin": "152", "image_debut": 24, "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=bmtnaau192910-01.2.10.2", "titre_corps": "BOOKS", "titre_sommaire": "BOOKS", "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": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.24", "debut_caractere": 493, "fin_caractere_exclue": 498, "texte": "BOOKS"}]}, {"article_id": "bm-bmtnaau-1929-10-01-c026", "article_bluemountain": "bmtnaau_1929-10_01#c026", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "148", "page_fin": "148", "image_debut": 24, "image_fin": 24, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.10.2.1", "titre_corps": "RELIGIOUS", "titre_sommaire": "RELIGIOUS", "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": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.24", "debut_caractere": 500, "fin_caractere_exclue": 3027, "texte": "RELIGIOUS\n1. Biblia Sacra polyglotta, etc., auctore\nSamuele Lee, S. T. B. L 1831,\nin-fol., black velvet.\nSuperb copy with clasps and garniture in repousse silver. Very\nfine frontispiece painted in water-colours by Rousset, representing\nParadise lost and the four Evangelists.\n2. The Holy Bible in Latin and in\nFrench, etc. A Parischez 1828,\n13 vol., in-8. pap. vel., mar. viol, dent. tr.\ndor. illustrated by Achille Deveria. {Initial).\n3. \" The Women of the Bible\", etc.\nwith explanatory text. Paris, 1846.\n4 Limitation de jesus-Christ, translated\ninto verse by M. de Sapinaud de Boishuguet\nParis, 1844, in-12.\nAutograph inscription (7 lines) signed Foures, 15 July 1865.\n5. Limitation de Jesus-Christ, translated\nand paraphrased in French verse by P. Cor-\nneille. Paris, R. Ballards, 1665, in-16, has. fig.\nRare edition.\n5 bis. Heures a l'usage de Paris.\nVery fine example, printed on vellum, illustrations and borders\nengraved on wood, bound in red velvet.\n6. Le Koran. Paris, Charpentier, 1855,\nin-18, br,\n7. Lettreswritten to a provincial by\nBlaise Pascal.\n— Les Pensees de Blaise Pascal. Paris,\nA. Andre, 1839, 2 vol., in 8, pap. vel. port,\nmar. n. fil.. n. rog. {Initial on sides).\n13. Homer, Iliad and Odyssey, translated\ninto French by Dugas Montbel. Paris, 1834,\n2 vol., n-8, purple morocco viol. fl. fleurons.\ngilded tr. dor. {chiffre).\n14. The Collection of the Latin authors\nwith the French translation, published under\nthe direction of M. Nisard, Paris, Dubochet,\n1848, 27 vol. large, in-8, format Pantheon,\nhalf bound blue morocco.\n15. Virgil, Oeuvres Completes, new\ntranslation by MM. Charpentier, Amar,\nParisot and Fee. Paris, Panckcucke, 1833,\n3 vol., in-8, blue morocco, fil., fleurons, tr. d.\n{chiffre).\n16. Quintus Horatius Flaccus, Landini,\nG. Pickering,1824, small, in 64, cart.\nOn the fly-leaf translation in verse of ode\nIX by Adolphe Halzfeld, in autograph,\nsigned.\n17. Les Metamorphoses of Ovid, new\ntranslation with the Latin text, by G. T.\nVillenave. Paris, 1806, 4 vol., morocco,\nveil fil. dent., tr. dor. illustrations\nby Lebarbier, Monsiau and Moreau. (Initial\nR. on the sides.\n18. Etudes antiques by F. Ponsard. —\nHomere. — Ulysses. Paris, Michael Levy,\n1852, in-18, v. fauve.\n19. La Fille d'Eschyle. antique study\nin five acts and in verse, by J. Autran.\nParis, 1848, in-18, pap. vel.\nSigned autograph dedication by the author to Mile. Rachel.\n20. Menander, historical and literary study\non the Greek comedy and society by\nG. Guizot. Paris, Didier, 1855, in-8, half\nbound, morocco, r. Portrait."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c027", "article_bluemountain": "bmtnaau_1929-10_01#c027", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "148", "page_fin": "149", "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=bmtnaau192910-01.2.10.2.2", "titre_corps": "MODERN FRENCH AND FOREIGN POETS", "titre_sommaire": "MODERN FRENCH AND FOREIGN POETS", "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": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.24", "debut_caractere": 3029, "fin_caractere_exclue": 3570, "texte": "MODERN FRENCH AND FOREIGN POETS.\n21. Works of Boileau Despreaux, Didot\nFame, 1815, 3 vols, in 8vo, violet morocco.\nInitial.\n22. Fables of La Fontaine, Paris, imprint\nof P. Didot, 1813, 2 vols, in 8vo.\n23. Works of La Fontaine, new edition,\nrevised, coordinated and accompanied by\nnotes by C.-A. Walkenaer. Paris, Lefevre,\n1827. (Initial on sides).\n23 bis. Fables of La Fontaine. Paris,\n1820, 2 vols, in 12, violet morocco.\n24. Fables of La Fontaine, illustrated\nedition. Paris, Didier, 1842, 5 vols, in 18.\n25. La Henriade, poem by Voltaire."}, {"page_pdf": 25, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 561, "texte": "Paris, Roux-Dufort, 1824, (from the collection\nof classics in miniature).\n26. Poems of Andre Chenier, preceded\nby a Note by La Touche. Paris, Charpen-\ntier, 1841.\n27. Poems of Millevoye, with a note by\nPongerville. Paris, 1843, pink morocco.\n28. Iambics and Poems by Auguste\nBarbier. Paris, Masgana, 1845.\n29. Complete Works of P.J. de Beranger,\ncontaining the ten new Paris,\nPerrotin, 1850, 2 vols, in 18 and album of\n84 vignettes on wood by Grandville.\n30. Nouvelle Nemesis, satires by Barthe-\nlemy. Paris, 1845.\n(Signed autograph dedication to Mile. Rachel)."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c028", "article_bluemountain": "bmtnaau_1929-10_01#c028", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "149", "page_fin": "150", "image_debut": 25, "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=bmtnaau192910-01.2.10.2.3", "titre_corps": "THEATRE", "titre_sommaire": "THEATRE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.25", "debut_caractere": 563, "fin_caractere_exclue": 3697, "texte": "THEATRE.\n101. History of Dramatic Literature, by\nJ. Janin, Paris.Michel Levy, 1853, 2 vol.,\nin 18. Half bound morocco.\n102. Studies on Dramatic Art, followed\nby unpublished anecdotes about Talma, etc.,\nby his widow, Mme. Talma. Paris. 1836,\nin 8vo, half-bound. Portrait.\n103. Of the Influence of manners on\nComedy, by A. Perlet. Paris, 1848, in 8vo,\nhalf bound morocco, br.\n104. Dramatic Proverbs by Theodore\nLeclercq. Paris,1835, 7 vols, in 8vo, illus.\n(vol. VII is missing).\n105. Coup d'oeil on the Performances of\nMile. Rachel, at Amsterdam, by A. van Lee.\nAmsterdam, 1846, in 8vo.\nOn the flyleaf is a drawing of the author in Chinese ink.\n106. The Theatre of the Greeks, translated\nby P. Brunoy, 2nd edit, complete, augmented\nby a selection of extracts from the Greek\npoets, by M. Raoul-Rochette. 1826,\n16 vol., in 8vo. Illustrations and portraits.\n(Initial).\n107. Complete Theatre of the Latins, by\nJ.-B. Levee, and the Abbe Le Monnier.\nParis, 1820, 15 vols., in 8vo. (Initial).\n108. Repertory of the French Theatre or\nCollection of the tragedies and comedies re-\nmaining to the theatre since Rotrou, with\nnotes on each author, and the examination\nof each piece, by Petitot. Paris, Foucault,\n1817, 33 vol., in 8vo. (Initial on the\nsides).\n109. Theatre of P. Corneille, with the\ncommentaries of Voltaire. from the\nimprimerie of P. Didot1805, 10 vol.\n110. Chefs d' CEuvres of T. Corneille.\nParis, Debure, 1825, in 16.\n111. Chefs-d'CEuVres of P. and T. Cor-\nneille, revised from the last original editions,\npreceded by the eulogy of P. Corneille by\nVictorin Fabre. Paris,1833, 6 vols, in 8vo.\nEnglish binding, (very fine copy).\n112. Chefs-d'CEuvres of Pierre and\nThomas Corneille. Paris, 1814,\n5 vols, in 8vo. (Initial).\nIn the works of Thomas alone some passages have been sup-\npressed by pasting over them scraps of paper.\n113. Complete Works of J. Racine, with\nthe notes of all the commentators, published\nby Aime-Martin, Paris, Lefevre, 1825, 7\nvols, in 8vo.\n114. Works of Moliere, preceded by a\nnote on his Life and works, by M. Sainte-\nBeuve, vignettes by Tony Johannot.\nPaulin, 1835, 2 vols, in large 8vo, illustrated.\n1 15. Works of Moliere, with notes of\nall his commentators. Paris, Didot, 1850,\n2 vol, in 18.\n116. Works of J. F. Regnard. Paris,\nDidot, 1819, 4 vols. (Initial on the sides).\n117. Works of Crebillon. P. Didot\nI'aine, 1828, 2 vols in 8vo. (Initial).\n118. Works of Ducis. Lemoine,\n1826, 6 tomes, in 3 vols, in 32.\n1 19. Works of Casimir Delavigne, of the\nFrench Academy, Paris, 1850, 6 vols,\nin 8vo, illus by A. Johannot.\n120. Complete Works of M. Eugene\nScribe, of the French Academy. Paris,\nFume, 1840-50, 7 vol., large Ivo, fig.\n121. Complete Theatre of F. Ponsard.\nParis, M. Levy, 1852, in 18.\n(Autograph dedication from the author to Mile. Rachel).\n122. Theatre of Emile Augier, in 18,\n(La Cigue. — Un homme de bien. —\nL'Aventuriere. — Gabrieile. — Le joueur de\nflute).\nAutographed signed dedication from the author to Mile. Rachel.\n123. Sapho, Opera in three acts, by\nEmile Augier. Paris, 1851, in 18, br.\nThree lines of autographed signed dedication to Mile. Rachel.\n124. Alexandre Dumas. Theatre. Pa-"}, {"page_pdf": 26, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.26", "debut_caractere": 0, "fin_caractere_exclue": 3807, "texte": "ris, Gosselin, 1843, 3 vols., in 18. (\nand dedication from tke ).\n125. Rosemonde, Tragedy in one act, in\nverse, hy Latour-Saint-Ybars. Paris, 1855,\nin 18.\nNine lines of signed autograph dedication, to Mile. Rachel.\n126. Macbeth, in five acts and in verse,\nby Emile Deschamps, in 18.\nSigned autograph dedication, in verse, by the author.\n127. Charlotte Corday, tragedy in five\nacts and in verse, by F. Ponsard. Paris,\n1850, in 8vo. Agnes de Meranie, by the\nsame, in 8vo.\nAutograph and signed dedication by the author to Mile. Rachel.\n128. Agamemnon, tragedy by Alfieri,\ntranslated from the Italian into French verse,\nby Mme. Josephine de Roinville, 1856.\nManuscript signed Josephine de Roinville.\n129. The Testament of Caesar, drama in\nfive acts, by Jules Lacroix. Paris, 1849,\nin 8vo.\nSigned autograph dedication from the author to Mile. Rachel.\n130. Valeria, drama in five acts, in verse,\nby Auguste Maquet and Jules Lacrois.\nParis, 1851, in 18. Morocco lined with\nwhite moire, binding by Despierres.\nCharming copy on strong papier vclin. Unique copy offered to\nMile. Rachel by the authors of Valeria.\n131. Les Noces Venitiennes, drama in\nfive acts, by Victor Dejour. Paris, 1855, in 18.\nCopy on papier velin with signed autograph inscription from the\nauthor to Mile. Rachel.\n132. La Bourse, comedy in five acts, in\nverse, by F. Ponsard. Paris, 1856, in 18.\nSigned autograph inscription from the author to Mile. Rachel.\n133. L'Honneur et L'Argent, by Ponsard.\nParis, M. Levy, 1853, in 18.\n134. L'Honneur et L Argent, by Pon-\nsard. Paris, M. Levy, 1853, in 18.\n135. Le Bourgeois de Gand. — Le der-\nnier Marquis. — Catherine 11, by Romand\n(extr. de la France dram at.) in 8vo.\n136. Edith de Falsen, by Ernest Le-\ngouve. Paris, 1852, in 18.\nSigned autograph dedication.\n137. Chefs d'CEuvres of the Foreign\nTheatres (German, English, Chinese, Danish,\nSpanish, Dutch, Indian, Italian, Polish, Por-\ntuguese, Russian, Swedish, translated by\nAignan, Andrieux, de Barante, Guizot,\nCh. Nodier, Villemain, etc. Paris, Ladvocat,\n1822, 25 vols, in 8vo. (Initial on the sides).\n138. The Dramatic Works of William\nShakespeare with remarks on his Life and\nWritings by Thomas Campbell. London,\n1838, in 8vo. Blue morocco. Engraved title\npage and portrait.\n139. Complete Works of Shakespeare,\ntranslated from the English by Letourneur,\nnew edition published by Guizot. Paris,\nLadvocat, 1821, 13 vols, in 8vo. Portrait.\n(Initial).\n140. Gallery of Shakespearean personages,\nreproduced in the principal scenes of his\nplays, with a succinct analysis of each of the\npieces of Shakespeare, and the reproduction\nin English and in French of the scenes to\nwhich the eighty engravings with which this\nwork is adorned, relate: by A. Pichot and\nOld Nick. Paris, Baudry, 1844, violet\nmorocco, richly gilt.\nSigned autograph inscription from M. J. Janin to Mile. Rachel.\n141. The Pictorial edition of the Works\nof Shakespeare. Edited by Charles Knight.\n(Histories, 2 vols. — Comedies, 2 vols. —\nTragedies, 1 vol., (vol. IV), London.\n142. Gallery of the Women of Shakespeare.\nCollection of 45 portraits, engraved by the\nfirst artists of London, enriched with critical\nand literary notes. Paris, Delloye.\n143. Dramatic Works of J. W. Goethe,\ntranslated from the German by Stopfer.\nParis, Al. Mesnier, 1828, 4 vols, in 8vo.\n(Initial).\n144. Goethe's Gedichte. Stuttgart, 1851,\nin 18. — Egmond, von Goethe. Stuttgardt,\n1855, in 18.\n145. Schiller's Sammtliche Werke in\neinem Bande. Stuttgardt, 1834. Back and\ncorners of morocco; portrait. (Initial on the\nsides).\nDedication in Italian signed E. de F.\n146. Dramatic Works of F. Schiller,\ntranslated from the German. Paris, 1821,\n6 vols., in 8vo. Violet morocco, gilt.\n(Initial).\n147. Three to one, a comedy, in two\nacts. London, }. Hearne, 1850, in 8vo.\nInscribed from the author to Mile. Rachel."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c029", "article_bluemountain": "bmtnaau_1929-10_01#c029", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "151", "page_fin": "151", "image_debut": 27, "image_fin": 27, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.10.2.4", "titre_corps": "PLAYS USED BY MLLE. RACHEL", "titre_sommaire": "PLAYS USED BY MLLE. RACHEL", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 27, "page_imprimee": "151", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 2225, "texte": "PLAYS USED BY MLLE, RACHEL\nWHEN STUDYING HER ROLES.\ni 48. Lmna, tragedy in five acts, bv\nCorneille.\n149. Les Horaces, tragedy in five acts,\nby Corneille.\n150. Andromaque, tragedy in five acts,\nby Racine.\n151. Tancrede, tragedy in five acts, by\nV oltaire.\n152. Iphigenie en Aulide, tragedy by\nRacine.\n153. Mithridate, tragedy in five acts, by\nRacine.\n154. Bajazet, tragedy in five acts, by\nRacine.\n155. Esther, tragedy in five acts, by Racine.\n156. Nicomede, tragedy in five acts, by\n•]] J 7 J\nCorneille.\n157. Marie Stuart, tragedy in five acts,\nby P. Lebrun.\n158. Ariane, tragedy in five acts and in\nverse by T. Corneille.\nMS variations in Mile. Rachel's writing.\n159. Le Cid, Tragedy in five acts, by\nCorneille.\nTwo autographic MS notes, one of them signed Rachel.\n160. Fredegonde et Brunehaut, tragedy in\nfive acts, by N. Lemercier.\n161. Polyeucte, tragedy in five acts, by\nCorneille, in 8vo.\n162. Phedre. tragedy in five acts, bv\nRacine. y\n163. Angelo, drama in three days by\nVictor Hugo, in 8vo.\nNumerous variations and annotations, written in ink and in\npencil, by Mile. Rachel.\n164. Britannicus, tragedy by Racine,\nin 8vo.\n165. Le Misanthrope, by Moliere, in 8vo.\n166. Athalie, tragedy by Racine. Paris,\n1817, in 8vo.\n167. Don Sancho d'Aragon, heroic co-\nmedy by Corneille, arranged in three acts\nby Mega)be. Paris, 1833, in 8vo., (nume-\nrous MS variations).\n168. Virgmie, tragedy in five acts, by\nLatour de Saint-Ybars. 1845, sr.\nin 8vo.\nSome MS notes in pencil by Mile. Rachel.\n169. Catherine II, tragedy in five acts,\nby H. Romand. Pavis, 1844. in large 8vo.\n170. Le Vieux de la Montagne, tragedy\nin five acts, by Latrou de Saint-Ybars.\nParis, 1847, in large 8vo.\n/\nInscribed in signed autograph by the author.\n171. Adrienne Lecouvreur, comedy-drama\nin five acts, m prose, by MM, Scribe and\nErnest Legouve, in 8vo, paper.\nu LPliCe £etuje pf. Mile, Rachel, with iwo autograph note3 in\nher hand-writing (variations).\n172. Cleopatre, tragedy in five acts,\nin verse, by IMme. Emile de Girardm. —\nParis, 1847, in 8vo. Morocco gilt.\nAutograph inscription from the author to Mile. Rachel.\n173. Tragedies acted by Mile. Rachel,\nbound in linen with her name on the\nside. Andromaque — Bajazet — Polyeucte\nPhedre — Les Horaces."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c030", "article_bluemountain": "bmtnaau_1929-10_01#c030", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "151", "page_fin": "151", "image_debut": 27, "image_fin": 27, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.10.2.5", "titre_corps": "PLAYS FOR STUDY AS USED BY TALMA", "titre_sommaire": "PLAYS FOR STUDY AS USED BY TALMA", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 27, "page_imprimee": "151", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.27", "debut_caractere": 2227, "fin_caractere_exclue": 3099, "texte": "PLAYS FOR STUDY AS USED BY TALMA.\n174. Misanthropie et Repentir, drama in\nfive acts and in prose, from the German\ntheatre of Kotzbue, translated by Bursay.\nParis, year VII, in 8vo, paper.\nNumerous changes of scenes and variations in Talma's hand\nwriting.\n175. Adelaide de Guesclin, tragedy in\nfive acts, in verse, by Voltaire. Paris, 1806,\nin 8vo, paper.\nTalma's copy. The last leaf in manuscript, with three autograph\nverses of the great tragedian.\n176. CEdipe, tragedy arranged in three\nacts, by Voltaire, published with a preface,\nby M***, in 8vo, br.\nThe preface is manuscript. All the feuillets. formed of two\ncopies, are mounted on paper, with manuscript alterations in Talma's\nwriting.\n177. Gabrielle de Vergy, tragedy in five\nacts and in verse, by de Belloy. Paris, 1813,\nin 8vo, paper.\nTalma's copy, with twenty one lines and some alterations in\nhis hand writing."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c031", "article_bluemountain": "bmtnaau_1929-10_01#c031", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "151", "page_fin": "152", "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=bmtnaau192910-01.2.10.2.6", "titre_corps": "DESIGNS", "titre_sommaire": "DESIGNS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 27, "page_imprimee": "151", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.27", "debut_caractere": 3101, "fin_caractere_exclue": 3249, "texte": "DESIGNS.\n178. Album of thirty-six engraved sub-\njects of the principal scenes of the\nfrancaise (Louis XV costumes), coloured,\nhalf-bound in morocco."}, {"page_pdf": 28, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.28", "debut_caractere": 0, "fin_caractere_exclue": 801, "texte": "179. Costume of court lady (1540) in\nwater-colour, by Pichat.\n180. Theatre costumes, in water-colour,\nby A. Geniol.\n181. Geschicte der oper und des Koeni-\nglichen opernhauses in Berlin von L. Schneider\nBerlin, 1852, in folio ; bound inperc. gauf:\ncostumes in colour and pi. (plates) black.\n182. Russian album, containing two\ndramatic scenes taken from the works of the\ncelebrated poet Pouchkin, in 4to, bound in\nmorocco.\nThis collection, offered to Mile. Rachel during her stay in\nRussia, is preceded by a photogravure portrait of Chtchepkin, cele\"\nbrated muscovite actor. — Verses to Mile. (manuscript). —\nTv/o views of Moscow representing the Emperor's palace at the\nKremlin (photogr.) dramatic scenes of Pouchkin, manuscript (in\nRussian), with the two principal scenes, in water-colours by Sokolof."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c032", "article_bluemountain": "bmtnaau_1929-10_01#c032", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "152", "page_fin": "152", "image_debut": 28, "image_fin": 28, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.10.2.7", "titre_corps": "LETTERS", "titre_sommaire": "LETTERS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 28, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.28", "debut_caractere": 803, "fin_caractere_exclue": 1631, "texte": "LETTERS.\n183. Unpublished Letters of Marie Stuart,\naccompanied by various despatches and in-\nstructions (1558-1 587) published by Prince\nAlexandre Labanoff. Paris, 1839, in large\n8vo, morocco.\nAutograph signed inscription from the author.\n184. Letters of Madame de Sevigne, of\nher family and her friends, with portraits,\nviews and facsimile. Paris, Blaise, 1820,\n10 vols. (The first volume is missing).\nMemoires of M. de Coulanges, published by\nM. de Montmerque, 1 vol. illustrations and\nfacsimile. In all 10 vols, instead of 11,\nCorinthian morocco, gilded.\n185. Persian Letters by Montesquieu,\nfollowed by his various works. Printed by\nP. Didot aine,1820, 3 vols, in 8vo, blue\nmorocco. (Initials).\n186. Letter of the Marquise de M*** to\nthe Comte de R*** by de Crebillon\nThe Hague, 1828, in 12. br.\nMademoiselle Clairon's copy."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c033", "article_bluemountain": "bmtnaau_1929-10_01#c033", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "152", "page_fin": "152", "image_debut": 28, "image_fin": 28, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.10.2.8", "titre_corps": "THREE MORE BOOKS", "titre_sommaire": "THREE MORE BOOKS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 28, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.28", "debut_caractere": 1633, "fin_caractere_exclue": 2193, "texte": "THREE MORE BOOKS\nA Popular account of the ancient\nEgyptians. By Sir J. Gardner \"Wilkinson.\nLondon, J. Murray, 1854, 2 vol. m-8, Illus-\ntrated With many wood engravings.\nThe Nile Boat; or glimpses of the Land\nof Egypt; by W. HL Bartlett, London, 1852,\ngr. in-8, cart, many fine engravings and\nmaps.\nRussia on the Black sea and sea of Azof:\nbeing a narrative of travels in the Crimea\nand bordering Provinces ; By H. D. Seymour,\nLondon, J. Murray, 1355, in-8, Russia leather\ngilt, illustrations, and m\nj'Yes-bel exemple. Enooi autogr. de l'auteur a Mile. \"Rachel."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c034", "article_bluemountain": "bmtnaau_1929-10_01#c034", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "152", "page_fin": "152", "image_debut": 28, "image_fin": 28, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.10.2.9", "titre_corps": "ENVOI", "titre_sommaire": "ENVOI", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 28, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.28", "debut_caractere": 2195, "fin_caractere_exclue": 2733, "texte": "ENVOI\n\" Envoi de Vauteur\nWho was \" l'auteur \" was it Lord Henry\nSeymour son of the third Marquis of Hertford,\nhe who founded the Jockey Club in Paris in\n1833 — who was born in Paris and who\nlived there most of his\nOne ought to know\nall the Biographical Dictionaries; but are\nthere no occasions when a historian of sorts\nmay float away from facts and into fancies ?\nI think 1 Mill float here\nI like to dream that the founder of the\nJockey Club wrote a jolly nice book Qt the\nSea of Azof — that —\nRachel said it was \" un Ires bel exemple \"."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c036", "article_bluemountain": "bmtnaau_1929-10_01#c036", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "152", "page_fin": "n. p.", "image_debut": 28, "image_fin": 29, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.11", "titre_corps": "THE THEATRE IN BUDRIO", "titre_sommaire": "THE THEATRE IN BUDRIO", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 28, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.28", "debut_caractere": 2735, "fin_caractere_exclue": 4453, "texte": "THE THEATRE IN BUDRIO.\n\n13 EADERS of \"The Mask'* will have heard of a performance gi-\n\"*■ ven in the town of Budrio reported as far back as 1923 in the\nTealrino of the Palazzo Lazzone (1), a modern performance.\nI have nothing to do with the modernity of Budrio here — I\nmerely bring to light for the first time in any journal the existence\nof the town itself and its twenty-two streets and its two theatres.\nThe average two in twenty-two is not bad for a bit of a town\nin the first quarter of the 18th century.\nOn the plan the theatres are marked 9 and I 5. No. 9 is Tea-\ntro Sgargi ; N. 1 3 is Teatto Medosi.\nThere was (it appears) also a \" Teatre da Commedie \" built by\nGiambattista Fracassari for the \" comodo della Gioventu di Budrio ;\nthis theatre is not marked on the birdseye view, but I believe it\nto be the same as No. 15.\nThese two Theatres are referred to by Golinelli (1720) as due\nvaghi Teatri * and of Teatro Sgarbi he writes. 4 Paolo Jogarbi...\nbuilt in his house and entirely at his own expense a vast leatro\",\nIn Budrio was an Accademia degli Affidati.\nHere in 1788 was born Francesco Cocchi a celebrated scenogra-\npher who travelled as far as St Petersberg and Lisbon, Berlin and\nHamburg and died in 1865. Giuseppe Gotti is another scenographer\nborn in Budrio, in 1726.\nThe population in 1907 was 2.400 persons, but at the time\nthe birdseye view was drawn there were 5000 ; but that included\nthose who dwelt in the commune as well as in the town.\nToday there is a Teatro Consorziale, but 1 have no notion\nwhether it be one of the tv/o theatres of the 18th century restored,\nrebuilt and ruined or a bran new affairs. But I am going to find\nout next month. A. C.\n(1) See 44 The Mask \" Volume IX pg. 43."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c037", "article_bluemountain": "bmtnaau_1929-10_01#c037", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 29, "image_fin": 29, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.11.1", "titre_corps": "BIRD'S EYE VIEW OF THE TOWN OF BUDRIO", "titre_sommaire": "BIRD'S EYE VIEW OF THE TOWN OF BUDRIO", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 29, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 48, "texte": "BIRD'S EYE VIEW OF THE TOWN OF BUDRIO.\nPlate 13."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c038", "article_bluemountain": "bmtnaau_1929-10_01#c038", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "153", "page_fin": "158", "image_debut": 31, "image_fin": 36, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.12", "titre_corps": "COSTUME VERSUS CLOTHES", "titre_sommaire": "COSTUME VERSUS CLOTHES", "signature_source": "HILAIRE HILER", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 31, "page_imprimee": "153", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 3732, "texte": "COSTUME VERSUS\nCLOTHES\nBY HILAIRE HILER.\n\n\\Y/ HEN I was about six, 1 was the proud\n* * owner of a policeman suit. It had a\ncardboard helmet of the form then correspon-\nding to the regulation ones used by the force,\na breast-plate covered with blue cloth which\nwas embellished with a badge and brass\nbuttons, a whistle, and a club. Donning\nthis outfit, not without the aid of my mother,\nI would mount my trusty tricycle and proudly\npedal about in imitation of the bicycle cop\nwho frequently passed our door.\nOne day my diminutive club became\nentangled in the front wheel of the tricycle\nwhile I was chasing imaginary robbers at a\nreckless pace. It brought my machine to too\nsudden a stop and I went over onto the\nasphalt, head first. Tears were wiped off\nmy insignia with some sympathy and an\nattempt made to repair the larger dents in\nthe helmet, but the morale of the tricycle\npersonnel had been injured beyond repair.\n1 never resumed my constabulary activities.\nAt seven or so, I was an Indian, an\nuncle having presented me with a suit of\nbrown twill fringed with red; but having\nlost a part of the headdress which went with\nthis, in slipping out of an apple tree which\nwas being ascended for purposes of long\nrange scouting, I obtained a wide brimmed\nhat several sizes too large for me in place\nof it, and for a considerable period became\nalmost simultaneously a desperate outlaw\nand brave sheriff — being thus somewhat\ninconveniently forced several times to chase\nmyself around an adjacent lot.\nLater we had a theatre in the barn, and\ntable cloths, feather dusters, old clothing of\nall sorts, curtain rings (used for earrings),\ncorks (for \" blacking up\"), pot and kettle\ncovers (for shields), and other materials of\ndivers nature, would disappear from the house\nto find their way to the hayloft which served\nas a dressing room every time we gave a play.\nSometimes there were masquerade balls.\nThere was Halloween — and when excuses\nwere not there ready-made, I would find\none. Always eager to \" dress up \", I seldom\nhad much trouble in persuading my little\nplaymates to do likewise. When, later on,\nan opportunity offered itself in \" real \" school\nand college theatricals, I always liked to\nhelp design and make the necessary costumes.\nIn short — as long as I can remember, I\nhave had a lively interest in costume.\nIn art school I started patiently to trace\nthe hundreds of figures in the two volume\nwork of Hottenroth, being at the time unable\nto afford a copy, and in day dreams would\ngo back into different historic epochs and\nlook admiringly at the dress of the people of\nthese periods as they appeared (more or less\naccurately) in my fancy.\nSome ten years ago, going to Europe, I\nbought books and plates concerning costume\nwherever I found them. They were scarce,\nProud when I had some fifty volumes, I felt\nmy collection nearing completion at five\nhundred, and gave up all idea of completing\nit when owner of twelve hundred books and\nbetween six and ten thousand plates.\nI wrote a book on prehistoric, primitive\nand barbaric costume and ornament, and\nwhile doing so collected a bibliography on\ncostume, dress, clothing, adornment and\napparel — including over ten thousand books\nprinted in fifteen different languages, about\nman's bodily covering. It was then apparent\nthat I was not the only person nor the first\nperson to have been interested in \" dressing\n»» «\nup !\nCLOTHING VERSUS COSTUME.\n|f]T \" Dressing up\" implies a dressing in\nTU a style distinct from that worn habitually.\nOne is costumed rather than merely clothed.\nBetween the terms clothing and costume there\nis a great distinction. Clothing is bodily\ncovering; costume, raiment.\nTo elucidate. Let's assume that we have\na nice clean blank white page. Drawing a"}, {"page_pdf": 32, "page_imprimee": "154", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.32", "debut_caractere": 0, "fin_caractere_exclue": 4165, "texte": "line down the centre, it is divided into two\nequal parts. The half on the left will have\nprinted at the top the word MATERIAL;\non the right the word MENTAL will\nappear.\nUnder the word Material, we will write\nthe terms Apparel, Clothing and Dress;\nunder the word Mental, the terms Costume,\nAdornment and Body Ornament. Thus if\nwe were making a study of the subject we\nmight continue to write in the rest of the\nleft-hand side such phrases as \" Environment\nmakes clothing necessary \". \" Climate fur-\nnishing in flora and fauna sufficient to provide\nmaterials for the fabrication of garments to\nprotect man from its own temperatures\".\nEconomic side of clothing \". \" Physiology\nof clothing \". \" Technique of manufacture\nfrom felting to tanning\". \"Bodily comfort;\nphysical health \".\nThen we might cross the line and arrive\non the Mental side where we would see\nsuch terms as Sex, Religion, Magic, Totem,\nTrophyism, Taboo, Ego, Aesthetics, Prestige,\nImitation, et cetera, all tied up with the\nsubject of clothes.\nClothes are economically, of course, of\nprimary importance. Food, Clothing and\nShelter are the three economic \" goods \"\nneeded, in the order named.\n.Man is born naked but dies and is put\naway with clothes on. Clothes have a prac-\ntical material hygienic side of great scientific\nimportance. Nothing warmer than fur, ounce\nlor ounce, has ever been discovered. Wool\nis warmer than silk, silk than cotton, and\ncotton than linen. Dr. Dearborn, of the\nU. S. Army Medical Corps says that the\ncomfort, or lack of it, in clothing means\nimmeasurable loss or gain in the efficiency\nof people in all sorts of jobs. Measured in\nterms of money, collectively estimated, it:\nmakes the head swim.\nBut luckily this is not the side of the-\nsubject we are studying. I started out to\ntalk about \" dressing up The term has\nan oddly theatrical implication.\nPUTZ.\nTHOMAS CARLYLE had his studious cha-\nracter Diogenes Teufelsdrockh take a»\nlook into this business a long while ago. In.\nhis book Sartor Resartus, Herr Teufelsdrockh\nrather long-windedly came to the conclusion\nthat barbarous man spiritually craved deco-\nration while he showed considerable indiffe-\nrence about the warmth and protective qualities\nof his clothes. He was strong on the aesthetic\nside, and craved that touch of ne sais quoi\nof necessary decoration (Putz). It was hinted\nthat man, as Diogenes T. states, changed\nfrom a \" naked animal \" to a clothed animal\nfor some obscure artistic reason.\n1 think that man took to costume before\nhe took to clothing ; he \" dressed up \" before\nhe clothed himself. Carlyle's Heir was right\nwhen he said or hinted that ornament, not\ncovering, was the preoccupation of the \" hairy\nsavage \".\nThere is much evidence that the savage,\nhard-boiled concerning the vagaries of tempe-\nrature, showed downright indifference about\nhis clothing. The ancient Chinese and the\nold Greek commentators thought that clothing\nwas adopted for warmth, but this is not a\nmodern scientific view of the matter.\nAn early traveller describes a Mangai\nislander as \" being clothed v/ith a hunting\nknife which was stuck through the lobe of\nhis ear \". Darwin speaks of giving a good-\nsized piece of red cloth to a Fuegian who,\nalthough \" he certainly stood in need of pro-\ntective clothing \" tore it up and distributed\nit among his companions who used it deco-\nratively.\nAfrican Safari porters wear all the odds\nand ends of clothing they can get hold of\nin the heat of the day, and throw them off\nin the cool of the evening when camp is\nreached. The evidence all over the primitive\nworld, with few exceptions, seems to show\nthat clothing plays a secondary role to costume.\nDecoration first, protection afterward. Man's\norigin in the tropics does not point to an\nadaptation of clothing for economic reasons.\nThe primitives do not \" wear clothes .\nThey \" dress up \".\nTHE PSYCHOLOGY OF \"DRESSING UP\".\nTHE assumption of the dressing up procli-\nvity puts by the board theories such as\nthat held by Ratzel and the older school of\nethnologists, that clothing was forced upon\nwomen by their lords and masters as a means\nof diminishing the force of their charms. It\nalso does not agree with the Mosaic assumption"}, {"page_pdf": 34, "page_imprimee": "156", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.34", "debut_caractere": 0, "fin_caractere_exclue": 4210, "texte": "explained naively by St. Augustine in con-\nnection with the apple-eating act — that\nmodesty is at the bottom of dress. Robert\nBurton in his somewhat sour \" Anatomy of\nMelancholy \", Dumaurier, Stendhal, Remy de\nGourmont, Westermarck, Havelock Ellis and\nmany others deny this possibility emphatically.\nModesty came after clothing. Ornament\npreceded clothing and was worn to attract\nand not to hide. Salomon Reinach denies\nthis possibility, favouring the explanation of\na blood taboo as reason for the origin of\ndress ; but it is simpler and just as probable\nto accept, at least in part, the more intriguing\ntheory that men and woman started \" dressing\nup \" to make themselves mutually attractive.\nThe behavior of many savages supports such\nan assumption, for more than one people\namong whom nudity is the habitual state,\ndon body ornaments and garments when\nabout to engage in licentious ceremonies or\nlewd dances. They do, in fact, \" dress up \"\nfor every sort of ceremony.\nCeremonial and dressing up scent of the\ntheatre in embryo. Frazer, who gives such\nan excellent idea of these activities in the\nGolden Bough, hints that magic may have\nsomething to do with it. Tree sprites, being\npresent in the tree and in its bark, are present\nin bark clothing. Clothing is again pictures-\nquely connected with the worship of the\nserpent, which was the only animal which\ncould change its dress — and therefore its\npersonality. Elliot Smith, whose theories\nhave somewhat lately romantically revolutio-\nnized ethnology, claims that costume originated\nthrough the wearing of amulets of sexual\npower, near the appropriate spot. Crawley,\ndiffering with him, yet agrees — in his\nMystic Rose.\nPerhaps a hunter carrying his trophy\nproudly thought of hanging it about his neck,\nor more conveniently, wearing its skin.\nShining ornaments may have been worn\nbecause of a purely aesthetic attraction which\nsuch objects seem to have exerted upon\ncreatures as diversified as jackdaws, monkeys,\nAustralian bower birds and Park Avenue\ndowagers.\nAnyway — our material, physical side of\nthe affair seems, at first at least, to have had\nvery little to do with \" dressing up \". It is\non the mental side of our paper that we find\nall our terms, now somewhat explained, which\nhave to do with costume as opposed to\nclothing. Raiment as opposed to mere Ap-\nparel ; Adornment, as opposed to Dress.\n\" Dressing up \" then, is the whole artistic\nside of clothing, the psychological side in its\npurest connotation — Sexually Attractive, Ma-\ngico-Religious, Prestige imitational, Ego-\nLotzean-stimulating, Aesthetic, Architectural,\nWar, Theatrical, Ceremonial, Caste-marking,\nArmorial, T otem-influencing, Trophyistical\nDressing Up.\nCOSTUME DEVELOPING.\nIF people are assumed as having begun to\ndress with ornament: the girdle grew\ninto kilt, skirt and trousers; the necklace into\ncape, robe, cloak and coat. Around the\ndiadem or head-band, feathers sprang up,\nflaps hung down. Bracelets, rings, anklets,\nearrings, labrets, garters and armlets pretty\nwell complete the list of ornaments from\nwhich clothing stemmed, because they\nexhaust the places where ornaments could be\nconveniently worn.\nThe architecture of the human body, as\nSemper remarks, forms the architecture of\ncostume.\nTwo pendantiy pendicular ornamental\nearrings, one on each side. A nodding plume\nor floating feather leaning backward to\naccentuate its wearer's movement forward.\nCorresponding with the axes of the human\nbody, as explained in the illustrations.\nCostume, following the paths of the other\narts, becomes architectural. It reacts mu-\ntually with the human body.\nCLOTHES AND CASTE.\nCLOTHES artistically satisfying, were insur-\nficient. Norman Douglas, in his Siren\nBook, recalls Lotze's observations on the manner\nin v/hich man enlarged his personality, extending\nit by a huge headdress and a walking stick.\nHappy coincidence that economically the\nheaddress and walking stick could so uiifit\ntheir wearer to perform anything in the nature\nof productive labour.\nVeblen shows that the \" canon of wasted\neffort\", when it lent value to the chief's\ncloak, which was made of the difficultly\ncollected feathers of the what-you-may-call-it\nPacificus, lent value to the chief. A leisured"}, {"page_pdf": 35, "page_imprimee": "157", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.35", "debut_caractere": 0, "fin_caractere_exclue": 4393, "texte": "man was he, with the leisure of others at his\ndisposal. The rich one then hung his riches\nround his neck. A mighty man's riches were\ntoo mighty to do this? Well then, other\nnecks were provided — wives, concubines and\nservants each did their share in aiding the\ndisplay.\nIf one was \" dressed up \" — that is to\nsay, dressed up from every point of view —\nthen one was aesthetically satisfying, the\nnatural aesthetic assets being properly stressed;\ntherefore, sexually attractive, with a maximum\nexpansion of the ego in all directions ; magi-\ncally protected by the proper amulets, with\nmetamorphasized trophies visible somewhere\nabout one's person (having taken on the de-\nsirable qualities of brightness and shinyness);\neconomically conspicuous because of the ability\nto wear rare and therefore valuable materials;\nfearless, because protected from demons, pos-\nsible accusation of poverty, insignificance, or\nnonconformity; en regie, provided with the\nproper papers for one's class and epoch,\npointing always toward the appropriate ideal.\nCHANGES THROUGH THE AGES.\nf\" ca change, plus\nchose. \"All those things which so elusively\nthrough the ages went to make up that inde-\nfinable thing called taste. Reflected there,\nand everywhere. The tightly corseted figures\nof the anatomically dressed Aegeans. The\nbeautiful gravitational folds of the Greek robes.\nArchitectural forms repeated on.... or from\nhumanity, as pointed out by Viollet, le Due,\nWebb and Heard. The Assyrian mitre and\nthe Assyrian Juggenaut. Hat ends and roof\nends bending upward in China. The roundly\nbulging mosque dome and the roundly bulging\nturban. Gothic steeples and steepled hennins.\nThe flat Tudor arch, silhouette and shoe.\nAn old print showing factory chimneys, and\nan old locomotive puffing wood smoke through\na black stove pipe as it pulls a train of\nbewhiskered passengers in \" stove pipe \"\nhats. The melon shaped dome of the\nPalais in front of which men stand on the\nroof to be photographed in chapeaux melons.\nBut it seems to me lately that men at\nleast (and they have until yesterday, with one\nexception, set the styles) are becoming more\nclothed and less and less \" dressed up \".\nDoes this point to a return to the uniformity\nof savagery, as Havelock Ellis sometimes\nseems to fear ? Man's choice of clothing\nappears to be getting instinctively selbverst-\nandlich.\nThere is seemingly little hope offered by\na future in a civilization dominated by ma-\nchinery.\nTrotter's rationalization of the belief in\nthe herd idea is here appropriate. It serves\nto justify the assumption of herd suggestion,\nwhich is so rapidly taking on a universal\nforce and scope. \" This mechanism \", he\nsays, \" enables the English lady who, to\n\" escape the stigma of having normal feet,\n\" subjects them to a formidable degree of\n\" lateral compression, to be aware of no\n\" log inconsequence when she subscribes\n\" to missions to teach the Chinese lady how\n\" absurd it is to compress her feet longitudi-\n\" nally ; it enables the European lady who\n\" wears rings in her ears, to smile at the\n\" barbarism of the colored lady who wears\n\" rings in her nose; it enables the Englishman\n\" who is amused by the African chieftain's\n\" regard for the top hat as an essential piece\nof the furniture of state to ignore the\nidentity of his own behavior when he\n\"to church beneath the same tremendous\n\" ensign \".\nBut the tendency is toward a devolution\nfrom costume toward clothing. The \" tre-\nmendous ensign\" itself is becoming old-\nfashioned. Ever there is less of the real\ncostume psychology in clothes. \" Dressing \",\nas a conventional art, is dead or dying.\nCostume is too close to dancing, music,\npoetry and ceremonial to occupy a place in\na world given over more and more exclusively\nto mass production. It must give way to\nclothing, and that quickly. The headgear\n(the' last article of costume to be given up\nis the hat) is made to disappear when not\nsacrificed, as it usually is without a struggle.\nTurkey and Persia lately have suppressed\nthe national top piece by stern sumptuary\nedict. The \" Whisker Rebellion \" in\nAfghanistan still threatens, echoes. Verlaine's\ndire prophecy of the time \" when madmen\nwalk the streets all clothed in black\" is\nbeing everywhere fulfilled.\nThe effect of unaesthetic clothing upon\nmorale is too well known to need stressing.\nIt is certainly in youth and the virile period\nthat the individual is preoccupied with dress."}, {"page_pdf": 36, "page_imprimee": "158", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.36", "debut_caractere": 0, "fin_caractere_exclue": 293, "texte": "Which of us might not sneakingly enjoy a\nreal costume, if he dared ? — real costume,\nwhich is now confined to the theatre.\nMay the theatre keep the spark of sug-\ngestion alive until some more leisured age\nwhen the play spirit reawakens, and we may\nall again \" dress up \" I\nParis, January 1929."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c040", "article_bluemountain": "bmtnaau_1929-10_01#c040", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "155", "page_fin": "155", "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=bmtnaau192910-01.2.12.2", "titre_corps": "MAN CONSIDERED ARCHITECTURALLY", "titre_sommaire": "MAN CONSIDERED ARCHITECTURALLY", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 33, "page_imprimee": "155", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 30, "texte": "MAN CONSIDERED ARCHITECTURALLY"}]}, {"article_id": "bm-bmtnaau-1929-10-01-c042", "article_bluemountain": "bmtnaau_1929-10_01#c042", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "158", "page_fin": "160", "image_debut": 36, "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=bmtnaau192910-01.2.13", "titre_corps": "DRURY LANE : MEDITATIONS UPON WHY THE WEAZEL DOES NOT ALWAYS GO POP", "titre_sommaire": "DRURY LANE : MEDITATIONS UPON WHY THE WEAZEL DOES NOT ALWAYS GO POP", "signature_source": "Scotson Umbridge", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 36, "page_imprimee": "158", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.36", "debut_caractere": 295, "fin_caractere_exclue": 3849, "texte": "DRURY LANE\nMEDITATIONS UPON WHY THE WEAZEL\nDOES NOT ALWAYS GO POP.\n\nWHEN writing of Drury Lane, of Sir Al-\n* fred Butt's doings, and of the Theatre\nas business, I have always had in mind to\nenquire into and see how the best-managed\ntheatre — that is to say, Drury Lane (best-\nmanaged from the point of view of business)\n— compares with other businesses.\nMr. Gordon Craig has recently written\nan article entitled \" Little Business Men in\nthe Big Theatre,\" which appeared in \" Vanity\nFair \" and was reprinted in a German daily.\nHis article had a rather cryptic title, but what\nit meant was that the Theaire is bigger than\nthose business men who dabble in it; and\nhe says that there is no great business man\nwho ever touches the Theatre, except to\nendow it, for to make money out of it would\nseem ridiculous to a great business man. It\nis this point in the Craig article which seems\nto me to be uncontrovertible.\n€$ I have taken a glance — only a glance,\nby the bye — into the business affairs of\nLondon. I wanted to compare Theatr9 as\nbusiness, with Trade proper as business.\nI only looked at the reports of two of the\nmost popular houses which occurred to me\noff-hand — Selfridges and Lyons. I had\nno notion whether these two would prove to\nbe but paltry business concerns by the side\nof Drury Lane. 1 must admit I had\nrather a hope that they would do so, and\nthat after all I should be entirely confounded,\nand that the grand old Drury Lane, though\nturning out stuff for the public which is\nunworthy both of Drury Lane and of our\npublic, would at any rate be doing it at a\nterrific profit, so that at least one thing would\nbe established — that the Theatre\nmake money.\ntj The figures which are published below\nprove that the Theatre cannot make money.\nCjj No business man who has respect for\nhimself as a business man will go into Thea-\ntre business to make money — for himself\nor for shareholders — if only for the one reason\nthat it renders the ancient and steady tradi-\ntions of great business farcical.\nEnquiry shows that in 1926, Drury Lane\nis making a profit of £ 49.000, and in the\nsame year Selfridges a profit of 490.000.\nIn 1927, Drury Lane is making a profit of\n£ 37.000 odd, and Selfridge is making a\nprofit of £ 821.000.\nIt amounts to this then; that business and\nthe Theatre are misfits. It is as though a\nboy went out with his father's large top hat\non, and it covered his eyes: and Drury Lane\nseems to be wandering about in this ridiculous\nplight and no steps are taken to alter it.\nThis cross between business and art is not\nonly ridiculous, the result is pitiful. It\ncreates as pitiful results as a cross\nbetween an Arabian steed and a giraffe\nwould do. There is a remedy for it which\nis to exterminate the breed, and prevent it in\nfuture; don't go on crossing business and the\nTheatre. Let us at any rate have the pure\nstrain of the Theatre: though the Theatre\ncome not into the highest category of creation,\nlet it be good of its fand. Let us be rid of\nthis mongrel state of affairs, this under-breeding\nof an already under-bred species.\nThe following figures may interest you.\nThey have interested and vastly entertained me.\nTHEATRE ROYAL, DRURY LANE, LTD. .\n(Registered in 1897).\nIssued Capital, £ 125,000. Loan capital outstanding,\n25,000 6 °/0 Redeemable Debentures.\nYear. Net Profit. Dividend.\n1926 £ 49,009 10°J0 & bonus 2 t/2 %\n1927 » 37,854 !0°/o & bonus 2 1{2 %\n1928 » 44,546 10 % & bonus 2 1/2 °/o\n1929 Not available yet. 10°/0 & bonus 2 fj20Jo\nDirectors: Sir Alfred Butt, Bart., M. P. (Chairman),\nLord Lurgan, and S. Smith."}, {"page_pdf": 37, "page_imprimee": "159", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.37", "debut_caractere": 0, "fin_caractere_exclue": 4077, "texte": "SELFRIDGE & CO., LTD.\n(Registered in 1908).\nIssued Capital, £ 3,146,097. Loan Capital outstanding,\nXJ 263,400 5 °/0 Debenture Bonds.\nYear. Net Profit. Dividend.\n1926 £ 489 JOS 15*/0 Tax-free.\n1927 » 821,122 20 °/Q less Tax.\n1928 » 461,578 20 % less Tax.\n1929 » 463,124 20°/o less Tax.\nJ. LYONS & CO., LTD.\nIssued Capital, £ 8,388.338. Loan Capital outstand-\ning, £ 512,609.\nYear. Net Profit Dividends.\n1926 £ 754,960 21 l;4f0\n1927 » 757,160 21 1\\4 %\n1928 » 832,516 22 !/20/0\n1929 » 908,950 22 //2%\nI HE same kind of thing is happening in\nStratford-upon-Avon that is practised in\nDrury Lane, they are trying to make money\nwith Theatre. They are trying to make money\nout of Shakespeare, down there. I have\nrecently seen \" The Shakespeare Pictorial: a\nmonthly illustrated chronicle of events in\nShakesoeare land. \" I do not know whether\n£.\nthis Monthly is worthy of Stratford-upon-Avon,\nin 1929 but it would even do honour to the\nlocal Brewers Union, if there were such a\nUnion, and it had its headquarters at Paisley\nin Scotland, it bustles Shakespeare along\njust as if he were a jolly old Brewer: it\njollies up the actors as though they were a\nlot of melancholy unsuccessful tradesmen\nwho had to be taught that Shakespeare had\ndone England a power of good.\nThis also can be said for the journal: on\nits title-page it advertises the Stratford-on-\nAvon Hippodrome, and its many attractions.\nThus, on May 6th we get \" THE GIRL\nFROM REVUE \" and \" SOMETHING\nALWAYS HAPPENS; \" on May 22nd,\n\" THE FIFTY FIFTY GIRL; \" from May\n30th to June 1 st, \" RED HAIR \" and \" THE\nNIGHT OF HER LIFE. \"\n€jj This is presumably the leading picture-\nhouse of the bard's birthplace.\n€J Side by side with this announcement,\nwhich runs down a column, is another column,\nsaying what is to be done at the Shakespeare\nMemorial Temporary Theatre — \" Much Ado\nAbout Nothing, \" \" Macbeth \" \" Twelfth\nNight, \" and some other plays: but this\ncolumn looks just a little stuck-up and\nforeign by the side of the Stratford-on-\nAvon Hippodrome advertisement. Thus that\nold fashioned Shakespeare, the English one, is\nworsted in the first round on the first page: and\nyou heard them playing \"Ol man River\"\non Shakespeare's birthday didn't you, Mr Han-\nnen Swaffer, while waiting to see the unfurling,\nof the sixty four flags — colours of all nations.\nAnother thing that possibly tells against\nShakespeare (comparing these two columns\nof the Hippodrome and the Temporary Thea-\ntre) is that the Hippodrome oilers its merry\nentertainment at 1 /6d. to 6d., whereas the\nShakespeare prices are higher; they are\n8 6d., and the lowest is 1 /2d. One won-\nders who will waste 1 / 2d. — the minimum\nsum — on Shakespeare, when he could\nsee \" BABY MINE \" on the screen for 6d. ?\n€j At Stratford too!\n@ Unless you can sell Shakespeare at a\nlower figure, or at least at the same price as\nthat for which the Pictures are sold, difficulties\nmay soon crop up. Of course a wholesale\nattack on the Pictures, since it is Shakespeare's\ntown, might be successful, if you could get\nall England to agree that the Pictures were\nto be excluded from Stratford-on-Avon.\n\" The Shakespeare Pictorial \" contains\ncome nice simple little features. One to be\nfound on page 7 is called.\n\" HOW MUCH DO YOU KNOW? \"\n44 Which house is supposed to be the\noriginal home of the Shakespeare family 7 \"\n4 4 Who were the ancestors of Mary Arden\n(Shakespeare's Mother 7) \"\n44 Where is Shakespeare's Crab-Tree 7 \"\net cetera. And at the bottom is found\n\" Answers on Page 7. \" — so you get your\nquestions and your answers in the same\nnumber; a sort of crib, so that Jackie may\ncome down in the morning and explain that\nhe knows all about Shakespeare without having\nany trouble over it. A suspicion is aroused\nby this publication, which is whether anyone\nknows why Shakespeare was born, or what\nsort of thing Shakespeare liked.\nWe might have doubts about whether he\nwould have much pleasure in the kind of\ngame being played at Stratford on Avon.\nThere is an excellent page or \" Stratford\nGossip, \" some pieces of which are bound\nto interest Italian readers — for example."}, {"page_pdf": 38, "page_imprimee": "160", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.38", "debut_caractere": 0, "fin_caractere_exclue": 3566, "texte": "\" Mr. and. Mrs. T. S. Waldron are at present in Italy. They\nwill visit Rome, Florence, and Venice before their return.\nMiss Blue is visiting Biarritz.\nWhen I say this will interest Italy, I mean,\nnaturally, that northern Italy will be disappointed\nthat Miss Blue isn't visiting Bologna.\nOn the other hand, *' Stratford Gossip \"\ndoes not merely lay itself out to please\nforeigners (who presumably can find \" The\nShakespeare Pictorial \" on all the railway\nstations between Stratford and Constantinople)\n— it pokes the home fire all right. Example: —\n\" Congratulations to Canon and Mrs. Melville upon\nattaining the dignity of grandparentsge. The baby is to be\nchristened With Jordan water brought home by Captain Manley\nJames, V. C. and presented by Miss Ashwin for the occasion.\nIt omits to say what will be done with the\nwater after the occasion. Another paragraph\nwill surely interest everyone who has sub-\nscribed to the Memorial Theatre : —\n\" The annual Tennis Tournament on the Southern Lane courts\nWill be held from Tuesday, 23rd July, to Saturday, 27th July,\ninclusive. That will he a busy Week for Stratford-upon-Avon, as\nthe Agricultural Show will he in progress at the same timed'\nHow tactful is the writer of this Gossip, in\nnot saying at all brutally that there will be\nrather less time for anyone to get bored by\nShakespeare thai week — anyhow.\nA few lapses occur in this excellent\njournal — from one of which it will be\ndifficult for the Editor to extricate it. There\nis a mention of Mr. William Poel: now\nwhat has Mr. Poel to do with Shakespeare?\nOn the other hand, there is a charming\nportrait of Miss Joyce Bland, \" as Ophelia\nin ' Hamlet' \" (you are not to confuse the\nrole with the other ' Ophelia' which, as\neverybody knows, is in \" Caprice\"). Miss\nBland has won a scholarship at the Royal\nAcademy of Dramatic Art; she has understudied\nMiss Tallulah Bankhead at the Globe Theatre,\nand has played in \" The Constant Nymph \"\non tour. \" A graceful figure of sweet inno-\ncence in the first blush of love\" was Mr.\nGeorge W. Stark's tribute in the\nNews. It does not say whether Miss Bland\nis American or English; but the picture\nshows her in the well-fitting traditional\ncostume, with the traditional expression, and\nmaking a nice traditional gesture. — Well....\npoor Ophelia !\nThere is an interesting report of the\nShakespeare Birthday celebrations, and, though\nit lack the brilliance of Hannen Swaffer's\nreport of the same event, it tells us how ably\nevery land in the world has been beaten up\nto send in its flag. A Birthday Luncheon\nwas held as usual, and a flashlight photograph\ntaken immediately prior to the Luncheon.\nIt reminds one of those photographs of\nCollege Commemoration Day, with all the\nhappy parents assembled in a miserable sort\nof way : not a very fortunate photograph.\nOne of strangest omissions from this\nShakespeare Pictorial \" is that there is\nnothing in it which informs you about the\nfamous beer that is brewed at Stratford-on-\nAvon, and I must say that Shakespeare would\nnot have liked that to be omitted. Subtle\nShakespeare may have been, but he was also\ndownright; and we have heard that the beer\nthere is so much improved since the new\nspring of water was discovered, that it is a\npity should this world-wide advertisement\ndrawing attention to Stratford-on-Avon fail at\nthe same time to draw attention to the beer.\nWe may understand Shakespeare or not\nas we like, but let there be no possible\nchance of misunderstanding about the beer.\nAfter all it is the main thing, isn't it?\nBusiness should be business.\n\nScotson Umbridge."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c044", "article_bluemountain": "bmtnaau_1929-10_01#c044", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 39, "image_fin": 39, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.14", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 39, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.39", "debut_caractere": 55, "fin_caractere_exclue": 1184, "texte": "In the right lower corner we see the first Opera House\nbuilt in the Palais Royal — though not the first home of\nOpera in Paris.\nIt was built by le Mercier and opened in 1641 on Ja-\nnuary 14 as a theatre for plays.\nIts position was the corner which today is formed by\nthe meeting of Rue de Valois with the Rue Saint-Honore.\nConstructed for Cardinal Richelieu when he built the Pa-\nlais Royal (then called the Palais Cardinal) it was at first\na somewhat small theatre and was only enlarged and made\nmagnificent during the last years of his life. He was not\na fool, this Cardinal, and did not consider two to three\nthousand ecus over-much to pay for the stage fittings.\nThe carpenters, on receiving the order from the builder\nfor eight large oak beams for the ceiling of this playhouse\nlaughed on reading the measurements; — each of these beams\ncost 8000 francs to transport from the royal forests of Moulins.\nIn 1661 it passed into the hands of Moliere, and in 1673\nout of his hands into those of Lulli who established the\nOpera there.\nIt was destroyed by fire on April 6th-7th 1763, dying an\nOpera House though born a Theatre.\n\nC."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c045", "article_bluemountain": "bmtnaau_1929-10_01#c045", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 39, "image_fin": 39, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.14.1", "titre_corps": "BIRD'S EYE VIEW OF THE PALAIS ROYAL, PARIS", "titre_sommaire": "BIRD'S EYE VIEW OF THE PALAIS ROYAL, PARIS", "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": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.39", "debut_caractere": 0, "fin_caractere_exclue": 53, "texte": "BIRD'S EYE VIEW OF THE PALAIS ROYAL, PARIS.\nPlate 14."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c046", "article_bluemountain": "bmtnaau_1929-10_01#c046", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "161", "page_fin": "162", "image_debut": 41, "image_fin": 42, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.15", "titre_corps": "THE MYTH", "titre_sommaire": "THE MYTH", "signature_source": "William Addicote", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 41, "page_imprimee": "161", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.41", "debut_caractere": 0, "fin_caractere_exclue": 4864, "texte": "THE MYTH.\n\nWHAT is a myth ? It is, says the Oxford\nDictionary \" A primitive tale, imaginatively\ndescribing or accounting for natural phenomena,\nespecially by personification \" ; it is \"a tale of\ngods or demi-gods ; an old wives' tale \" ; it is\na prevalent but false belief \" ; it is \"a person\nor thing falsely supposed to exist'', and the myth\nShakespeare is most of all this.\nShakespeare is one of the most interesting,\nyet baffling, enigmas of history \", writes Sir\nDunbar Plunket Barton ; and adds that \" His\nmyriad-minded soul has mysterious recesses which\nwe can never fathom \".\nBrushing aside all doubt as to whether it\nwould be wise ever to attempt to fathom a recess,\none is forced to admit that Shakespeare baffles\nall those writers who will write books about that\npart of him which is mythical -— and to my mind,\nutterly uninteresting. The only thing that I find\nin the very least interesting about the being we\ncall Shakespeare, is, that he wrote plays and\npoems. The only thing with which I think English\npeople should concern themselves, is to see that\nthese plays and poems are as correctly printed as\npossible, and that they are continually played.\nIt is to the credit of England that much time\n* and money is given to the printing of Shake-\nspeare's works : it is to the discredit of England\nthat practically nothing is done towards the per-\nforming of his plays. As for the time, money,\nintelligence, energy, and everything else, that is\nspent on bringing out new books on this myth —\nwhat can be said of that?\nFor my part, I do not doubt that Sir Dunbar\nPlunket Barton's notes, linking Shakespeare up\nwith the law, are full of truthful statements: but\nI simply cannot believe any of them, because the\nman is a myth, and because until his plays are\nhonoured by perfect performance, we render\nourselves foolish in writing books about him —\nand we render him no service in doing so.\nI much prefer a volume, such as that by Mr.\nCharles Williams, published by the Oxford\nPress — a play which brings Ben Jonson, Burbage,\nSir Andrew Aguecheek, Shakespeare, Sir Toby\nBelch, and the Clown into the same scene,\nmakes them all sit round the same table at the\nMermaid Tavern, makes these Shakespearean\ncharacters run through the things that they say\nin the play of \"Twelfth Night\", and makes\nJonson, Shakespeare and Burbage butt in after-\nwards with a few foolish remarks of their own.\nWe know the kind of play, though this is\nbetter of the kind than such plays are as a rule.\nBut what is it for ?— to what end written ? —\nno one could act it — would anyone ? why this\neccentric English way of going qn about this\nmajestic mythical figure, Shakespeare ? Why not\ndevote the same energy, intelligence, and the\nrest — if you are so fond of Shakespeare —to\nendeavouring to bring about the performance of\nhis plays ?\nThis play of Mr. Williams is prettily printed,\nbut it has the most extraordinary cover, on which\nseventy-three heads of Shakespeare (and more hands\nthan should go with that number of heads) are made\ninto a kind of wallpaper — that special kind which\nevery poor sick man or woman knows all about.\nIt is a sort of mesmeric cover — you keep on\ncomparing the left eye of the fifth head with the\nleft eye of the fifty-ninth — these two coming\nupon the back portion of the cover, that portion\nwhich looks at you when the book is in its shelf.\nThe two eyes are not quite alike — there is\nsomething a little different about them. And there\nis also this about the top figure — it has not\ngot a pen, whereas the three figures underneath\nit all have got pens; but one of them has the\ntips of his fingers off. I mean, it's beautifully\nvaried, this effect of seventy-three Shakespeares.\nThere's one of the Shakespeares I have found that\nhas its little finger curled up — no, I have found\ntwo of them — three of them. It should prove one\nof the games of the season. I have found\nanother one with the little finger curled up ; so\nthat makes four. Has anybody found any more ?\nThere is a French book on Shakespeare, by\nM. Constantin-Weyer. He does not figure as a\nmyth on the cover. He is described there as one\nof the \" Maxtres des Litteratures \", and bee ides\nhis being credited with having written \" Hamlet\nit is asserted that he had a son called Hamlet\n(born 1585, died 1596). Yes, I have not made\na mistake, it is written clearly, \" H-A-M-L-E-T \"\n\nPREFACES TO SHAKESPEARE, First Series, by Harley\nGranville-Barker (SidgWick Jackson) 9|- net.\nSHAKESPEARE'S WORKSHOP, by W. J. Lawrence\n(Blackwell). 5\\- net.\nSHAKESPEARE, The Man and his Stage, by E. A. G.\nLamhorn and G. B. Harrison (Oxford University Press, 2\\6).\nA MYTH OF SHAKESPEARE, by Charles Williams\n(Oxford University Press. 5I-).\nLINKS BETWEEN SHAKESPEARE AND THE LA W,\nby Sir Dunbar Plunket Barton (Faber & Gwyer). 12/6 net.\nWILLIAM SHAKESPEARE, by M. Constantin-Weyer\nLes Editions Rieder, 18 fr.)."}, {"page_pdf": 42, "page_imprimee": "162", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.42", "debut_caractere": 0, "fin_caractere_exclue": 3847, "texte": "— I may not know what I am talking about,\nbut I know what 1 see. And I see a very excellent\nnumber of plates in collotype at the end of this\nlittle volume — sixty such. They show views of\nStratford, views of the Myth's house, the chamber\nin which the Myth was born, the grammar-school\nwhere he never studied, the house of Anne\nHathaway, with the mythical bed mentioned in\nthe Myth's will, a portrait of the Earl of\nSouthampton (a mere glance at whose face causes\nyou to murmur \"The plot thickens\") — and\nthen the catastrophe four portraits of the Myth\nitself, no more Shakespeare, any one of them,\nthan my hat.\nThe delightful way in which the book is\nwritten, the excellent way in which it is brought\nout, the charming way in which we shall all\nread it, and linger on phrases such as \" Sir Toby\nBelch est une voix distante de Falstaff\", is\nnothing to the conviction that we should close\nall these books, convinced of the terrible — the\nfarcical — distance of Shakespeare himself.\nAnd yet, why terrible and why so funny ?\nThe mere wasting of what the wrong people have\ncalled '' the divine creations of a poet \" — is it\nnot quite ordinary ? and wouldn't it be still better\nif poetry were suppressed once and for all ?\nCouldn't something be done in the matter —\npractically done by practical people ? 1 know what\nit is to keep all the scraps that come into the house,\nall the prospectuses, all the press-cuttings, all the\njournals : I have got a barn full of them, and soon\nthey will go into sacks and be boiled down and\nmade into pulp from which plates or trousers\nwill be made. Could not the fine poems that\nwill be written in the next hundred years be\nprevented twice as easily, and at one-fiftieth the\ncost if the poets are allowed to live, write, be\nprinted, and, for all we know, become myths ?\n1 don't like being too optimistic, or 1 should say\nthat in this enlightened age this will not be merely\na possibility but that in a few years, it will\nactually be done.\nIt is an awful thing to think that the Granville\nBarkers and the W. J. Lawrences of the years to\ncome will bring out their books about some very\ngreat author of to-morrow, and that these books\nwill be as delightfully written as are Mr. Law-\nrence's \" Shakespeare's Workshop \" and Mr.\nBarker's \" Prefaces to Shakespeare \". Mr.\nBarker comically promises us that this is only\nthe '' first series ''. He only prefaces three of\nthe plays. He does it so charmingly, so reason-\nably, in such a scholarly manner that it is heart-\nbreaking. For it is quite useless.\n\"We need not claim for him (Shakespeare)\nimpeccability as a playwright'', says Mr. Barker;\nand he really might have added \" But he's top-\nnotch as a myth In other passages Mr. Barker\nis not so happy ; for example : \" This last scene\nof Lear's madness may be redundant, then, to\nthe strict action of the play, but to its larger\nissues it is most germane \" . And like unfortunate\ntouches are to be found on many pages : this\ntaking the thing to be reality is what is so\nunhappy. For is there a last scene of Lear's\nmadness ? I begin not to believe it. There was\na scene which I once read, I believe in a dream,\n— so terrible and so wonderful that had it been\na reality, no nation with any sense of football,\nany appreciation of Test Matches, could possibly\nhave passed it over. A nation seriously inclined\nlike that would have brought such a scene to the\nattention of the many millions of men — damn se-\nrious, fine men, too — who light their pipes so\noften, as they sit watching the game —in a\ndrizzle, may be — and thinking about all sorts of\nfine things. No, no, it really is a myth, the whole\nthing. The man never existed and the plays\nnever existed : no nation could possibly possess\nsuch plays, and be such great and such blithering\nfools as not to play them before the millions to\nwhom they belong.\n\nWilliam Addicote."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c049", "article_bluemountain": "bmtnaau_1929-10_01#c049", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "162", "page_fin": "164", "image_debut": 42, "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=bmtnaau192910-01.2.16", "titre_corps": "NO MYTH", "titre_sommaire": "NO MYTH", "signature_source": "William Addicote", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 42, "page_imprimee": "162", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.42", "debut_caractere": 3849, "fin_caractere_exclue": 5111, "texte": "NO MYTH\n\nIT is so pleasant to realise that /Eschylus was\nno myth, and that his nation honoured him.\nThis is not the least part of the happiness which\ncomes to you on opening any translation of the\nAgamemnon.\nFive such translations are open on the table\nas I write, and this version by Sir Henry Sharp,\nthe fifth of my five, has many of the good things\nof the others. The first page, with its wonderful\nscene of the watchman couched on the Atridae's\nhouse-top, like a dog, is enough for me to speak\nof: I-should need a whole year, or longer, to\ncompare these five translations, to swim in such\na sea — one page enough for me.\nOne of the translations I am looking at is by\nLewis Campbell (1890), and although Gilbert\nMurray's (1920) is good, and the Headlams'\nversion (1909) is good, and good the version\nby Morshead, (1911) I never can like any of\nthem better than Campbell's. -\n\nTHE AGAMEMNON OF JESCHYLUS: an English\nVersion by Sir Henry Sharp (Oxford University Press, 2 6).\nTHE HOUSE OF ATREUS, D. A. Morshead. M. A.\n(Macmillan. Golden Treasury series. 3\\6.)\nTHE PLA YS OF AESCHYLUS, Walter Head lam (George\nBell & Sons). 3\\6\nTHE AGAMEMNON OF JESCHYLUS, Gilbert Murray\n(George Allen & Unwin). 3\\6\nJESCHYLUS, Lewis Campbell, (Kegan Paul, Trench,\nTrubner & Co)."}, {"page_pdf": 43, "page_imprimee": "163", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.43", "debut_caractere": 0, "fin_caractere_exclue": 5111, "texte": "It is interesting to note that of the whole five,\nonly Murray misses the word \"dog\"; (\"like\na _ dog \" dog-like \" watch-dog \"), and\nmisses, too, \" head on arms \", \" with head on\nhand \", \" propped on one arm ''. Murray\ngives us —\n44 watching elbow-stayed,\nAs sleuthhounds watch, above the Atreidae's hall **,\n44 while couched upon the Atreidae's roof dogfashion on my arms'\nsays Headlam.\n** Propped on one arm, upon the palace-roof\nOf Atreus* race\",\nsays Morshead. And Campbell —\n4 Couched on the Airidae's house-top, like a dog,\nWith head on hand, and ever-wakeful eye \",\nSir Henry Sharp's line runs —\n44 Upon the Atreidae's roof, where, head on arms,\nDog-like, I learn — \" etc.\nWhile I like much in Sir Henry Sharp's\ntranslation, I do not like his stage directions at\nall. Of the translators I have mentioned, only\nGilbert Murray and Sir Henry indulge in these\ndirections. If /Eschylus has not clearly drawn\nthe scene, described the position of the solitary\nwatchman in the scene, given his gestures, his\nface, and — though I cannot read Greek, I'd\nswear to it — even given us each tone of his\nvoice, then /Eschylus too is in danger of becom-\ning a myth.\nNow how does Sir Henry Sharp describe this\nfirst scene ? —\n\" The scene shows the front of the palace of Agamemnon at Argus,\nBefore the palace are ranged altars and images of the Gods. On\nthe roof stands the Watchman. It is night \".\nHow does Gilbert Murray describe it ? —\n44 The Scene represents a space in front of the Palace of Aga-\nmemnon in Argos, with an Altar of Zeus in the centre and many\nother altars at the sides. On a high terrace of the roof stands a\nWatchman. It is night \".\nNow both of these descriptions of the scene\nand the Watchman are either too much or should\nbe fifty times more — which Heaven forbid. To\nbegin with, why omit to say that it is winter,\nand that it is the season of storm? Why say\nthe Watchman is standing, when he is \" couched\nlike a dog, head on arms \" ? A dog doesn't\nstand up on his hind legs with his chin on his\npaws, except he be badly bred, and asking for\nsomething from the table — perhaps /Eschylus\nmeant that.\nAnd why does Murray say that there are\nmany other altars besides the chief altar, without\nsaying how many : it might lead Mr. Bel Geddes\nto put a hundred there, and then there would be\na scandal at once and Mr. Ivor Brown would\nbe furious. And if there are images of the\nGods, according to Sir Henry Sharp, why is it\nthat according to Sir Gilbert Murray there are\nno images of the Gods ?\nThe fact is that Sir Gilbert and Sir Henry\nare too clever. Presumably their intention is to\nhelp a perishing people : but if the words of\n/Eschylus, even in translation, do not fan our\nvision, the blandest explanation in the world will\nnot fire it.\nThe next stage direction comes 22 lines\nfurther on in one version, and 21 in the other :\nboth have reached the same spot, yet one of them\nhas taken longer to do it. But when they arrive\nat the spot, they go running around it like mice\ndo at night , in between the ceiling and the floor\nabove, in summer, when the storm is over.\nSir Gilbert writes: \" \" (that is, the\nWatchman) \" is silent, watching. Suddenly, at\na distance in the night there is a glimmer of\nfire, increasing presently to a blaze \".\nOn the other hand, Sir Henry says that the\nWatchman '' Composes himself for sleep \",\nwhich is in flat contradiction, by the bye, to\nSir Gilbert, who assures us not only that he\nis silent, but that he is watching. Then Sir\nHenry comes out hot and strong, or rather,\ndelicate and mysterious, as a stage-manager, and\nsays —\n\"Faint music is heard, heralding the approach of the Chorus.\nAs the music grows clearer a red flame shoots up in the hack-ground.\nThe Watchman moves uneasily, then starts to his feet and gazes\nat the flame \".\nI have known stage-managers and producers,\nand will not, in my pride at the fact, put on\nany airs with Sir Gilbert or Sir Henry. It must\nbe exceedingly difficult to translate so beautifully\nas either of them does. Yet not one of them\ndoes it like my old friend Campbell — old friend\nin the bookish sense. But if difficult to translate\nit is obviously far too easy for these fine scholars\nwhen it comes to writing stage directions. The\nintention is very good indeed, and their intention\nis to be abreast of the times. Unfortunately,\nthese stage directions are about sixty years behind\nthe times and belong to the age of Charles Kean.\nThe two tasks, directing a stage and transla-\nting a play, are over much for one man — though\nI think that the translating is the easier of the\ntwo, because the translator has the words of /Es-\nchylus to translate from. He has rather less to help\nhim when he wishes to explain what is being done,\nand how it is being done.\nSir Henry is really somewhat curious in saying\nthat \" faint music is heard \" — especially\nsince Sir Gilbert has said no such thing. Sir\nGilbert has said that there is \"a glimmer of\nfire, increasing presently... \" etc. — nothing about\nfaint music. Sir Gilbert says that the fire is\n\" at a distance '' and '' in the night \". — why\ndoesn't Sir Henry tell us that it's in the night,"}, {"page_pdf": 44, "page_imprimee": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.44", "debut_caractere": 0, "fin_caractere_exclue": 2027, "texte": "and at a distance ? No, Sir Henry rather fancies\nmusic at a distance — sort of coming in gradually,\neffectively, mysteriously. There are signs, in\nfact, that Sir Henry is getting rather bitten by\nthe stage-management of the Agamennon ; and if\nhe doesn't take care, before he comes to an end\nhe will be becoming positively expressionistic.\nI just turn over rapidly, to have a glance, and I\nsee that he is very fond of these distance ef-\nfects — for later on, \" A sound of distant shout-\ning, mingled with music, gradually approaches \".\nBut to return to the first scene ; why he should\nsay that \" a red flame shoots up in the back-\nground and cause the Watchman to turn his\nback on us and gaze at the flame (for he says\nthis is what he does) — well, I don't know that\nthis isn't going too far: I don't like to say it,\nbut I feel that it is almost taking liberties with\nthe author. An author taking liberties with the\nauthor ! !\nIt is quite true that the Watchman immediately\nsays, M Hail, day-star of the night \". — and of\ncourse, the imagination of everyone will instantly\nturn to the thought of a good red star : \" The\nred light signifies danger, the green light safety\n— but I needn't bore you with that story, though\nI am not so sure that I wouldn't have put a\nlittle yellow light somehow ; for then they would\nhave known that the show was on fire.\nAnd indeed, this great Agamemnon is on fire\nfrom the very start — what a fire ! I must give\nyou the first lines, they are so full ; —\nI ask the gods deliverance from the toil\nOf these long watchings. Through twelve weary moons\nCouched on the Atridae's housetop, like a dog,\nWith head on hand, and ever-wakeful eye,\n[ have conned the nightly concourse of the stars\nThat shine majestical in yon clear heaven\nAnd bv their risings and their settings bring\nSummer and winter to the world.\nWho is there, even if Shakespeare is a\nwash-out, who can resist buying this half-crown\nbook, in which is the world, and the seven seas,\nand all the constellations — and more.\n\nWilliam Addicote"}]}, {"article_id": "bm-bmtnaau-1929-10-01-c051", "article_bluemountain": "bmtnaau_1929-10_01#c051", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "164", "page_fin": "166", "image_debut": 44, "image_fin": 50, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.17", "titre_corps": "LA FOIRE ST GERMAIN", "titre_sommaire": "LA FOIRE ST GERMAIN", "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": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.44", "debut_caractere": 2029, "fin_caractere_exclue": 2047, "texte": "LA FOIRE\nSTGERMAIN"}, {"page_pdf": 44, "page_imprimee": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.44", "debut_caractere": 2162, "fin_caractere_exclue": 2766, "texte": "TWO NOBODIES.\n\nTHE FIRST.\nPOOR old Nollekins — Nollekins and his\nDinah — he who had the misfortune to\nhave Mr. John Thomas Smith as pupil, poor\nold Nollekins. The name is that of a Punch\nand Judy showman — a name born for that\njob. My poor old Nollekins, you were cursed\nto become a sculptor! a sculptor!! and your\nPunch's heads and Hangman's hands would\nhave been such bonny bits of carving — your\nold voice issuing from behind the curtain\n\n1. Nollekins and his Times by J. T. Smith.\n2. Lord Chesterfield s Letters. The World s Classics. Oxford\nUniversity Press. Humphrey Milford. Price 2/- each, cloth."}, {"page_pdf": 45, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 1813, "texte": "THE “FOIRE DE ST. GERMAIN”\nJ. S.\n\nTHIS miniature, which is reproduced here in two sizes —\nits actual size, and enlarged — is presented by permission\nof the Director of the Wallace Collection, London.\nThe writing on the miniature is as follows;\n\" V. Blarenberghe 1763\nThe painter \".\nLe grand Escamoteur Chinois, which means to those\nas ignorant of French as myself. \" The great Chinese\nconjurer \" Marionettes sans pareilles du Se Bienfait\navec privilige du Roy\nAgain for the sake of my fellow-sufferers: — \" The Incom-\nparable Marionettes of Sieur Bienfait by appointment to his\nMajesty\nThe king was Louis XV, and M. Bienfait was the second\nin a line of three Bienfait - father, son and grandson. He\nwas Nicholas the second and was born about 1702, dying\nanyhow after 1763, but when is not certain.\nHis theatre was exceedingly celebrated and it was situated\nin the Foire de St. Germain which was destroyed by as cele-\nbiated a Fire, since three different years are acclaimed for its\ncoming and the going of the Fair. This miniature was made\nin 1763, and it is said that the celebrated fire made its first\nand only flourish and crackle in 1760, 1762 and 1763,\nThe painter V. Blarenberghe (1734-1812) had settled in\nParis in 1760. Renowned just for his ability to fill a space of\nabout two and a half inches with hundreds of figures, my rea-\nders will repeat this to themselves in amazed and hushed tones,\nas I do now and will gape in astonishment as I don't now,\nBut there will be some who will.\nIt is the way he filled his inches of space that counts.\nIt will not take you a moment to see that this \" Fair of\nSt Germain \" is a little marvel. The original is in the Wal-\nlace Collection. It has, so far as 1 know, not been reproduced\nin any magazine before.\nCertainly not in a Theatre magazine in Europe or America."}, {"page_pdf": 49, "page_imprimee": "165", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 4143, "texte": "of your show would have amazed even the\nvery ordinary faculties of John Thomas Smith,\nhad a momentary recollection of dignity al-\nlowed the said Smith to stop before your\nbooth.\nBut you became a sculptor and had the\ndeuced hard luck to be misinterpreted by\nJ. T. Smith.\nWas he a good sculptor,(,) this Mr. Joseph\nNollekins? Goodness knows : his work has\nnever been pointed out to me — I have, to\nmy knowledge seen none of it. His life bores\nme, for Mr. Smith is a bore in the way he\npresents it to us. I never come to know Mr.\nNollekins — his pupil prevents this — he is\nfor ever putting things badly and so we get\nbut a portrait of Smith.\nI think one has always known Smith —\nwho without sneering teaches us to sneer.\nThis little cockney born in a hackney coach\non July 23 1766 is a forerunner, one of the\npioneers of the talkies. His voice is common\nand what he says is not carefully considered.\nHe tells of the London twixt 1737 and 1823\nand some interesting people come into the\nrecital, and a few of these are actors and it\nfollows that the book will have an interest for\nthe readers of \" The Mask \".\nBut I doubt Smith's veracity; — his talk\nabout Mrs Nollekins' meanness — his chatter\nabout the Venuses, and' so I doubt if any-\nthing he reports about the stage is to be\nrelied on.\nMr. Nollekins became very rich later in\nlife, and, dying, left Smith £ 100 — Smith\nhad hoped for more. Personally I consider\n£ 100 was £ 95 too muck\nTHE SECOND.\nT\\ HIS nobody was anyhow more than Smith\nwho was not even a nobody: he was anyhow\nLord Chesterfield's son.\nThis nice dull fellow of course never read\nany of the letters of advice that arrived for\nhim week by week; had he done so he would\nhave possibly benefited — possibly gone mad.\nYet his father wrote sense about most things\n- even about the Theatre, a thing few people\nin his position can bother to do.\nThe publish ers of this series as usual have\nmade it almost faultless — no one cares to\nhave an obvious fault pointed out, but to have\nit pointed out over and over again must be\na joy,\nThe design on the back of the cover is\nthe fault I have touched on at times.\nAntimacassars can be lovely things, though\na bit out of date — ill - designed antima-\ncassars are the limit; the design on the back\nof the World's Classics is like an ill-designed\nantimacassar.\nBut to return to Lord Chesterfield.\nThis is good sense:\n\" I could wish there were a treaty made\n\" between the French and the English\n\" ires, in which both parties should make con-\n\" siderable concessions. The English ought\n\"to give up their notorious violations of all\n\" the unities', and all their massacres, racks,\n\" dead bodies, and mangled carcases, which\n\" they so frequently exhibit upon their stage.\n\" The French should engage to have more\n\" action and less declamation; and not to cram\nand crowd things together, to almost a de-\n\" gree of impossibility, from a too scrupulous\n\" adherence to the unities...\"\nAnd this is positive understanding: —\n\" Tragedy must be something bigger than\nlife, or it would not affect us. In nature\n\" the most violent passions are silent: in\n\" gedy they must speak, and speak With\n\"dignity too \".\n... and so on.\n\"It is quite otherwise with Comedy, which\n\" should be mere common life, and not one jot\n\"bigger. Every character should speak upon\n\" the stage, not only what it would utter in\n\" the situation there represented, but in the\n\" same manner in which it would express it...\"\nThere is something not quite right in these\nwords about Comedy; taken too literally his\nblithe remarks on Comedy would mislead us.\n\"As for Operas, \"he goes on, \" they are\n' essentially too absurd and extravagant to\n'mention: I look upon them as a magic scene,\n\" contrived to please the eyes and the ears,\n' at the expense of the understanding; and I con-\n\" sider singing, rhyming, and chiming heroes, and\n\" princesses, and philosophers, as Ido the hills,\n\" the trees, the birds, and the beasts, who ami-\n'cably joined in one common country dance,\n\"to the irresistible tune of Orpheus's lyre.\nWhenever I go to an Opera, I leave my\n\" sense and reason at the door with my\n\n(I) He is referred to by Selva, see pg. 145."}, {"page_pdf": 50, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 1425, "texte": "\" guinea, and deliver myself up to my eyes\n\" and my ears.\"\nMy Lord Chesterfield even in his insipi-\ndity does not often fluster, but here he does\nfluster.\nHe reveals a chirk—those of us who know\nwhat Opera was in Italy in the 17th and 18th\ncenturies, know what purpose it ser ved and how\nfrom Monteverdi to Malipiero the musicians\nhave been anything but absurd, and the de-\ncorators from Torelli to Bakst just as grave ;\nthe singers and dancers must not have it all\ntheir own way.\nJust because the singers and dancers of\nChesterfield's day were trivial (and all of them\nwere not that), the danseuseand\ntoo amiable, Lord Chesterfield need not grow\nagitated and commit himself to stupidities.\nOpera is an immense and very serious\nbranch of Theatrical art. The tree has but\ntwo branches — Prose and Lyric — and\nthis Opera is the first off-shoot from the branch\nwe call the Lyric Theatre.\nLord Chesterfield adores the extravagance\nof Ariosto, and Ariosto is the very godfather\nof Opera.\nWell then —\nBut after all I prefer the faulty Chester-\nfield, parodied so fatally by Dickens in\" Barnaby\nRudge\", to the more perfect nobody his son.\nLord Chesterfield and Nollekins seem not\nto have noted one another — but a certain\nSelva, an Italian architect travelling in London\nin 1780, does mention Nollekins. Once.\nHe writes in his day book: \" Sig. Nelechin\nmediocre scultore\" — but then Nelechin\ndoesen't mention Selva at all.\n\nX. Y. Z."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c052", "article_bluemountain": "bmtnaau_1929-10_01#c052", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "164", "page_fin": "164", "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=bmtnaau192910-01.2.17.1", "titre_corps": "SECTION OF A PLAN OF PARIS SHOWING THE SITE OF THE FOIRE ST GERMAIN OF WHICH SCENES ARE SHOWN IN PLATES 15 & 16", "titre_sommaire": "SECTION OF A PLAN OF PARIS SHOWING THE SITE OF THE FOIRE ST GERMAIN OF WHICH SCENES ARE SHOWN IN PLATES 15 & 16", "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": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.44", "debut_caractere": 2049, "fin_caractere_exclue": 2160, "texte": "SECTION OF A PLAN OF PARIS\nSHOWING THE SITE OF THE FOIRE\nST GERMAIN OF WHICH SCENES\nARE SHOWN IN PLATES 15 & 16"}]}, {"article_id": "bm-bmtnaau-1929-10-01-c053", "article_bluemountain": "bmtnaau_1929-10_01#c053", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "164", "page_fin": "166", "image_debut": 44, "image_fin": 50, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.17.2", "titre_corps": "TWO NOBODIES", "titre_sommaire": "TWO NOBODIES", "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": 44, "page_imprimee": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.44", "debut_caractere": 2162, "fin_caractere_exclue": 2766, "texte": "TWO NOBODIES.\n\nTHE FIRST.\nPOOR old Nollekins — Nollekins and his\nDinah — he who had the misfortune to\nhave Mr. John Thomas Smith as pupil, poor\nold Nollekins. The name is that of a Punch\nand Judy showman — a name born for that\njob. My poor old Nollekins, you were cursed\nto become a sculptor! a sculptor!! and your\nPunch's heads and Hangman's hands would\nhave been such bonny bits of carving — your\nold voice issuing from behind the curtain\n\n1. Nollekins and his Times by J. T. Smith.\n2. Lord Chesterfield s Letters. The World s Classics. Oxford\nUniversity Press. Humphrey Milford. Price 2/- each, cloth."}, {"page_pdf": 49, "page_imprimee": "165", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 4143, "texte": "of your show would have amazed even the\nvery ordinary faculties of John Thomas Smith,\nhad a momentary recollection of dignity al-\nlowed the said Smith to stop before your\nbooth.\nBut you became a sculptor and had the\ndeuced hard luck to be misinterpreted by\nJ. T. Smith.\nWas he a good sculptor,(,) this Mr. Joseph\nNollekins? Goodness knows : his work has\nnever been pointed out to me — I have, to\nmy knowledge seen none of it. His life bores\nme, for Mr. Smith is a bore in the way he\npresents it to us. I never come to know Mr.\nNollekins — his pupil prevents this — he is\nfor ever putting things badly and so we get\nbut a portrait of Smith.\nI think one has always known Smith —\nwho without sneering teaches us to sneer.\nThis little cockney born in a hackney coach\non July 23 1766 is a forerunner, one of the\npioneers of the talkies. His voice is common\nand what he says is not carefully considered.\nHe tells of the London twixt 1737 and 1823\nand some interesting people come into the\nrecital, and a few of these are actors and it\nfollows that the book will have an interest for\nthe readers of \" The Mask \".\nBut I doubt Smith's veracity; — his talk\nabout Mrs Nollekins' meanness — his chatter\nabout the Venuses, and' so I doubt if any-\nthing he reports about the stage is to be\nrelied on.\nMr. Nollekins became very rich later in\nlife, and, dying, left Smith £ 100 — Smith\nhad hoped for more. Personally I consider\n£ 100 was £ 95 too muck\nTHE SECOND.\nT\\ HIS nobody was anyhow more than Smith\nwho was not even a nobody: he was anyhow\nLord Chesterfield's son.\nThis nice dull fellow of course never read\nany of the letters of advice that arrived for\nhim week by week; had he done so he would\nhave possibly benefited — possibly gone mad.\nYet his father wrote sense about most things\n- even about the Theatre, a thing few people\nin his position can bother to do.\nThe publish ers of this series as usual have\nmade it almost faultless — no one cares to\nhave an obvious fault pointed out, but to have\nit pointed out over and over again must be\na joy,\nThe design on the back of the cover is\nthe fault I have touched on at times.\nAntimacassars can be lovely things, though\na bit out of date — ill - designed antima-\ncassars are the limit; the design on the back\nof the World's Classics is like an ill-designed\nantimacassar.\nBut to return to Lord Chesterfield.\nThis is good sense:\n\" I could wish there were a treaty made\n\" between the French and the English\n\" ires, in which both parties should make con-\n\" siderable concessions. The English ought\n\"to give up their notorious violations of all\n\" the unities', and all their massacres, racks,\n\" dead bodies, and mangled carcases, which\n\" they so frequently exhibit upon their stage.\n\" The French should engage to have more\n\" action and less declamation; and not to cram\nand crowd things together, to almost a de-\n\" gree of impossibility, from a too scrupulous\n\" adherence to the unities...\"\nAnd this is positive understanding: —\n\" Tragedy must be something bigger than\nlife, or it would not affect us. In nature\n\" the most violent passions are silent: in\n\" gedy they must speak, and speak With\n\"dignity too \".\n... and so on.\n\"It is quite otherwise with Comedy, which\n\" should be mere common life, and not one jot\n\"bigger. Every character should speak upon\n\" the stage, not only what it would utter in\n\" the situation there represented, but in the\n\" same manner in which it would express it...\"\nThere is something not quite right in these\nwords about Comedy; taken too literally his\nblithe remarks on Comedy would mislead us.\n\"As for Operas, \"he goes on, \" they are\n' essentially too absurd and extravagant to\n'mention: I look upon them as a magic scene,\n\" contrived to please the eyes and the ears,\n' at the expense of the understanding; and I con-\n\" sider singing, rhyming, and chiming heroes, and\n\" princesses, and philosophers, as Ido the hills,\n\" the trees, the birds, and the beasts, who ami-\n'cably joined in one common country dance,\n\"to the irresistible tune of Orpheus's lyre.\nWhenever I go to an Opera, I leave my\n\" sense and reason at the door with my\n\n(I) He is referred to by Selva, see pg. 145."}, {"page_pdf": 50, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 1425, "texte": "\" guinea, and deliver myself up to my eyes\n\" and my ears.\"\nMy Lord Chesterfield even in his insipi-\ndity does not often fluster, but here he does\nfluster.\nHe reveals a chirk—those of us who know\nwhat Opera was in Italy in the 17th and 18th\ncenturies, know what purpose it ser ved and how\nfrom Monteverdi to Malipiero the musicians\nhave been anything but absurd, and the de-\ncorators from Torelli to Bakst just as grave ;\nthe singers and dancers must not have it all\ntheir own way.\nJust because the singers and dancers of\nChesterfield's day were trivial (and all of them\nwere not that), the danseuseand\ntoo amiable, Lord Chesterfield need not grow\nagitated and commit himself to stupidities.\nOpera is an immense and very serious\nbranch of Theatrical art. The tree has but\ntwo branches — Prose and Lyric — and\nthis Opera is the first off-shoot from the branch\nwe call the Lyric Theatre.\nLord Chesterfield adores the extravagance\nof Ariosto, and Ariosto is the very godfather\nof Opera.\nWell then —\nBut after all I prefer the faulty Chester-\nfield, parodied so fatally by Dickens in\" Barnaby\nRudge\", to the more perfect nobody his son.\nLord Chesterfield and Nollekins seem not\nto have noted one another — but a certain\nSelva, an Italian architect travelling in London\nin 1780, does mention Nollekins. Once.\nHe writes in his day book: \" Sig. Nelechin\nmediocre scultore\" — but then Nelechin\ndoesen't mention Selva at all.\n\nX. Y. Z."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c055", "article_bluemountain": "bmtnaau_1929-10_01#c055", "volume": "bmtnaau_1929-10_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": 45, "image_fin": 45, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.17.3", "titre_corps": "THE \"FOIRE DE ST. GERMAIN\"", "titre_sommaire": "THE \"FOIRE DE ST. GERMAIN\"", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 1813, "texte": "THE “FOIRE DE ST. GERMAIN”\nJ. S.\n\nTHIS miniature, which is reproduced here in two sizes —\nits actual size, and enlarged — is presented by permission\nof the Director of the Wallace Collection, London.\nThe writing on the miniature is as follows;\n\" V. Blarenberghe 1763\nThe painter \".\nLe grand Escamoteur Chinois, which means to those\nas ignorant of French as myself. \" The great Chinese\nconjurer \" Marionettes sans pareilles du Se Bienfait\navec privilige du Roy\nAgain for the sake of my fellow-sufferers: — \" The Incom-\nparable Marionettes of Sieur Bienfait by appointment to his\nMajesty\nThe king was Louis XV, and M. Bienfait was the second\nin a line of three Bienfait - father, son and grandson. He\nwas Nicholas the second and was born about 1702, dying\nanyhow after 1763, but when is not certain.\nHis theatre was exceedingly celebrated and it was situated\nin the Foire de St. Germain which was destroyed by as cele-\nbiated a Fire, since three different years are acclaimed for its\ncoming and the going of the Fair. This miniature was made\nin 1763, and it is said that the celebrated fire made its first\nand only flourish and crackle in 1760, 1762 and 1763,\nThe painter V. Blarenberghe (1734-1812) had settled in\nParis in 1760. Renowned just for his ability to fill a space of\nabout two and a half inches with hundreds of figures, my rea-\nders will repeat this to themselves in amazed and hushed tones,\nas I do now and will gape in astonishment as I don't now,\nBut there will be some who will.\nIt is the way he filled his inches of space that counts.\nIt will not take you a moment to see that this \" Fair of\nSt Germain \" is a little marvel. The original is in the Wal-\nlace Collection. It has, so far as 1 know, not been reproduced\nin any magazine before.\nCertainly not in a Theatre magazine in Europe or America."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c056", "article_bluemountain": "bmtnaau_1929-10_01#c056", "volume": "bmtnaau_1929-10_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": 45, "image_fin": 45, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.17.3.1", "titre_corps": "[Illustration sans titre]", "titre_sommaire": "[Illustration sans titre]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.45", "debut_caractere": 1830, "fin_caractere_exclue": 1839, "texte": "Plate 15."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c057", "article_bluemountain": "bmtnaau_1929-10_01#c057", "volume": "bmtnaau_1929-10_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": 47, "image_fin": 47, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.17.4", "titre_corps": "THE \"FOIRE DE ST. GERMAIN\"", "titre_sommaire": "THE \"FOIRE DE ST. GERMAIN\"", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 70, "texte": "THE “FOIRE DE ST. GERMAIN”.\nAn Enlargement of the Miniature.\nPlate 16."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c058", "article_bluemountain": "bmtnaau_1929-10_01#c058", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "166", "page_fin": "166", "image_debut": 50, "image_fin": 50, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.18", "titre_corps": "TEATRO GRANARI, ROMA", "titre_sommaire": "TEATRO GRANARI, ROMA", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 50, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.50", "debut_caractere": 1427, "fin_caractere_exclue": 2294, "texte": "TEATRO GRANARI, ROMA\nJ. S.\n[HO knows anything about the Teatro Granari of Roma?\n* It was known to Nolli the cartographer, who marks\nit clearly on his plan by the number 618. That was in 1748.\nNear by is the Teatro Pace, no. 611 of the plan. This also\nis a theatre not universally well-known, but compared with\nthe Granari it is a notorious theatre.\nA thousand selected books will hardly yield a reference\nto the Teatro Granari of the Vicolo De' Granari. Yet here\nin 174.8 was perfomed the intermezzo \" II bravo e il bello \"\nwritten by Rinaldo di Capua. So much we will say to help\nany student.\nIndeed, we point to this little playhouse because here is\na historical corner so obscure that any theatre magazine with\ncapital to back it might feel impelled to do some work and\nspend some time discovering all about it.\nIf they fail \" The Mask \" will solve the difficulty."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c061", "article_bluemountain": "bmtnaau_1929-10_01#c061", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "166", "page_fin": "167", "image_debut": 50, "image_fin": 51, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.19", "titre_corps": "WANTED – A PRODUCER : STAGING THE GILBERT-SULLIVAN COMIC OPERAS", "titre_sommaire": "WANTED – A PRODUCER : STAGING THE GILBERT-SULLIVAN COMIC OPERAS", "signature_source": "JOHN FURSE", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 50, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.50", "debut_caractere": 2296, "fin_caractere_exclue": 2953, "texte": "WANTED - A PRODUCER.\nSTAGING THE GILBERT-SULLIVAN\nCOMIC OPERAS\nBY JOHN FURSE\nFOREIGN visitors to Britain interested in the theatre have\na thin time of it. If they want, for instance, to\nsee Shakespeare done in English, as they naturally often\ndo, one can but send them to the Old Vic. — and really,\nthat's rather hard on someone who is used to the artistic\namenities of a German capital. Not so long ago, asked by\na German to recommend a show to him, I rashly sent him\nto the D'Oyly Carte Opera Company's production of\n\" The Gondoliers \", the best show I'd seen for a month\nor two. A few days later he told me about it; \"So\nquaint \", he said, \" so Victorian"}, {"page_pdf": 51, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 3093, "texte": "Now the Gilbert-Sullivan operas have a unique impor-\ntance in Britain. Not only are they performed by the\nD'Oyly Carte Company at more or less regular intervals\nin London, but they are toured throughout ihe whole of\nBritain, and there is not a town of any note in the country\nwhere every year or two the local theatre isn't packed to the\ndoors for a week or more while the operas are being done.\nThe productions are among the most popular on the\nBritish stage; they are among the best; and they are\n\" so quaint, so Victorian \".\n\" The Mikado\" was re-dressed a year or two ago\nand new sets designed for it. Mr Charles Ricketts, R. A.,\neveryone admitted, improved considerably on the work of\nthe previous person responsible for the wcrk. But still\nthe production of \" The Mikado \"as a whole is more\nthan a trifle distressing. (One daren't say that in an\nEnglish paper, of course: the Gilbert-Sullivan-D'Oyly\nCarte idolaters number millions, and are unrelenting.\nMr Henry Lytton acts Ko-Ko with infinite skill; Miss\nBertha Lewis sings Katisha's numbers magnificently ; and\nthe part of Pooh-Bah never found a better interpreter\nthan in Mr Leo Sheffield. Without a firstrate producer,\nhowever, the ensemble is atrocious. If Mr Ricketts had\nbeen a man of the theatre as well as a painter of taste\nand learning, he might have actually modernised \" The\nMikado\" to the extent the newspapers said he did.\nThe opera has now new mis-en-scene — otherwise it's still\n\" quaint and Victorian \".\nWhen the D'Oyly Carte Opera Company next\nappears in London '6 The Gondoliers \" will be redressed\nby Mr Ricketts and \" The Pirates of Penzance\" by\nMr George Sheringham Mr Sheringham has also, I\nunderstand, done new sets for \" Patience \". I can thus\nforesee numberless articles in praise of the modernised\nproductions, and unless I'm vastly mistaken not a single\ncritic will rise on his hind legs and, looking at the\nproductions with fresh eyes, say \"No good. This is 1929\n— and I've seen what Russia can do — and the Russian\nBallet has been here — and there's a Gordon Craig in\nItaly\". Because there's a widespread belief here in\nsomething called \" the tradition\", which the D'Oyly\nCarte Company is reputed to uphold.\nOf course the Beverley Nicholses of dramatic criticism\nmay believe that a decade or two can establish a tradition.\nSurely it's patent enough, however, that the D'Oyly Carte\nCompany is not upholding a tradition but merely perpe-\ntuating the rather circumscribed views of Sir William\nGilbert. The new scenery and dresses are a step in the\nright direction, but only the first of very many essential\nsteps towards the satisfactory presentation of the operas.\nWho is in charge of the D'Oyly Carte productions? I've\nnever heard of him. I think there is only a stage manager\n— the English stand-by. It would do the English theatre\na world of good were a producer of genuine talent called\nin to tackle the presentation of the operas, so vast is their\npublic. It is for the same reason we all hope Sir Thomas\nBeecham is to take expert advice before staging his operas\nunder the aegis of the League of Opera."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c063", "article_bluemountain": "bmtnaau_1929-10_01#c063", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "167", "page_fin": "167", "image_debut": 51, "image_fin": 51, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.20", "titre_corps": "GETTING ON WITH IT", "titre_sommaire": "GETTING ON WITH IT", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 51, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.51", "debut_caractere": 3095, "fin_caractere_exclue": 4663, "texte": "GETTING ON WITH IT.\nJ. S.\nfUlR. Bel Geddes has been producing a \"Hamlet,* in\nAmerica, the whole piece being arranged so as to\nplay well within two hours.\nThis has entailed a little judicious condensation of the\ntext of the play which is one of Shakespeare's longest.\nIt is, by the way, the Shakespeare version that was used.\nThe First Scene, which we reprint here, was cabled\nacross to us, though we cannot vouch for its being correct\nto a comma. Should our correspondent have omitted\nanything, we trust Mr. Geddes will take any gaps in\ngood part.\nElsinore. A platform before the castle.\nEnter Bernardo to Francisco.\nBer : Who's there ?\nFra : Long live the King.\nEnter Horatio.\nHor : Holla! Bernardo!...\nWhat, has this thing appear'd again to-night?\nFra : I have seen nothing.\nBar: Peace, break thee off ; look, where it comes again!\n(Enter Ghost).\n(Pause : business).\nFra: It is offended. See !it stalks away.\nBer: 'Tis gone. (Exit Ghost). Is it not like the King?...\nFre: Lo! where it comes again, (enter ghost).\nHor: Speak to me. Speak to me, oh speak! (Exit\nGhost).\nBer: 'Tis gone.\n(Pause : business).\nHor: Break we our watch up, and\nLet us impart what we have seen to-night\nunto young Hamlet.\nFor: Let's do't.\n(Business : exeunt).\nWhile We must admit that something a little longer\nwould have satisfied us better, we cannot deny that we\nhave here the happenings, the important happenings, sta-\nted clearly and without any extra to-do.\nNo word has been altered or its position changed;\nthe only thing that has been done is the removal of some\n160 extraneous lines."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c065", "article_bluemountain": "bmtnaau_1929-10_01#c065", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "168", "page_fin": "168", "image_debut": 52, "image_fin": 52, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.21", "titre_corps": "THE GRAND CONVERSATIONS ON NAPOLEON", "titre_sommaire": "THE GRAND CONVERSATIONS ON NAPOLEON", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 52, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.52", "debut_caractere": 0, "fin_caractere_exclue": 3255, "texte": "THE GRAND CONVERSATIONS\nON NAPOLEON.\nJHESE verses seem to have escaped the notice of the anthologists. The book\nfrom which We have taken this piece measures only about 4 1/2 inches;\nhy 3 inches; the paper on which it is printed is cheap stuff and the\ntype small and often damaged ; the pages are not numbered. It is an informal\nbooklet and in the kind of pocket edition anyone could buy and everyone\ncarried. Whether it cost 3d or 6d is not clear.\nWe understand that books like this cannot be printed today for there\nWould not be a sufficient sale at such a price.\nIt was over that wild beaten track a friend of bold Buonaparte,\nDid pace the sands and lofty rocks of St. Helena's shore,\nThe wind it blew a hurricane, the lightning's Sash around did dart,\nThe sea-gulls were shrieking, and the waves around did roar,\nAh ! hush, rude winds, the stranger cried awhile I rove the dreary spot,\nWhere last a gallant hero his envied eyes did close,\nBut whilst his valued limbs do rot, his name will never be forgot,\nThis grand conversation on Napoleon arose.\nAh England, he cried, did you persecute that hero bold,\nMuch better had you slain him on the plains of Waterloo;\nNapoleon he was a friend to heroes all, both young and old,\nHe caus d the money for to fly wherever he did go;\nWhen plans were ranging night and day, the bold commander to betray,\nHe cried, I 11 go to Moscow, and then 'twill ease my woes,\nIf fortune shines without delay, tnen all the world shall me obey,\nThis grand conversation on Napoleon arose.\nThousands of men he then did rise, to conquer Moscow by surprise,\nHe led his men across the Alps, oppress'd by frost and snow,\nBut being near the Russian land he then began to ope his eyes,\nFor Moscow was a burning, and the men drove to and fro;\nNapoleon dauntless viewed the flame, and wept in anguish for the same,\nHe cried, retreat my gallant men, for time so wiftly goes,\nWhat thousands died on that retreat, some forced their horses for to eat\nThis grand conversation on Napoleon arose.\nAt his men they fought commanded by great Bonaparte,\nAttended oy field-marshall Ney, and he was bribed by gold,\nWhen Blucher led the Russians in, it nearly broke Napoleon's heart,\nHe cried my thirty thousand men are kill'd and I am sold;\nHe viewe d the plain and cried its lost, he then his favourite charger cross'd,\nThe plain was in confusion with blood and dying woes,\nThe bunch of roses did advance, and boldly entered into France,\nThis grand conversation on Napoleon arose.\nThen Bonaparte was plann'd to be a prisoner across the sea,\nThe rocks of St. Helena, it was the fatal spot,\nDoom'd as a prisoner there to be till death did end his misery,\nHis son soon followed to the tomb, it was an awful plot,\nLong enough have they been dead, the blast of war around is spread,\nAnd may our shipping float again to face the daring foes,\nNow my boys, when honour calls we'll boldly mount the wooden walls,\nThis grand conversation on Napoleon arose.\nWe have cafehflly followed the spelling, and punctuation of the version of this celebrated\npoem pnnted by Mr. V/. S. Johnson, 60 St Martin's Lane at a date unknown to us in his\nBritish Songster, N. 2 which includes amongst other gems \" Villikins and his Dinah\nJerence s farewell ' and \"Cookey, Darling \"."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c066", "article_bluemountain": "bmtnaau_1929-10_01#c066", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "168", "page_fin": "168", "image_debut": 52, "image_fin": 52, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.22", "titre_corps": "COOKEY, DARLING", "titre_sommaire": "COOKEY, DARLING", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 52, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.52", "debut_caractere": 3257, "fin_caractere_exclue": 4802, "texte": "COOKEY, DARLING.\nJ. S.\n(i)\nThe meat is roasting, cookey darling,\nAnd the taters are boiling for me,\nBut this nasty cruel dog is at me snarling,\nAnd I can't get down the area to thee:\nThe gas-lamps are dimly burning,\nBut my bull's-eye shines so bright,\nThen hasten to your Bobby, cookey, darling,\nAnd we* II have a jolly spree to-night.\nCookey, cookey, etc.\nI m as hungry as a glutton, cookey darling,\nFor two days 1 ve had nothing to eat,\nA slice of mutton, cookey darling,\nTo me I'm sure would be a treat.\nThe leg of a goose or a chicken,\nOr a nice little sop in the pan ;\nLet me in the kitchen, cookey darling,\nWe 11 make the most of our time while\nwe can,\nCookey, cookey, etc.\nMeet me at the corner, cookey darling\nWhen your missus is gone to her bed,\nHasten to your Bobby, cookey darling,\nAnd then we will do as we said,\nFor there I shall be waiting,\nWith my truncheon in my hand\nAnd if you will lend me four-pence, cookey\ndarling,\nA quartern of gin I will stand.\nCookey, cookey, etc.\nSure I m laughing at your missus, cookey\ndarling,\nWhen I think how astonished she would\nbe,\nIf she caught me in the kitchen, cookey\ndarling\nWhen she knew that on duty I should be\nBut the fire shines so brightly,\nAnd the night is cold and wet,\nOpen the door, cookey darling,\nAnd quite jolley we will get.\nCookey, cookey. etc.\n(I) The exact date of these verses is\nunknown to me, hut I should say that they\nare circa or, (as a friend wrote me yesterday)\nversus /860-'65 (it cannot be prior to 185/).\nThe land of their birth is England, the lo-\ncality London."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c069", "article_bluemountain": "bmtnaau_1929-10_01#c069", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "170", "page_fin": "176", "image_debut": 54, "image_fin": 60, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.24", "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": 54, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.54", "debut_caractere": 0, "fin_caractere_exclue": 6142, "texte": "BOOK REVIEWS.\n\nALEXANDRE DUMAS FILS\nDRAMA TIST by H. Stanley\nSchwarz. The New York Univer-\nsity Press. Price $ 4S0Q.\nDUIMAS FILS was popular for twen-\nty-five years or more: Dumas pere\nwas popular for thirty to forty years:\nMolier6 was popular, Shakespeare too;\n— but these things belong to the past.\nNot even one of the seventy mil-\nlion ants which are busy today, 1929,\nin my garden can bother to concern\nitself with that which was once the year\n1918; so how can the Public be expec-\nted to bother its many heads about the\npast so long passed by — about 1873,\nthe year in which Dumas gave it 44 La\nFemme de Claude\nThe public, like the ants, prefers\nthis year to any other.\nToday is June 1st 1929: I am in\nItaly: it is unpleasantly close — no\nblue sky and the thunder seems lurking\naround — all dreary and depressing.\nJune 1st of 1918 was in Italy very\nhot; the sea was calm and delicious,\nthe sky blue and clear; a cool breeze\nkept the whole day fresh.\nYet the Public of 1929 prefers\nthe inferior day of today to the vastly\nmore delicious day of eleven years ago.\nI don't.\nWere I a writer striving to improve\na public I would, on perceiving the\nant-like sense of the Public, give it\nall up and go off and pick up crumbs\nand tiny bits of straw in the hope of\nsetting it a good example.\nBut Alexandre Dumas fils never\nsaw this: I doubt if he ever saw any-\nthing. He lived so in touch with\nthings. He had a vague notion of these\nthings gleaned by hearing different\nreports day by day. These scraps he\nkept, recorded them — and referred to\nthem later on.\nI suppose he did this: even as I\nonce kept a record of what was hap-\npening to the sky, the sea, the sun\nand the wind in 1918-19-20. My re-\ncord has little pictures added to it here\nand there so as to force people who\nshall see it in 1938 to prefer one day\nto another even be the day 7392 days\nmore out of date than the day they\nare living through at that moment.\nAnd if Dumas fils had made more\nattractive his Reasonable Conclusions\n— and that is the title I would give\nto all his works — made them hap-\npier things by a little inconsequent em-\nphasis here and there about nothing,\nhad the tail pieces to his books been\nlittle designs, plain or coloured, instead\nof words, those final words, I do\nbelieve that some day the Public,\nlooking back like the celebrated wife,\nwould turn into pillars of sugar, become\nall sweetness for a moment... intent,\nabsorbed... and then of course back\nto its own far sweeter human shape\nand its humanity.\nBut Dumas fils was bent upon re-\nforming the world, a world determined,\ncome what come might, never to be\nreformed,\nFils was weak: fils somehow felt\nthat he was born out of wedlock, — that\nwedlock which so bores the Public\nwhen past, is so necessary to it in\nthe Present, and let us hope inevitable\nto it in the Future.\nFils was not exactly one of the\nPublic; to him the present was not only\nan important thing, it was everything.\nFils was in fact limited to the pre-\nsent — and now he is in the past\nwhile his pere is still going strong.\nTHIS book on Dumas fils in in-\nteresting in a not quite dull way. It\nappears to be the only book in En-\nglish on the younger Dumas which\ngives a proper smattering of his life, a\nnotion of his ideas and something of\nhis technique.\nIt is very interesting to me because\n1 like to witness the spectacle of Pa-\nris accepting a moralist who teaches it\nwhat it ought to do by means of ser-\nmons from the boards. I love to see\nand hear all that going on in Paris\ntwixt 1844 and 1895 ... Paris. And\nto think, too, that he, the son of old\nAlexandre, took up writing, — even\nwrote plays — succeeded very well,\nand yet spite of all in the last estimate\nfailed. This passion for teaching morals\nthrough dramatic sermons, never found\nin the father, grew strong in the\nson; the son sported with moral things;\nthe father was only Dumas pere, ... than\nwhich anything more moral without\nbothering to know of it never was or\nwill be.\nThose old tales of Musketeers and\nKings and Cardinals, of the Due de Ri-\nchelieu, ... those long and, to me, ma-\nsterly conversations out of which you\nfeel the life of the persons emerging\ntill you fancy you are with them and\nthey breathing, walking, visible.\nBut you've not read one of these\nconversations for years — if ever.\nThose between the Due de Richelieu,\nand ... I forget in which book, delight\nme even in translation. It is, of course,\nin one of the Louis XV books, not\nLouis XIII or XIV: — that's the\nCardinal Richelieu. Quite another mor-\nsel. It is such fine stuff, this Dumas stuff.\nIt's not Proust, I know, nor Bal-\nzac nor Stendhal: it's not Wilde or\nWilder : it's ordinary Dumas — plain\nBeaujolais au carafe. Everyone drinks\nit and enjoys it and so it* s not even\non the wine list. It's like the uncon-\nsidered air one breathes, the good bread\nand salt one eats — these things so\nunconsidered are too common to con-\nsider. Who ever spoke of bread?...\ndid you know anyone stop to say a\nkind word about salt? These are things\nabout which even a kind word is not\nnecessary,\nEnfold your little son who did\ntry so hard, enfold him in your big\narms and sleep well, you delicate old\ngiant. I for one find you a very great\nartist.\n\nTHE STORY OF MY LIFE —\nMY MEMOIRS, by Yvette Guilbert.\nGeorge G. Harrap. Price 2 / /-net.\nTALE ONE.\nNEVER HEARD OF HER.\nBERNHARDT in 1894 invited\nYvette Guilbert to supper and\ngave her one of her fans inscribed\n44 affectionately and admiringly yours\nSarah Bernhardt \". Yvette went to\nAmerica three weeks later, Bernhardt\nfollowing still three weeks later.\nIn New York City the reporters\ntold Sarah Bernhardt as she stepped off\nthe boat that a well known French artist\nhad had a great success in their city.\n44 Who can this be?\" said Sarah\nBernhardt.\n44 Mile. Yvette Guilbert answered\nthe American reporter.\n44 Don't know her \" said Sarah.\n44 Do you mean to say that you've\nnever heard of Yvette Guilbert ?\n44 Never \".\n44 But we were told she was a\ncelebrity in Paris \".\n•4 Don't know her \" said Sarah.\n44 I've never even heard her name .\nTALE TWO.\n44 What's her name ? \" asked \" a\ncertain American business man reputed\nto have made 600,000/000 dollars out"}, {"page_pdf": 55, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 6597, "texte": "of munitions and said to be a pos-\nsible person to help Madame Yvette\nGuilbert found a school of the Theatre\nin New York.\nMadame Guilbert had gone to see\nhim in his office with Miss Alice L....\nand Miss L.... had explained what they\nhad called for (ie, some of his money),\nand he had been making paper balls\nand tossing them into the air when he\nsuddenly 44 dropped the juggling and\npointing a ruler at me said 44 what's\nher name? \" 44 Her name? Why, that\nis Madame Yvette Guilbert, the French\nartist \".\n44 Never heard of her \".\n44 Oh, you must have ; Madame\nGuilbert has been giving concerts in\nNew York every week for the last\nthree years \".\n44 Never heard the name \", and he\nbegan to toss up his little paper balls\nonce more.... and so on.\nNEVER HEARD OF HIM.\nNever to have heard of a famous\nstranger is not quite excusable, but to\nhave forgotten a not famous friend is\nvery strange.\nMadame Yvette, in her amusing\nbook ably translated by Madame\nBeatrice de Holthoir seems to have\nforgotten several of her friends in\nEngland: perhaps if asked she too\nwould answer 44 I've never heard of\nhim \".\nOn the other hand she recalls\nDan Leno, Marie Lloyd, 44 and then\nIrving, the great Shakespearean tra-\ngedian, so much a gentleman, so much\nin love with his art, who, famous as\nhe was, did not manage to arouse my\nenthusiasm\" ...: also 44 Cyril Maude,\nand his wife, who like me suffered\nfrom Kidney trouble \".\nShe remembers some of our writers,\n...George Moore — Knobloch — Fa-\ngan — Arthur Symons -— Granville-\nBarker and Grein. Does she not\nremember Haldane MacFall or John\nMasefield, or even Max Beerbohm?\nShe remembers a number of thea-\ntrical and social people: — Sir Alfred\nButt 44 who neglected my publicity for\nthe sake of my fellow actor, Consul,\nthe chimpanzee\"; 44 Fred Terry and\nMiss Neilson so beautiful Beerbohm\nTree, Bourchier, Boucicault, come in\nfor mention — for the barest mention\npossible.\nThen there is Theresa — English\nreaders would have liked to learn who\nexactly was 44 La Grande Theresa \".\nBeing a reviewer of books by\nprofession I, Drury Pervil, have an\nodd collection of paper-bound books\n— some 2300 books line the walls of\nmy little den in Fleet Street which\nmeasures eleven feet square. They\nhelp to warm my room in the winter,\nfor they act as do those fur linings of\nthe celebrated coats worn by successful\nperformers —- and amongst these books\nI find 44 Memoires de Theresa ecnies\npar Elle-Meme (3rd Edition) Paris E\nDentu 1865\nI have never read the book, and,\nhad I the time, now would be the\nmoment — if only to see if she forgets\nany of her friends ...those who, anyhow,\nwere artists of sorts ...or any artistes.\nArtistes and artists are not very much\nalike.\nSeveral films of a nice thick pro-\ntective lining cover the perceptions of\nperformers — artistes — or they would\nretreat sooner than they do from the\npublic stage and forget who Bernhardt\nwas while intent upon who Goethe is.\nArtistes have to be less sensitive -—\nthough Madame Guilbert all through\nher book is ever more than sensitive\nto the sufferings of her fellow artistes\nand unmindful of the feelings of ordi-\nnary millionaires, artists and other\ncommon folk. But Madame Guilbert\nhas a tender corner in her heart for\nthe big middle class — although she\ndoes not say so she lets you see that\nit is the middle class she understands\nthe best.\nIt is a charming book by a charming\nperformer.\n\nFIRST PLAYS hy Ivor Brown.\nHERE WE GO ROUND by Evelyn\nSharp. Qerald Howe Ltd. Price 2/6\neach.\nWO volumes of the series being\nissued by Gerald Howe Ltd un-\nder the classification 44 The Beginning\nof Things \" edited by G. Elliot Smith\nF. R. S, — two theatre volumes and\ntherefore of interest to scholars young\nand old of the Drama and the Dance.\nBoth Miss Sharp and Mr. Brown\nhave gone to Sir W. Ridgeway, F. M.\nCornford, jane Harrison, E. K. Cham-\nbers and Cecil Sharp for assistance,\nthe five authorities being listed in both\nwriters' short Bibliographies.\nThe origin of the Dance and of\nthe Drama are dry themes — and\nas we read we still feel thirsty for\nsomething — is it for the truth we\nthirst ?\nBoth Mr. Brown and Miss Sharp\nare obliged to avoid giving us the truth.\nIt might please them to see a few of\nus refreshed, but to do so at the expense\nof the others would never do. So they\nsteer clear of things they would\nsincerely like to face and we are unre-\nfreshed, and the others not lowered into\nthe well.\nWhat books are best then? Books\nwhich parch a hundred believers or\nthose which drown the sceptical ?\nThe authors are not on the side\nof the angels,.,, presumably assuming\nthat these can always look after them-\nselves, and that a wilderness of monkeys\nis 44 so sweet \". But for this the authors\nof these two volumes could not have done\ntheir work better — and it is not con-\nceivable that anything more difficult to\ndo could have been asked by a public\nnot ~ caring a fig what sort of book\nit gets.\nThe publish ers have bound these\nvolumes perfectly and the paper used\nis good,* the type topping, — But\ngosh ! what a public ... if this is what\nit is asking for.\n\nGILBERT AND SULLIVAN. A\nromantic prose version: of the Famous\nOperas, hy Lillian Bradstocl£. Cecil\nPalmer. Price 7 / 6.\nTUTlSS BRADSTOCK is enthusiastic\nthe Savoy Theatre of 1881\n— and they who love Gilbert and\nSullivan are enthusiastic too. — I know\nI am.\nAnd so when Miss Lillian Brad-\nstock starts off on the Mikado with\n4 4 Long tassels \"of blossom hung low\nover the courtyard of a stately old pa-\nlace in Japan \" I see the eyes of ten\nthousand lovers of Gilbert and Sulli-\nvan glistening,.... And so I like all this.\nBeginning about the Pirates of Penzance\nshe writes 44 Long and long ago, the rocky\ncoast of Cornwall was the hiding place\nof a number of pirate gangs... \": about\nthe Gondoliers 44 Venice lay bathed in\nglorious golden sunshine \" .... tirrile tir-\nrila. 44 Not so very long ago, a band\nof fairies held sway over this stately\ncountry of England \".... there we are and\nthere* s lolanthe. 44 It was a beau-\ntiful sunny morning about the middle\nof the 16 th century, and the grim\noutline of the Tower of London....\n... Right ! you' ve guessed it first time\n— Yeomen of the Guard,\nBut what about the next — 44 The\nlittle fishing village of Rederring lay\nbasking in the Cornish sunshine Can\nyou guess that one?\nI won't give it away — for after\nall you must buy the book — eve-\nryone that I know says so — you'll\nfind it ever such a sweet companion\nfor many many days and winter eve-\nnings — so come and buy and bask in\nthe sunshine of Gilbert and Sullivan and\nMiss Lillian Bradstock at the little\nfishing village of Rederring,"}, {"page_pdf": 56, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 7042, "texte": "MEMOIRS OF LORENZO DA\nFONTE9 Translated with an Intro-\nduction and Notes, by L. A. Shep-\npard. Routledge. Price 15-/net,\nHPHESE Memoirs of Mozart's Li-\nbrettist are now for the first time\npresented in an English translation,\nThe book, written in the author's\nold age in America, has, as the trans-\nlator points out, a distinctly though not\navowedly apologetic purpose and aim,\nbeing designed by Da Ponte to protect\nhimself from those of his fellow coun-\ntrymen 44 political exiles from their\nnative land, like him dependent on\nteaching for their livelihood \", who\nsought to discredit him with his Ame-\nrican pupils and friends by communi-\ncating their knowledge of his past life\nin Europe.\n4 4 There can be little doubt there-\nfore \" writes Mr. Sheppard, 44 that\n44 Da Ponte found himself forced to\n44 present his own version of events,\n44 omitting awkward facts, slurring over\n44 and confusing others, in order to\n44 produce a story in which he would\n44 appear, in spite of a few venial\n44 faults, a man of letters now of\n45 miimoeachable conduct, magnanimous\n44 and generous towards his enemies,\n44 ever a victim of the malice, fraud\n44 and jealousy of others\nIt is necessary to bear this in mind\nin reading the book, and the translator\nhas added many useful notes which\ncorrect some of Da Ponte's otherwise\nmisleading statements and inaccurate\ndates in various instances, which would,\nuncorrected, confuse the reader.\nThese Memoirs cover the author's\nlife from his youthful escapades and ad-\nventures in 18th century Venice; the\nyears of his life at Vienna and of his as-\nsociation with the Imperial Opera-House\nthere ; they throw a vivid light on the\nrelationship of the Emperor Joseph II\nto the Viennese theatre life and per-\nsonalities; tell of Da Ponte's associa-\ntions with Mozart and other musicians,\nartists and impresarios; his later life in\nLondon in association with William\nTaylor, director of the King's Theatre\nin the Haymarket, and the endless\nfinancial embarrassments into which that\nassociation brought him ; and finally of\nhis escape to America and his life\nthere as bookseller and teacher.\nThe whole book is entertaining,\ngives us many intimate glimpses of\nnotable figures, is furnished with an\nIndex and many helpful notes, and\ncontains some good illustrations, inclu-\nding a view of the Interior of the\nKing's Theatre, and portraits of the\nEmperor Joseph II, of Mozart, of the\nauthor, and of the foxy Madame Mo-\nnchelli and that 44 infernal demon \"\nMadame Brigida Banti.\n\nDRAMA IN GLOUCESTER-\nSHIRE (The CotsWold County) by\nTheodore Hannam-ClarlMinchin\n& Gibbs6 Gloucester; Simpfain Mar-\nshall, London. Price 5j~.\nHIS is one of those really useful\nbooks the compilation and writing\nof which 44 The Mask \" is always\nadvocating, as collecting and collating\ninformation about some individual\ntheatre, district, or personality, instead\nof presenting a rechauffe of well-known\nfacts of the whole world theatre.\nMr. Hannam-Clark is a solicitor,\nand devotes his leisure to the study\nof the theatre records of his county,\njust as do so many scholarly Italians,\nwith the result that they produce little\nbrochures or larger books full of valuable\ninformation.\nMr. Hannam-Clark in his Prologue\nstates his most sensible reason for\nhaving entered upon his work; 44 I\n44 compile this book only because no\n44 one else has done it.... My late father's\n44 collection of Gloucestershire books\n44 and my own theatrical one of several\n44 hundred volumes have stood well a\n44 severe test for reference purposes,\n64 with some help from the British\n44 Museum and Drama League and\n*e Archaeological Libraries, the Public\n44 Libraries of Cheltenham, Cirencester\n44 and Gloucester, and the Gloucester\n44 Guildhall records, whose librarians\n44 and their staffs have been very\n44 helpful\nMr. Hannam-Clark's love for the\ntheatre is evidently deeply rooted, for\nhe further tells us that for years, after\nhis days at the law, his' evenings were\ndevoted to acting. 44 There are few\n44 important halls in the County where\n44 I have not performed, and none (I\n44 think) in Gloucester, Cheltenham or\n44 Stroud. V/henever possible, I have\n44 accepted invitations outside, and have\n44 thus played in theatres of London\n44 (including the Haymarket and Strand),\n44 Stratford-on-Avon, Cardiff, Brighton,\n44 and (by way of a novel holiday in\n44 1926) as far afield as Bayes Theatre,\n44 New York, with a 44 Gloucester\n44 Vale \" Company, visiting also Glou-\n44 cester, Massachusetts\nAfter years of this acting, starting\nafter the day's work to 44 drive a loaded\ncar \" to some neighbouring or distant\nplace, 44 bear the strain of an evening's\nentertainment and drive home again,\nnext morning starting out at 8.30 \",\nand after the 44 playing of nearly two\nhundred parts (two or them over one\nhundred times) \" Mr. Hannam-Clark\nfelt that 44 coming middle age \" asked\nfor some rest, and so decided to *\ndevote his leisured evenings to the\npreparation of the notes which make\nup this book, a task, the accomplish-\nment of which entitles him to the\ngratitude of theatre students.\nStarting from the earliest records\nof old religious plays, he works down\nto the performance in February 1863\nat the Corn Hall, Cirencester by Miss\nEllen T erry and her mother, of which\nthe account in the 44 Wilts and Glos.\nGazette is worth quoting from : —\n44 Mrs. Terry does not yet wish her\n44 young daughter to go out by herself,\n44 and although she (Mrs. T.) has not\n44 acted for 15 years, she consented\n44 to do so on this occasion .... In\n44 Miss Ellen Terry, although almost\n44 a child, being only 1 5 years of age,\n44 we see an actress who will shortly\n44 shine in the highest rank of her\n44 profession. We consider her acting\n44 wonderfully good, particularly when\n44 we know that, with an unselfishness\n44 which did her much credit, she only\n44 fixed a small share of her attention\n44 on herself and her own acting, and\n44 by far the largest share on everybody\n44 and everything else, always on the\n44 look out to help an actor out of a\n44 difficulty, even to taking his sentence\n44 and ingeniously making it her own,\n64 and ever and anon keeping a\n44 watchful eye on the scenery and\n44 stage business ... \".\nIt is to be wished that many men\nof like enthusiasm and affection for the\nhistory of the English theatre would\nget to work in their own counties, so\nthat we might have a complete series of\nthese regional histories and records of\nthe drama and the theatre.\nBut we hope, if they do this, they\nwill do it without being organized to\ndo it — for the Drama League is all\nvery well.... but.\n\nEASTER AND OTHER PLAYS,\nby AUGUST STRINDBERG (An-\nglo-Swedish Literary Foundation. Jo-\nnathan Cape, 7/6.\nHj HIS is the first publication of the\n* Anglo-Swedish foundation, the\ncreation of which is due to Mr. George\nBernard Shaw. As it will be remem-\nbered, he was awarded the Nobel\nPrize in literature by the Swedish\nAcademy in 1928, when he offered\nto give the whole sum — 1 18,165\nSwedish crowns — 44 for the purpose\nof encouraging cultural intercourse\nbetween Sweden and the British"}, {"page_pdf": 57, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 6866, "texte": "Islands and promoting a knowledge and\nappreciation of the literature and art of\nSweden in Great Britain. \" So says\nMr. Erik Palmstiema in the Foreword.\nAnd then, almost as wishing to\ndamn Strindberg in the eyes of the\nEnglish purchaser of this first volume,\nsomeone or other selects for it the four\nleast representative plays and someone\nelse permits the dastardly blunder. No\nenemy of Strindberg could have acted\nwith more jealous care for his discom-\nfiture than the two, whoever they may\nbe, who selected and approved this\nselection. Was no English Dramatist\nat hand with whom to take counsel ?\nno true admirer of this great Swedish\nwriter. Two plays which should have\nbeen in this first volume are 44 The\nFather \" and 44 Miss Julie \". To\nbegin with, 44 The Father \" was written\nin 1887, and 44 Miss Julie \" in 1888 \"\nwhereas the four plays which we have\nbeen given were written in 1901 and after.\nThe Introduction by Professor\nJ. G. Robertson is also unfortunate.\nWhat but this can one say for it in\nits lame attempt 44 to promote a know-\nledge and appreciation of the literature\nand art of Sweden in Great Britain\nDr. Robertson writes of Strindberg\nthat he was 44 Crushed and broken,\ndespairing, mad \", and asks 44 is it to be\nwondered at that his life is strewn\nwith unforgivable sins against the Holy\nGhost ? \" If I should not be thought to\nbe irreverent, I should murmur 44 Holy\nWillie! \" Really, Dr. Robertson! and to\nsay that44 his genius was perverted by the\nmisfortunes of birth and upbringing\nthat 44 he was helplessly at the mercy\nof passions — of hate as of love —-\nover which he had no control \" ; or\nagain, 44 He found in life no sympathy,\nno permanent friends, no love of the\nkind that could resolve his distraught\ncomplexes into harmony I wonder\nif Dr. Robertson ever knew Strindberg,\nor ever knew one of his many friends.\nDid he ever see him 44 crushed and\nbroken \" or is it only a bad guess ?\nWe are a little surprised that Mr.\nGeorge Bernard Shaw allowed such\nan Introduction to appear: but then\nperhaps our noisy egoist has ceased\nto have any interest in the English\nsuccess of his brother Strindberg.\n\nTHE BIBLE IN SPAIN. George\nBorrow. Oxford University Press.\nPrice 2j~.\nTHE AUTOBIOGRAPHY OF\nLEIQH HUNT. Oxford University\nPress. Price 2j~.\njj HE Oxford Press continues to\nstrengthen its series \" The World's\nClassics\" and Hunt's 44 Autobiography \"\nand Borrow's 44 Bible in Spain \" are\nthe two latest pilasters which have been\nadded to the edifice. One wonders\nwhat modern books will get into such a\nseries fifty years from now. Will a\nConrad be found there ? — what\noutstanding book has he made ? Will\nanything by Wells be there ? or by\nEdgar Wallace ?\n\nCONTEMPORARY MOVE-\nMENTS IN EUROPEAN LITE-\nRATURE Edited by William Rose\nM. A. and J. Isaacs M. A. Routledge.\nPrice 10/6.\nIT is nice to know something about\nProust, Capek, Joyce, and Valery\nand about their work.\nIs it or isn't it ? It is: and yet\nwho are all these ? These four head\nthe movement and others follow.\nIsn't it time to stop calling attention\nto movements and groups and fix upon\none man as best of the bunch ? ]\nHere in this collection (very well\ndone by Mr. Rose and Mr. Isaacs)\ncome learned Doctors from Spain,\nfrom Italy, from Russia and France\nand from Holland, and they lecture to\nthe students at King's College all about\nit. And from Czechoslovackia comes\na deputy, and Scandinavia is repre-\nsented.\nEngland is not left out, though to\nmy way of thinking it's England with\nthe prince of literature left out.\nIt is Mr. j. Isaacs writes of its\nLiterature and omits the name\nBeerbohm.\nM. Saurat, attempting to assess\nthe influence of the war on present\nday literature, comes to Proust. Proust\naccording to M. Saurat seems to be\nan analyst, and that, if you yourself can't\nanalyze, can often prove to be a treat:\ngetting a book by an analyst is then\na real experiment.\nIf he enjoyed himself, this analyst,\nthen what is the matter with the Via\nGaribaldi? Valery can't make up\nhis mind to -— or to —- et cetera.\nAnd Maurois is 44 more of a force for\nthe future than the master of an\nachievement in the past \". Literature\nin Europe is either terribly vague\naccording to these critics or it is the\ncritics who are vague.\nWhat I would have liked to learn\nis whether one of these can write\nwell, and what is the kind of good\nwriting the said one writes: a little of\nit analyzed; I would very much like\nto know about a writer and good\nwriting and what goes towards making\nthe writing good. The writers in this\nbook are concerned with conception —\nsubject — tendencies of thought. It's\nthe delivery would interest me.\nIn a past age and a grander age\n— an age when it went without\nsaying that if you wrote at all you\nhad to write well — really well —\nany opinion would have been well\nworth hearing expressed — or rather\nreading its written expressien. Today\nit is nothing we feel — an engineer\nexpresses more — the turning lathe is\nthe modern pen, we say.\nWell, until you stop to pick cut\nthe one writer from the hundred the\nlathe will (for the moment anyhow) be\nmightier than the pen.\nThis volume is rather like those\nwonderful books about our Lord Byron\n....saying unto us 44 Do you know what\nI take this man to have been? \" never\n44 Do you know what it is makes 4 We'll\ngo no more aroving by the light of the\nmoon \" a miracle. Byron gnashing his\nteeth, — Byron thinking things out —\nByron the bad boy of the family : Byron\nat sea and actually asleep during a storm.\nAll this we get with new readings.\nWho ever tells us what it takes to\nwrite 44 and love itself have rest \" ?\nWell: I'm enjoying this book by\nIsaacs, Saurat, Rose, Pastor, Del Re,\nMirsky, Robertson, Selver and Ham-\nmtjes, for unless I enjoyed it I should\nquestion every word of it and should\nwonder what King's College was about.\nAnd that would take me far too\nlong, if I wanted to answer the hundred\ndoubts which this book raises in me:\nI mean I haven't a whole month to de-\nvote to this one subject, the doubtful sig-\nnificance of Literature today with the\nfew masters (as usual) omitted.\n\npnrr^n~TiT~—rrmnri mrr IMTTNWWN TIWIII TTI D-gnTiiwr-rr-nrr- TTT— peace, mother, O peace, mother,\nYour weeping doth me grieve;\n0 1 must suffer this,\" he said,\n<4 For Adam and for Eve.\"\n44 O how can I my weeping leave,\nOr my sorrows undergo,\nWhilst I do see my own Son die,\nWhen sons I have no mo'?\"\n44 Dear mother, dear mother, you must take\nJohn,\nAll for to be your son,\nAnd he will comfort you sometimes,\nMother, as I have done.\"\n44 O, come, thou John Evangelist,\nFnou'rt welcome unto me,\nBut more welcome my own dear son,\nThat I nursed upon my knee.\"\nThen he laid his head on his right shoulder,\nSeeing death it struck him nigh :\nThe Holy Ghost be with your soul, —\nI die, mother dear, I die.\"\nOh the rose, the rose, the gentle rose,\nAnd the fennel that grows so green !\nGod give us grace in every place\nTo pray for our king and queen.\nFurthermore for our enemies all\nOur prayers they should be strong.\nAmen, Good Lord! your charity\nIs the ending of my song,\nI will pray for the King and\nQueen all right, but the rose the rose\nand the virgins seven and praying for\nthe enemy simply won't do — at least\n1 can't do it to the command of the\nsinger. That's why I like an old\nPagan carol best — the words, I mean.\nBut if I had a piano — if I had\nthe gift for reading music at sight -—\nI know I should write something\nwhich would cause 30,000 copies of\nThe Oxford Book of Carols to be\nsold in one day... on anyhow three co-\npies.\nWhy doesn't the Oxford Univer-"}, {"page_pdf": 59, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.59", "debut_caractere": 0, "fin_caractere_exclue": 6479, "texte": "sity Press know how to advertise —\njust a little more, rather better?\nI confess to being utterly ignorant\nabout the management of the Oxford\nUniversity Press, and it may be a poor\nimpression I have received. Yet while\nentirely an admirer of its organization,\nits creative output, I somehow find\nmyself wondering whether it has mas-\ntered the awful art of distribution as\nit might do — and as it surely will do\nin time.\nDistribution is essentially a cunning\nAmerican art as is advertising. I read\namazing good notices of an Oxford\nPress book in 44 The Times \", in\n44 The Telegraph \", in the 44 Daily\nNews \", the 44 Daily Mail \", 44 Ex-\npress 44 Manchester Guardian\n44 Yorkshire Post\"; yet when I go\ninto a bookseller's shop and look\naround for a copy of the amazingly\nwell noticed book, dash it, I can't\nfind one.\nI go out and peer in at a window\n— not one displayed.\nI did this about a book I was keen\nto see everywhere and found nowhere,\nalthough from the 44 l imes \" to the\n44 Express\" every paper had said it\nwas a first-class, British, manly, top-\nping book.\nThe Oxford University Press is a\nnoble institution, but thai is no reason\nfor its not realizing the essential ma-\nterial practicalism of this age.\nIt is an honour to have a book\npublished by the Oxford University\nPress, printing, paper, binding, courtesy\nof the whole management being per-\nfection; — but business is after all\nsomething : and I can suppose that an\nauthor, even the most British spirited\nof British, might feel that after all\nbusiness results are what are desirable.\nThe great firm, I have heard, always\ndeals in a most businesslike way about\neverything: its contracts are all that\ncould be desired by the two contracting\nparties — Publisher and Author —\nbut results — what of these ?\nAnyhow, I, for one, would see\nsuch an exceptionally sound Publishing\nconcern better advertised and its books\nbetter displayed.\n\nSHAKESPEARE AND CHAP-\nMAN AS TOPICAL DRAMA-\nTISTS, by Percy Allen (Cecil Palmer,\nPrice 7/6). _______\nTHIS book purposes to say that\nChapman had got Shakespeare so\nnicely on the brain that he did 44 with\nsurprising ingenuity and felicity, trans-\nmute, at will \" certain scenes from\nthe plays of the said Shakespeare -— and\nthere you are. He transmuted 44 their\nphraseology and ideas \" only, says the\nauthor.\nHe gives a few examples of precisely\nwhat he means. Shakespeare wrote\n44 Heaven's cherubim horsed upon the\nsightless couriers of the air and then\nChapman writes :\n\" Like death,\nMounted on earthquakes\nIs that middle stump or not? Why,\nthe man's a beastly thief.\nAgain:\n\" Fair is foul and foul is fair:\nTover through the fog and filthy air/'\nNow who wrote that? Don't all\nsay at once 44 Chapman \" — Shake-\nspeare wrote it: but what did Chap-\nman write ? -\nThrough foul and fair...\nToss you into the air,\nIf that isn't 1. b. w., I don't know\nwhat is.\nq Of course there will be peo-\nple who will say that the first piece\nby Shakespeare, about 44 Heaven' s\ncherubim,\" has ten or twelve different\nreadings, no two of which are alike\nand that 44 Fair and foul \" was put in\nby somebody later, and that the word\n44 air \" was really hair — 44 filthy hair\nbut then those are people who treat the\nmatter without sufficient thought. This\nbook I am glad to say is one which\nimpels thought.\nTo take another and better example,\nShakespeare's\n\" You have displaced the mirth, broke\nthe good meeting\nWith most admired disorder ; \"\nhas so got into Chapman's brain, so\nutterly possessed him, that without\nknowing what he is doing, he writes ;\n44 Ladies, ye have not done our ban-\nquet right I think the case for the\nplaintiff is proved: but if there is the\nfaintest doubt remaining in any reader's\ncharitable heart, it will be instantly di-\nspelled by the following: -\nShakespeare: I have seen her... unlock her\ncloset, fake\nforth paper.\nChapman: - \" Make haste\nTo see the dangerous paper/'\n1 ask you !\n\nTHE LONE HOUSE MYSTERY,\nby Edgar Wallace. W. Collins\nSons & Co., London, Price 3J6.\nIT is not as though I go unwillingly to\na thriller by Mr. Wallace, for I\nbelong to that strange crowd of English\nreaders who occasionally like to waste\nthe unforgiving hour with sixty minutes\nworth of duty dodged and I like a\nthriller. And I have ever enjoyed a faint\nthrill from the books of Mr. Wallace\n— from those I bought and those I have\nhad sent me to review.\nBut somehow the elements and\nthe English climate conspire against\nMr. Wallace. Fog — mist — rain —\ndamp are bad for books. Perhaps a\ndetective story should not be laid in\nEngland — the Detectives should\nanyhow not be Britons and the writer\nmust never be too clever or too dull.\nMr. Wallace is a mosaic of twenty\ndifferent clevernesses : like the fox of the\nfable who, had he written a tale of\ncrime and detection, would have\nemployed ail his tricks and forgotten\nthe main one. The cat would never\nhave done that. She would have been\nout of the bag in a second. Mr. Wal-\nlace, to my mind, forgets that main trick\n— which is, to carry us on to the con-\ntinent, and to do it all there. We can\nbe far more easily fooled about things\nthere, for we know its shimmering sur-\nface only, and these tales, after all, deal\nwith Hash surface things.\nAnd this is one of the reasons\nwhy I so vastly prefer Mr. A. E. W.\nMason's 44 House of the Arrow \",\n44 No Other Tiger\", and 44 Villa Rose\",\nto Mr. Wallace's 44 The Ringer\n44 Terror Keep\", and 45 The Lone\nHouse Mystery Wallace brings in\nthe foreign element now and again but\nfrom the wrong foreign parts. In the\nshape of Indians — brown, not red —\nand these poor souls only emphasise the\ndamp and foggy nature of the place\ninto which he has dragged them and\nwhere in he dumps his story.\nNo firework will go off properly\nwhen damp — the display will be\nmore dismal than is necessary. But\nin the crisp air of Mentone, or travelling\nswiftly in the Paris-Lyon express —\narriving at the Hotel International at\nBeauvantage, that charming village\nthree and a half miles, or a little\nfurther, from Beaujeu — what may\nnot click happily —- what not be put\nupon the spongy readers — who dare\nreceive it other than the author wills.\nAgain, the British detective is really\nnot the kind to sit for a full-length\nportrait — he is too genuine. To us\n— to me — the Frenchman is the\nfellow: he who shows a heart even\nif he have none — is a brilliant without\never having been a rough diamond —\nunderstands human nature — is a\nwalking Montaigne, Voltaire. and\nChopin, rolled all in one — is a\nHercules of strength — a Machiavelli"}, {"page_pdf": 60, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.60", "debut_caractere": 0, "fin_caractere_exclue": 6590, "texte": "of cunning — loses his head — his\ntemper — is \" human \" — and above\nall, is not real enough to spoil the fun.\nWallace's policemen are cold vivid\nrealistic portraits — one cannot see the\nman for the likeness.\nBut \" The Lone House Mystery,\"\nbound in nice blue cloth, is well worth\nthe 3/6 Messrs Collins ask for it —\nand ask in these words, saying on the\nwrapper \" This is a thriller which\ngives us all we have learnt to expect of\nEdgar Wallace — Murder, Mystery, De-\ntection, Excitement, and a little Love.\"\n\nEIGHTEENTH CENTURYCOM-\nMEDY.\nLESSER ENGLISH COMEDIES\nOF THE 18th CENTURY.\nNos.292 and 321 of the World's\nClassics. Oxford University Press. Price\n2j- each.\nI HE paper used in the second of\n** these two volumes would win me\nto read the five lesser Comedies before\nthe five greater ones, which can hardly\nbe ever surpassed while 44 She Stoops\nto Conquer \" is one of the latter.\nThen there is that thing called\n\" Beggars' Opera \" which is surely one\nof the great ones.\nAllardyce Nicoll gives an introduc-\ntion to the lesser five, and so for me,\nat any rate, the lesser becomes consi-\nderably larger.\nTen plays, all good, for 4/-.\nThe world is coming to an end —\nthat old expensive world when authors\nof plays wreck everything by deman-\nding so much money there's none left\nover on which to do things nicely.\n\nMODES AND MANNERS: OR-\nNAMENTS. Translated from the Ger-\nman of Max con Boehn. j. M. Dent\n& Sons. Price 15/- net.\nENGLISH COSTUME OF THE\nNINETEENTH CENTURY drawn\nby Iris Brooke. Described by fame8\nLaver. A& C Black. Price 6!- net.\nNO introduction is needed for Herr\nMax von Boehn, whose earlier\nworks in this delightful 44 Modes and\nManners\" series are already known\nto 44 The Mask's \" readers. It is enough\nto say that this volume, with its 16\nillustrations in colour and 241 in\nmonochrome, familiarising us with im-\nportant trifles such as fans, gloves,\ngems, laces, and all kinds of lovely\nand intimate articles of adornment or\nuse, down through the ages, will give\npleasure to whoever secures a copy,\nand that a copy should certainly be\nsecured by anyone who cares anything\nfor that fascinating and serious subject,\nthe History of Costume.\nThe \" English Costume in the\nNineteenth Century \" concentrates, as\nthe title indicates, upon the development\nof the dress of men, women and children\nin England, from the beginning to the\nend of the last century. Miss Brooke\nhas done her work well, and Mr James\nLaver's descriptive text is excellent.\nIt is a nice book at a small price;\nentertaining, and of practical value, as\nthe publishers justifiably announce, \" for\nactors, artists, writers, and everyone\nneeding reliable information on nine-\nteenth-century costume.\n\nTHE COMMEDIA DELL ARTE\nby Pierre Louis Duchartre, translated\nby R. T. V/eaver. 219 Illustrations,\nHarrap & Co, Price 42j-,\nj\\ jl AY I implore the English actors to\npurchase this book on their old\ncraft — on the Commedia dell'Arte\n(professional comedy) and read it and\nthen do something. May I beg Mr.\nLaughton to be the first to get it and\nto bring it to the notice of his fellow\nactors. May I entreat Mr. Parsons,\nMr. Swaffer and Mr. Darlington, the\nbrilliant dramatic critics of the \" Daily\nMail the \"Express\" and the \"Daily\nTelegraph \" to draw the attention of\nall actors to this work and to go on\ndrawing their attention to it until they\nlisten and get the book.\nMay I beseech other critics who\ncare for our English stage to recognize\nthe value of this study and to urge\nactors to really study it.\nMay I request all publishers, editors,\nthose who care to see all the arts\nrevive, to first revive the dramatic art\nby telling actors to buy, read, study,\nand digest this book. May I invite all\nthese who lecture on the Theatre to\ntake this book round England and\nlecture on what this book contains.\nMay I supplicate these lecturers to\nrealize that in this book can be found\none of the great secrets England is\nanxious to discover.\nM. Ducharire, the author, has done\nwell to get Mr. Harrap the publisher\nto issue this volume in English and\nMr. Weaver has translated it well.\nIt is a book about the Theatre when\nDrama was made by the Theatre, in\nthe Theatre and for the Theatre and not\nby outsiders, outside the playhouse and\nto impoverish the playhouse.\nThis history of the true and only\nProfessional Comedy is the history of\nour house doing its own work.\nIn 1906, 1907 and 1908 one theatre\nalone paid £134,000 to three outsiders\nbecause the managers pretended tha*\nthe insiders ...the actors ...couldn t do\ntheir own work.\nIf the Cinema and the Talkies are\ndeveloping at our Theatre's expense\nit is because actors will not wake up\nand stop dreaming.\nThis book proves it. It shows us a\npowerful Theatre with over a hundred\nfirst-rate men of talent supporting that\ntheatre by their genius. May I suggest\nthat the Theatre can do that and become\nthat again without outside assistance.\nBut some of you actors must stop\nbeing so witless as to be found giving\nharbour in your own house to men who\nWrite plays ...when you don't need them\nand you do need the £ 1 34,000 that\nthree of them at your special invitation\nrobbed you of between 1906 and 1908.\n\nTHE STUDIO. OCTOBER 1929.\nAnd Some other ie Studio \" Publica-\ntions. The Studio Press, London.\nONE of the freshest series of paint-\nings and drawings by Canaletto\nappeared in the 4 4 Studio \" this last\nOctober, and most of these were En-\nglish subjects. Canaletto paintings of\nWarwick Castle, of Walton Bridge —\na bridge made, one would guess, for\nsome Chinese painter to record yet\ndone deliciously by the Italian; of\nWestminster Bridge 1747 when nearly\nready; of Westminster Bridge 1749\nwhen quite ready ,..what a beauty\nthat is.... and of Westminster Abbey;\nthese are marvels of fine painting.\nAnd Mr. Osbert Sitwell writes\nperfectly about him, giving us all we\nneed to know and telling us some\nthings we now know after reading him,\nThe Sitwells are a gifted family\nand are never happier than when wri-\nting of Italian art and artists.\nI read an article by Miss Sitwell\nrecently on English artists in general\nwhich revealed the strongest sense of\nsympathy, which taught me something\nI needed to learn,\nHaving learnt it I hope some day\nto come to a consideration of the art\nof this family of writers, for in a pre-\nvious article upon them I consider I\nwas exceedingly unjust. (0\n(1) \"The Mask Vol. XIII pp. 118-\n121.\n\nAmong 44 Special Numbers \" re-\ncently issued by the Studio are 44 The\nGardens of Japan 44 Caricature of\nToday 44 Art for Children \" and\n44 Modern Architecture, \"... all valuable\nadditions to the Studio's long series of\ndelightful picture books."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c071", "article_bluemountain": "bmtnaau_1929-10_01#c071", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "170", "page_fin": "170", "image_debut": 54, "image_fin": 54, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.24.2", "titre_corps": "ALEXANDRE DUMAS FILS DRAMATIST by H. Stanley Schwarz", "titre_sommaire": "ALEXANDRE DUMAS FILS DRAMATIST by H. Stanley Schwarz", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 54, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.54", "debut_caractere": 15, "fin_caractere_exclue": 5185, "texte": "ALEXANDRE DUMAS FILS\nDRAMA TIST by H. Stanley\nSchwarz. The New York Univer-\nsity Press. Price $ 4S0Q.\nDUIMAS FILS was popular for twen-\nty-five years or more: Dumas pere\nwas popular for thirty to forty years:\nMolier6 was popular, Shakespeare too;\n— but these things belong to the past.\nNot even one of the seventy mil-\nlion ants which are busy today, 1929,\nin my garden can bother to concern\nitself with that which was once the year\n1918; so how can the Public be expec-\nted to bother its many heads about the\npast so long passed by — about 1873,\nthe year in which Dumas gave it 44 La\nFemme de Claude\nThe public, like the ants, prefers\nthis year to any other.\nToday is June 1st 1929: I am in\nItaly: it is unpleasantly close — no\nblue sky and the thunder seems lurking\naround — all dreary and depressing.\nJune 1st of 1918 was in Italy very\nhot; the sea was calm and delicious,\nthe sky blue and clear; a cool breeze\nkept the whole day fresh.\nYet the Public of 1929 prefers\nthe inferior day of today to the vastly\nmore delicious day of eleven years ago.\nI don't.\nWere I a writer striving to improve\na public I would, on perceiving the\nant-like sense of the Public, give it\nall up and go off and pick up crumbs\nand tiny bits of straw in the hope of\nsetting it a good example.\nBut Alexandre Dumas fils never\nsaw this: I doubt if he ever saw any-\nthing. He lived so in touch with\nthings. He had a vague notion of these\nthings gleaned by hearing different\nreports day by day. These scraps he\nkept, recorded them — and referred to\nthem later on.\nI suppose he did this: even as I\nonce kept a record of what was hap-\npening to the sky, the sea, the sun\nand the wind in 1918-19-20. My re-\ncord has little pictures added to it here\nand there so as to force people who\nshall see it in 1938 to prefer one day\nto another even be the day 7392 days\nmore out of date than the day they\nare living through at that moment.\nAnd if Dumas fils had made more\nattractive his Reasonable Conclusions\n— and that is the title I would give\nto all his works — made them hap-\npier things by a little inconsequent em-\nphasis here and there about nothing,\nhad the tail pieces to his books been\nlittle designs, plain or coloured, instead\nof words, those final words, I do\nbelieve that some day the Public,\nlooking back like the celebrated wife,\nwould turn into pillars of sugar, become\nall sweetness for a moment... intent,\nabsorbed... and then of course back\nto its own far sweeter human shape\nand its humanity.\nBut Dumas fils was bent upon re-\nforming the world, a world determined,\ncome what come might, never to be\nreformed,\nFils was weak: fils somehow felt\nthat he was born out of wedlock, — that\nwedlock which so bores the Public\nwhen past, is so necessary to it in\nthe Present, and let us hope inevitable\nto it in the Future.\nFils was not exactly one of the\nPublic; to him the present was not only\nan important thing, it was everything.\nFils was in fact limited to the pre-\nsent — and now he is in the past\nwhile his pere is still going strong.\nTHIS book on Dumas fils in in-\nteresting in a not quite dull way. It\nappears to be the only book in En-\nglish on the younger Dumas which\ngives a proper smattering of his life, a\nnotion of his ideas and something of\nhis technique.\nIt is very interesting to me because\n1 like to witness the spectacle of Pa-\nris accepting a moralist who teaches it\nwhat it ought to do by means of ser-\nmons from the boards. I love to see\nand hear all that going on in Paris\ntwixt 1844 and 1895 ... Paris. And\nto think, too, that he, the son of old\nAlexandre, took up writing, — even\nwrote plays — succeeded very well,\nand yet spite of all in the last estimate\nfailed. This passion for teaching morals\nthrough dramatic sermons, never found\nin the father, grew strong in the\nson; the son sported with moral things;\nthe father was only Dumas pere, ... than\nwhich anything more moral without\nbothering to know of it never was or\nwill be.\nThose old tales of Musketeers and\nKings and Cardinals, of the Due de Ri-\nchelieu, ... those long and, to me, ma-\nsterly conversations out of which you\nfeel the life of the persons emerging\ntill you fancy you are with them and\nthey breathing, walking, visible.\nBut you've not read one of these\nconversations for years — if ever.\nThose between the Due de Richelieu,\nand ... I forget in which book, delight\nme even in translation. It is, of course,\nin one of the Louis XV books, not\nLouis XIII or XIV: — that's the\nCardinal Richelieu. Quite another mor-\nsel. It is such fine stuff, this Dumas stuff.\nIt's not Proust, I know, nor Bal-\nzac nor Stendhal: it's not Wilde or\nWilder : it's ordinary Dumas — plain\nBeaujolais au carafe. Everyone drinks\nit and enjoys it and so it* s not even\non the wine list. It's like the uncon-\nsidered air one breathes, the good bread\nand salt one eats — these things so\nunconsidered are too common to con-\nsider. Who ever spoke of bread?...\ndid you know anyone stop to say a\nkind word about salt? These are things\nabout which even a kind word is not\nnecessary,\nEnfold your little son who did\ntry so hard, enfold him in your big\narms and sleep well, you delicate old\ngiant. I for one find you a very great\nartist."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c072", "article_bluemountain": "bmtnaau_1929-10_01#c072", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "170", "page_fin": "171", "image_debut": 54, "image_fin": 55, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.24.3", "titre_corps": "THE STORY OF MY LIFE — MY MEOIRS by Yvette Guilbert", "titre_sommaire": "THE STORY OF MY LIFE — MY MEOIRS by Yvette Guilbert", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 54, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.54", "debut_caractere": 5187, "fin_caractere_exclue": 6142, "texte": "THE STORY OF MY LIFE —\nMY MEMOIRS, by Yvette Guilbert.\nGeorge G. Harrap. Price 2 / /-net.\nTALE ONE.\nNEVER HEARD OF HER.\nBERNHARDT in 1894 invited\nYvette Guilbert to supper and\ngave her one of her fans inscribed\n44 affectionately and admiringly yours\nSarah Bernhardt \". Yvette went to\nAmerica three weeks later, Bernhardt\nfollowing still three weeks later.\nIn New York City the reporters\ntold Sarah Bernhardt as she stepped off\nthe boat that a well known French artist\nhad had a great success in their city.\n44 Who can this be?\" said Sarah\nBernhardt.\n44 Mile. Yvette Guilbert answered\nthe American reporter.\n44 Don't know her \" said Sarah.\n44 Do you mean to say that you've\nnever heard of Yvette Guilbert ?\n44 Never \".\n44 But we were told she was a\ncelebrity in Paris \".\n•4 Don't know her \" said Sarah.\n44 I've never even heard her name .\nTALE TWO.\n44 What's her name ? \" asked \" a\ncertain American business man reputed\nto have made 600,000/000 dollars out"}, {"page_pdf": 55, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 3380, "texte": "of munitions and said to be a pos-\nsible person to help Madame Yvette\nGuilbert found a school of the Theatre\nin New York.\nMadame Guilbert had gone to see\nhim in his office with Miss Alice L....\nand Miss L.... had explained what they\nhad called for (ie, some of his money),\nand he had been making paper balls\nand tossing them into the air when he\nsuddenly 44 dropped the juggling and\npointing a ruler at me said 44 what's\nher name? \" 44 Her name? Why, that\nis Madame Yvette Guilbert, the French\nartist \".\n44 Never heard of her \".\n44 Oh, you must have ; Madame\nGuilbert has been giving concerts in\nNew York every week for the last\nthree years \".\n44 Never heard the name \", and he\nbegan to toss up his little paper balls\nonce more.... and so on.\nNEVER HEARD OF HIM.\nNever to have heard of a famous\nstranger is not quite excusable, but to\nhave forgotten a not famous friend is\nvery strange.\nMadame Yvette, in her amusing\nbook ably translated by Madame\nBeatrice de Holthoir seems to have\nforgotten several of her friends in\nEngland: perhaps if asked she too\nwould answer 44 I've never heard of\nhim \".\nOn the other hand she recalls\nDan Leno, Marie Lloyd, 44 and then\nIrving, the great Shakespearean tra-\ngedian, so much a gentleman, so much\nin love with his art, who, famous as\nhe was, did not manage to arouse my\nenthusiasm\" ...: also 44 Cyril Maude,\nand his wife, who like me suffered\nfrom Kidney trouble \".\nShe remembers some of our writers,\n...George Moore — Knobloch — Fa-\ngan — Arthur Symons -— Granville-\nBarker and Grein. Does she not\nremember Haldane MacFall or John\nMasefield, or even Max Beerbohm?\nShe remembers a number of thea-\ntrical and social people: — Sir Alfred\nButt 44 who neglected my publicity for\nthe sake of my fellow actor, Consul,\nthe chimpanzee\"; 44 Fred Terry and\nMiss Neilson so beautiful Beerbohm\nTree, Bourchier, Boucicault, come in\nfor mention — for the barest mention\npossible.\nThen there is Theresa — English\nreaders would have liked to learn who\nexactly was 44 La Grande Theresa \".\nBeing a reviewer of books by\nprofession I, Drury Pervil, have an\nodd collection of paper-bound books\n— some 2300 books line the walls of\nmy little den in Fleet Street which\nmeasures eleven feet square. They\nhelp to warm my room in the winter,\nfor they act as do those fur linings of\nthe celebrated coats worn by successful\nperformers —- and amongst these books\nI find 44 Memoires de Theresa ecnies\npar Elle-Meme (3rd Edition) Paris E\nDentu 1865\nI have never read the book, and,\nhad I the time, now would be the\nmoment — if only to see if she forgets\nany of her friends ...those who, anyhow,\nwere artists of sorts ...or any artistes.\nArtistes and artists are not very much\nalike.\nSeveral films of a nice thick pro-\ntective lining cover the perceptions of\nperformers — artistes — or they would\nretreat sooner than they do from the\npublic stage and forget who Bernhardt\nwas while intent upon who Goethe is.\nArtistes have to be less sensitive -—\nthough Madame Guilbert all through\nher book is ever more than sensitive\nto the sufferings of her fellow artistes\nand unmindful of the feelings of ordi-\nnary millionaires, artists and other\ncommon folk. But Madame Guilbert\nhas a tender corner in her heart for\nthe big middle class — although she\ndoes not say so she lets you see that\nit is the middle class she understands\nthe best.\nIt is a charming book by a charming\nperformer."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c073", "article_bluemountain": "bmtnaau_1929-10_01#c073", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "171", "page_fin": "171", "image_debut": 55, "image_fin": 55, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.24.4", "titre_corps": "FIRST PLAYS hy Ivor Brown", "titre_sommaire": "FIRST PLAYS hy Ivor Brown", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 55, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.55", "debut_caractere": 3382, "fin_caractere_exclue": 5055, "texte": "FIRST PLAYS hy Ivor Brown.\nHERE WE GO ROUND by Evelyn\nSharp. Qerald Howe Ltd. Price 2/6\neach.\nWO volumes of the series being\nissued by Gerald Howe Ltd un-\nder the classification 44 The Beginning\nof Things \" edited by G. Elliot Smith\nF. R. S, — two theatre volumes and\ntherefore of interest to scholars young\nand old of the Drama and the Dance.\nBoth Miss Sharp and Mr. Brown\nhave gone to Sir W. Ridgeway, F. M.\nCornford, jane Harrison, E. K. Cham-\nbers and Cecil Sharp for assistance,\nthe five authorities being listed in both\nwriters' short Bibliographies.\nThe origin of the Dance and of\nthe Drama are dry themes — and\nas we read we still feel thirsty for\nsomething — is it for the truth we\nthirst ?\nBoth Mr. Brown and Miss Sharp\nare obliged to avoid giving us the truth.\nIt might please them to see a few of\nus refreshed, but to do so at the expense\nof the others would never do. So they\nsteer clear of things they would\nsincerely like to face and we are unre-\nfreshed, and the others not lowered into\nthe well.\nWhat books are best then? Books\nwhich parch a hundred believers or\nthose which drown the sceptical ?\nThe authors are not on the side\nof the angels,.,, presumably assuming\nthat these can always look after them-\nselves, and that a wilderness of monkeys\nis 44 so sweet \". But for this the authors\nof these two volumes could not have done\ntheir work better — and it is not con-\nceivable that anything more difficult to\ndo could have been asked by a public\nnot ~ caring a fig what sort of book\nit gets.\nThe publish ers have bound these\nvolumes perfectly and the paper used\nis good,* the type topping, — But\ngosh ! what a public ... if this is what\nit is asking for."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c074", "article_bluemountain": "bmtnaau_1929-10_01#c074", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "171", "page_fin": "171", "image_debut": 55, "image_fin": 55, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.24.5", "titre_corps": "GILBERT AND SULLIVAN by Lillian Bradstock", "titre_sommaire": "GILBERT AND SULLIVAN by Lillian Bradstock", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 55, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.55", "debut_caractere": 5057, "fin_caractere_exclue": 6597, "texte": "GILBERT AND SULLIVAN. A\nromantic prose version: of the Famous\nOperas, hy Lillian Bradstocl£. Cecil\nPalmer. Price 7 / 6.\nTUTlSS BRADSTOCK is enthusiastic\nthe Savoy Theatre of 1881\n— and they who love Gilbert and\nSullivan are enthusiastic too. — I know\nI am.\nAnd so when Miss Lillian Brad-\nstock starts off on the Mikado with\n4 4 Long tassels \"of blossom hung low\nover the courtyard of a stately old pa-\nlace in Japan \" I see the eyes of ten\nthousand lovers of Gilbert and Sulli-\nvan glistening,.... And so I like all this.\nBeginning about the Pirates of Penzance\nshe writes 44 Long and long ago, the rocky\ncoast of Cornwall was the hiding place\nof a number of pirate gangs... \": about\nthe Gondoliers 44 Venice lay bathed in\nglorious golden sunshine \" .... tirrile tir-\nrila. 44 Not so very long ago, a band\nof fairies held sway over this stately\ncountry of England \".... there we are and\nthere* s lolanthe. 44 It was a beau-\ntiful sunny morning about the middle\nof the 16 th century, and the grim\noutline of the Tower of London....\n... Right ! you' ve guessed it first time\n— Yeomen of the Guard,\nBut what about the next — 44 The\nlittle fishing village of Rederring lay\nbasking in the Cornish sunshine Can\nyou guess that one?\nI won't give it away — for after\nall you must buy the book — eve-\nryone that I know says so — you'll\nfind it ever such a sweet companion\nfor many many days and winter eve-\nnings — so come and buy and bask in\nthe sunshine of Gilbert and Sullivan and\nMiss Lillian Bradstock at the little\nfishing village of Rederring,"}]}, {"article_id": "bm-bmtnaau-1929-10-01-c075", "article_bluemountain": "bmtnaau_1929-10_01#c075", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "172", "page_fin": "172", "image_debut": 56, "image_fin": 56, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.24.6", "titre_corps": "MEMOIRS OF LORENZO DA PONTE", "titre_sommaire": "MEMOIRS OF LORENZO DA PONTE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 2493, "texte": "MEMOIRS OF LORENZO DA\nFONTE9 Translated with an Intro-\nduction and Notes, by L. A. Shep-\npard. Routledge. Price 15-/net,\nHPHESE Memoirs of Mozart's Li-\nbrettist are now for the first time\npresented in an English translation,\nThe book, written in the author's\nold age in America, has, as the trans-\nlator points out, a distinctly though not\navowedly apologetic purpose and aim,\nbeing designed by Da Ponte to protect\nhimself from those of his fellow coun-\ntrymen 44 political exiles from their\nnative land, like him dependent on\nteaching for their livelihood \", who\nsought to discredit him with his Ame-\nrican pupils and friends by communi-\ncating their knowledge of his past life\nin Europe.\n4 4 There can be little doubt there-\nfore \" writes Mr. Sheppard, 44 that\n44 Da Ponte found himself forced to\n44 present his own version of events,\n44 omitting awkward facts, slurring over\n44 and confusing others, in order to\n44 produce a story in which he would\n44 appear, in spite of a few venial\n44 faults, a man of letters now of\n45 miimoeachable conduct, magnanimous\n44 and generous towards his enemies,\n44 ever a victim of the malice, fraud\n44 and jealousy of others\nIt is necessary to bear this in mind\nin reading the book, and the translator\nhas added many useful notes which\ncorrect some of Da Ponte's otherwise\nmisleading statements and inaccurate\ndates in various instances, which would,\nuncorrected, confuse the reader.\nThese Memoirs cover the author's\nlife from his youthful escapades and ad-\nventures in 18th century Venice; the\nyears of his life at Vienna and of his as-\nsociation with the Imperial Opera-House\nthere ; they throw a vivid light on the\nrelationship of the Emperor Joseph II\nto the Viennese theatre life and per-\nsonalities; tell of Da Ponte's associa-\ntions with Mozart and other musicians,\nartists and impresarios; his later life in\nLondon in association with William\nTaylor, director of the King's Theatre\nin the Haymarket, and the endless\nfinancial embarrassments into which that\nassociation brought him ; and finally of\nhis escape to America and his life\nthere as bookseller and teacher.\nThe whole book is entertaining,\ngives us many intimate glimpses of\nnotable figures, is furnished with an\nIndex and many helpful notes, and\ncontains some good illustrations, inclu-\nding a view of the Interior of the\nKing's Theatre, and portraits of the\nEmperor Joseph II, of Mozart, of the\nauthor, and of the foxy Madame Mo-\nnchelli and that 44 infernal demon \"\nMadame Brigida Banti."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c076", "article_bluemountain": "bmtnaau_1929-10_01#c076", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "172", "page_fin": "172", "image_debut": 56, "image_fin": 56, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.24.7", "titre_corps": "DRAMA IN GLOUCESTERSHIRE by Theodore Hannam-Clark", "titre_sommaire": "DRAMA IN GLOUCESTERSHIRE by Theodore Hannam-Clark", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.56", "debut_caractere": 2495, "fin_caractere_exclue": 6555, "texte": "DRAMA IN GLOUCESTER-\nSHIRE (The CotsWold County) by\nTheodore Hannam-ClarlMinchin\n& Gibbs6 Gloucester; Simpfain Mar-\nshall, London. Price 5j~.\nHIS is one of those really useful\nbooks the compilation and writing\nof which 44 The Mask \" is always\nadvocating, as collecting and collating\ninformation about some individual\ntheatre, district, or personality, instead\nof presenting a rechauffe of well-known\nfacts of the whole world theatre.\nMr. Hannam-Clark is a solicitor,\nand devotes his leisure to the study\nof the theatre records of his county,\njust as do so many scholarly Italians,\nwith the result that they produce little\nbrochures or larger books full of valuable\ninformation.\nMr. Hannam-Clark in his Prologue\nstates his most sensible reason for\nhaving entered upon his work; 44 I\n44 compile this book only because no\n44 one else has done it.... My late father's\n44 collection of Gloucestershire books\n44 and my own theatrical one of several\n44 hundred volumes have stood well a\n44 severe test for reference purposes,\n64 with some help from the British\n44 Museum and Drama League and\n*e Archaeological Libraries, the Public\n44 Libraries of Cheltenham, Cirencester\n44 and Gloucester, and the Gloucester\n44 Guildhall records, whose librarians\n44 and their staffs have been very\n44 helpful\nMr. Hannam-Clark's love for the\ntheatre is evidently deeply rooted, for\nhe further tells us that for years, after\nhis days at the law, his' evenings were\ndevoted to acting. 44 There are few\n44 important halls in the County where\n44 I have not performed, and none (I\n44 think) in Gloucester, Cheltenham or\n44 Stroud. V/henever possible, I have\n44 accepted invitations outside, and have\n44 thus played in theatres of London\n44 (including the Haymarket and Strand),\n44 Stratford-on-Avon, Cardiff, Brighton,\n44 and (by way of a novel holiday in\n44 1926) as far afield as Bayes Theatre,\n44 New York, with a 44 Gloucester\n44 Vale \" Company, visiting also Glou-\n44 cester, Massachusetts\nAfter years of this acting, starting\nafter the day's work to 44 drive a loaded\ncar \" to some neighbouring or distant\nplace, 44 bear the strain of an evening's\nentertainment and drive home again,\nnext morning starting out at 8.30 \",\nand after the 44 playing of nearly two\nhundred parts (two or them over one\nhundred times) \" Mr. Hannam-Clark\nfelt that 44 coming middle age \" asked\nfor some rest, and so decided to *\ndevote his leisured evenings to the\npreparation of the notes which make\nup this book, a task, the accomplish-\nment of which entitles him to the\ngratitude of theatre students.\nStarting from the earliest records\nof old religious plays, he works down\nto the performance in February 1863\nat the Corn Hall, Cirencester by Miss\nEllen T erry and her mother, of which\nthe account in the 44 Wilts and Glos.\nGazette is worth quoting from : —\n44 Mrs. Terry does not yet wish her\n44 young daughter to go out by herself,\n44 and although she (Mrs. T.) has not\n44 acted for 15 years, she consented\n44 to do so on this occasion .... In\n44 Miss Ellen Terry, although almost\n44 a child, being only 1 5 years of age,\n44 we see an actress who will shortly\n44 shine in the highest rank of her\n44 profession. We consider her acting\n44 wonderfully good, particularly when\n44 we know that, with an unselfishness\n44 which did her much credit, she only\n44 fixed a small share of her attention\n44 on herself and her own acting, and\n44 by far the largest share on everybody\n44 and everything else, always on the\n44 look out to help an actor out of a\n44 difficulty, even to taking his sentence\n44 and ingeniously making it her own,\n64 and ever and anon keeping a\n44 watchful eye on the scenery and\n44 stage business ... \".\nIt is to be wished that many men\nof like enthusiasm and affection for the\nhistory of the English theatre would\nget to work in their own counties, so\nthat we might have a complete series of\nthese regional histories and records of\nthe drama and the theatre.\nBut we hope, if they do this, they\nwill do it without being organized to\ndo it — for the Drama League is all\nvery well.... but."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c077", "article_bluemountain": "bmtnaau_1929-10_01#c077", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "172", "page_fin": "173", "image_debut": 56, "image_fin": 57, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.24.8", "titre_corps": "EASTER AND OTHER PLAYS by August Strindberg", "titre_sommaire": "EASTER AND OTHER PLAYS by August Strindberg", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.56", "debut_caractere": 6557, "fin_caractere_exclue": 7042, "texte": "EASTER AND OTHER PLAYS,\nby AUGUST STRINDBERG (An-\nglo-Swedish Literary Foundation. Jo-\nnathan Cape, 7/6.\nHj HIS is the first publication of the\n* Anglo-Swedish foundation, the\ncreation of which is due to Mr. George\nBernard Shaw. As it will be remem-\nbered, he was awarded the Nobel\nPrize in literature by the Swedish\nAcademy in 1928, when he offered\nto give the whole sum — 1 18,165\nSwedish crowns — 44 for the purpose\nof encouraging cultural intercourse\nbetween Sweden and the British"}, {"page_pdf": 57, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 2124, "texte": "Islands and promoting a knowledge and\nappreciation of the literature and art of\nSweden in Great Britain. \" So says\nMr. Erik Palmstiema in the Foreword.\nAnd then, almost as wishing to\ndamn Strindberg in the eyes of the\nEnglish purchaser of this first volume,\nsomeone or other selects for it the four\nleast representative plays and someone\nelse permits the dastardly blunder. No\nenemy of Strindberg could have acted\nwith more jealous care for his discom-\nfiture than the two, whoever they may\nbe, who selected and approved this\nselection. Was no English Dramatist\nat hand with whom to take counsel ?\nno true admirer of this great Swedish\nwriter. Two plays which should have\nbeen in this first volume are 44 The\nFather \" and 44 Miss Julie \". To\nbegin with, 44 The Father \" was written\nin 1887, and 44 Miss Julie \" in 1888 \"\nwhereas the four plays which we have\nbeen given were written in 1901 and after.\nThe Introduction by Professor\nJ. G. Robertson is also unfortunate.\nWhat but this can one say for it in\nits lame attempt 44 to promote a know-\nledge and appreciation of the literature\nand art of Sweden in Great Britain\nDr. Robertson writes of Strindberg\nthat he was 44 Crushed and broken,\ndespairing, mad \", and asks 44 is it to be\nwondered at that his life is strewn\nwith unforgivable sins against the Holy\nGhost ? \" If I should not be thought to\nbe irreverent, I should murmur 44 Holy\nWillie! \" Really, Dr. Robertson! and to\nsay that44 his genius was perverted by the\nmisfortunes of birth and upbringing\nthat 44 he was helplessly at the mercy\nof passions — of hate as of love —-\nover which he had no control \" ; or\nagain, 44 He found in life no sympathy,\nno permanent friends, no love of the\nkind that could resolve his distraught\ncomplexes into harmony I wonder\nif Dr. Robertson ever knew Strindberg,\nor ever knew one of his many friends.\nDid he ever see him 44 crushed and\nbroken \" or is it only a bad guess ?\nWe are a little surprised that Mr.\nGeorge Bernard Shaw allowed such\nan Introduction to appear: but then\nperhaps our noisy egoist has ceased\nto have any interest in the English\nsuccess of his brother Strindberg."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c078", "article_bluemountain": "bmtnaau_1929-10_01#c078", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "173", "page_fin": "173", "image_debut": 57, "image_fin": 57, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.24.9", "titre_corps": "THE BIBLE IN SPAIN. George BarrowTHE AUTOBIOGRAPHY OF LEIGH HUNT", "titre_sommaire": "THE BIBLE IN SPAIN. George BarrowTHE AUTOBIOGRAPHY OF LEIGH HUNT", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 57, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.57", "debut_caractere": 2126, "fin_caractere_exclue": 2678, "texte": "THE BIBLE IN SPAIN. George\nBorrow. Oxford University Press.\nPrice 2j~.\nTHE AUTOBIOGRAPHY OF\nLEIQH HUNT. Oxford University\nPress. Price 2j~.\njj HE Oxford Press continues to\nstrengthen its series \" The World's\nClassics\" and Hunt's 44 Autobiography \"\nand Borrow's 44 Bible in Spain \" are\nthe two latest pilasters which have been\nadded to the edifice. One wonders\nwhat modern books will get into such a\nseries fifty years from now. Will a\nConrad be found there ? — what\noutstanding book has he made ? Will\nanything by Wells be there ? or by\nEdgar Wallace ?"}]}, {"article_id": "bm-bmtnaau-1929-10-01-c079", "article_bluemountain": "bmtnaau_1929-10_01#c079", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "173", "page_fin": "173", "image_debut": 57, "image_fin": 57, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.24.10", "titre_corps": "CONTEMPORARY MOVEMENTS IN EUROPEAN LITERATURE. Edited by William Rose", "titre_sommaire": "CONTEMPORARY MOVEMENTS IN EUROPEAN LITERATURE. Edited by William Rose", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 57, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.57", "debut_caractere": 2680, "fin_caractere_exclue": 6043, "texte": "CONTEMPORARY MOVE-\nMENTS IN EUROPEAN LITE-\nRATURE Edited by William Rose\nM. A. and J. Isaacs M. A. Routledge.\nPrice 10/6.\nIT is nice to know something about\nProust, Capek, Joyce, and Valery\nand about their work.\nIs it or isn't it ? It is: and yet\nwho are all these ? These four head\nthe movement and others follow.\nIsn't it time to stop calling attention\nto movements and groups and fix upon\none man as best of the bunch ? ]\nHere in this collection (very well\ndone by Mr. Rose and Mr. Isaacs)\ncome learned Doctors from Spain,\nfrom Italy, from Russia and France\nand from Holland, and they lecture to\nthe students at King's College all about\nit. And from Czechoslovackia comes\na deputy, and Scandinavia is repre-\nsented.\nEngland is not left out, though to\nmy way of thinking it's England with\nthe prince of literature left out.\nIt is Mr. j. Isaacs writes of its\nLiterature and omits the name\nBeerbohm.\nM. Saurat, attempting to assess\nthe influence of the war on present\nday literature, comes to Proust. Proust\naccording to M. Saurat seems to be\nan analyst, and that, if you yourself can't\nanalyze, can often prove to be a treat:\ngetting a book by an analyst is then\na real experiment.\nIf he enjoyed himself, this analyst,\nthen what is the matter with the Via\nGaribaldi? Valery can't make up\nhis mind to -— or to —- et cetera.\nAnd Maurois is 44 more of a force for\nthe future than the master of an\nachievement in the past \". Literature\nin Europe is either terribly vague\naccording to these critics or it is the\ncritics who are vague.\nWhat I would have liked to learn\nis whether one of these can write\nwell, and what is the kind of good\nwriting the said one writes: a little of\nit analyzed; I would very much like\nto know about a writer and good\nwriting and what goes towards making\nthe writing good. The writers in this\nbook are concerned with conception —\nsubject — tendencies of thought. It's\nthe delivery would interest me.\nIn a past age and a grander age\n— an age when it went without\nsaying that if you wrote at all you\nhad to write well — really well —\nany opinion would have been well\nworth hearing expressed — or rather\nreading its written expressien. Today\nit is nothing we feel — an engineer\nexpresses more — the turning lathe is\nthe modern pen, we say.\nWell, until you stop to pick cut\nthe one writer from the hundred the\nlathe will (for the moment anyhow) be\nmightier than the pen.\nThis volume is rather like those\nwonderful books about our Lord Byron\n....saying unto us 44 Do you know what\nI take this man to have been? \" never\n44 Do you know what it is makes 4 We'll\ngo no more aroving by the light of the\nmoon \" a miracle. Byron gnashing his\nteeth, — Byron thinking things out —\nByron the bad boy of the family : Byron\nat sea and actually asleep during a storm.\nAll this we get with new readings.\nWho ever tells us what it takes to\nwrite 44 and love itself have rest \" ?\nWell: I'm enjoying this book by\nIsaacs, Saurat, Rose, Pastor, Del Re,\nMirsky, Robertson, Selver and Ham-\nmtjes, for unless I enjoyed it I should\nquestion every word of it and should\nwonder what King's College was about.\nAnd that would take me far too\nlong, if I wanted to answer the hundred\ndoubts which this book raises in me:\nI mean I haven't a whole month to de-\nvote to this one subject, the doubtful sig-\nnificance of Literature today with the\nfew masters (as usual) omitted."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c080", "article_bluemountain": "bmtnaau_1929-10_01#c080", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "173", "page_fin": "174", "image_debut": 57, "image_fin": 58, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.24.11", "titre_corps": "THE SKULL OF SWIFT. Shane Leslie", "titre_sommaire": "THE SKULL OF SWIFT. Shane Leslie", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 57, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.57", "debut_caractere": 6045, "fin_caractere_exclue": 6866, "texte": "pnrr^n~TiT~—rrmnri mrr IMTTNWWN TIWIII TTI D-gnTiiwr-rr-nrr- TTT— peace, mother, O peace, mother,\nYour weeping doth me grieve;\n0 1 must suffer this,\" he said,\n<4 For Adam and for Eve.\"\n44 O how can I my weeping leave,\nOr my sorrows undergo,\nWhilst I do see my own Son die,\nWhen sons I have no mo'?\"\n44 Dear mother, dear mother, you must take\nJohn,\nAll for to be your son,\nAnd he will comfort you sometimes,\nMother, as I have done.\"\n44 O, come, thou John Evangelist,\nFnou'rt welcome unto me,\nBut more welcome my own dear son,\nThat I nursed upon my knee.\"\nThen he laid his head on his right shoulder,\nSeeing death it struck him nigh :\nThe Holy Ghost be with your soul, —\nI die, mother dear, I die.\"\nOh the rose, the rose, the gentle rose,\nAnd the fennel that grows so green !\nGod give us grace in every place\nTo pray for our king and queen.\nFurthermore for our enemies all\nOur prayers they should be strong.\nAmen, Good Lord! your charity\nIs the ending of my song,\nI will pray for the King and\nQueen all right, but the rose the rose\nand the virgins seven and praying for\nthe enemy simply won't do — at least\n1 can't do it to the command of the\nsinger. That's why I like an old\nPagan carol best — the words, I mean.\nBut if I had a piano — if I had\nthe gift for reading music at sight -—\nI know I should write something\nwhich would cause 30,000 copies of\nThe Oxford Book of Carols to be\nsold in one day... on anyhow three co-\npies.\nWhy doesn't the Oxford Univer-"}, {"page_pdf": 59, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.59", "debut_caractere": 0, "fin_caractere_exclue": 1890, "texte": "sity Press know how to advertise —\njust a little more, rather better?\nI confess to being utterly ignorant\nabout the management of the Oxford\nUniversity Press, and it may be a poor\nimpression I have received. Yet while\nentirely an admirer of its organization,\nits creative output, I somehow find\nmyself wondering whether it has mas-\ntered the awful art of distribution as\nit might do — and as it surely will do\nin time.\nDistribution is essentially a cunning\nAmerican art as is advertising. I read\namazing good notices of an Oxford\nPress book in 44 The Times \", in\n44 The Telegraph \", in the 44 Daily\nNews \", the 44 Daily Mail \", 44 Ex-\npress 44 Manchester Guardian\n44 Yorkshire Post\"; yet when I go\ninto a bookseller's shop and look\naround for a copy of the amazingly\nwell noticed book, dash it, I can't\nfind one.\nI go out and peer in at a window\n— not one displayed.\nI did this about a book I was keen\nto see everywhere and found nowhere,\nalthough from the 44 l imes \" to the\n44 Express\" every paper had said it\nwas a first-class, British, manly, top-\nping book.\nThe Oxford University Press is a\nnoble institution, but thai is no reason\nfor its not realizing the essential ma-\nterial practicalism of this age.\nIt is an honour to have a book\npublished by the Oxford University\nPress, printing, paper, binding, courtesy\nof the whole management being per-\nfection; — but business is after all\nsomething : and I can suppose that an\nauthor, even the most British spirited\nof British, might feel that after all\nbusiness results are what are desirable.\nThe great firm, I have heard, always\ndeals in a most businesslike way about\neverything: its contracts are all that\ncould be desired by the two contracting\nparties — Publisher and Author —\nbut results — what of these ?\nAnyhow, I, for one, would see\nsuch an exceptionally sound Publishing\nconcern better advertised and its books\nbetter displayed."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c084", "article_bluemountain": "bmtnaau_1929-10_01#c084", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "175", "page_fin": "175", "image_debut": 59, "image_fin": 59, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.24.15", "titre_corps": "SHAKESPEARE AND CHAPMAN AS TOPICAL DRAMATISTS, by Percy Allen", "titre_sommaire": "SHAKESPEARE AND CHAPMAN AS TOPICAL DRAMATISTS, by Percy Allen", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 59, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.59", "debut_caractere": 1892, "fin_caractere_exclue": 3880, "texte": "SHAKESPEARE AND CHAP-\nMAN AS TOPICAL DRAMA-\nTISTS, by Percy Allen (Cecil Palmer,\nPrice 7/6). _______\nTHIS book purposes to say that\nChapman had got Shakespeare so\nnicely on the brain that he did 44 with\nsurprising ingenuity and felicity, trans-\nmute, at will \" certain scenes from\nthe plays of the said Shakespeare -— and\nthere you are. He transmuted 44 their\nphraseology and ideas \" only, says the\nauthor.\nHe gives a few examples of precisely\nwhat he means. Shakespeare wrote\n44 Heaven's cherubim horsed upon the\nsightless couriers of the air and then\nChapman writes :\n\" Like death,\nMounted on earthquakes\nIs that middle stump or not? Why,\nthe man's a beastly thief.\nAgain:\n\" Fair is foul and foul is fair:\nTover through the fog and filthy air/'\nNow who wrote that? Don't all\nsay at once 44 Chapman \" — Shake-\nspeare wrote it: but what did Chap-\nman write ? -\nThrough foul and fair...\nToss you into the air,\nIf that isn't 1. b. w., I don't know\nwhat is.\nq Of course there will be peo-\nple who will say that the first piece\nby Shakespeare, about 44 Heaven' s\ncherubim,\" has ten or twelve different\nreadings, no two of which are alike\nand that 44 Fair and foul \" was put in\nby somebody later, and that the word\n44 air \" was really hair — 44 filthy hair\nbut then those are people who treat the\nmatter without sufficient thought. This\nbook I am glad to say is one which\nimpels thought.\nTo take another and better example,\nShakespeare's\n\" You have displaced the mirth, broke\nthe good meeting\nWith most admired disorder ; \"\nhas so got into Chapman's brain, so\nutterly possessed him, that without\nknowing what he is doing, he writes ;\n44 Ladies, ye have not done our ban-\nquet right I think the case for the\nplaintiff is proved: but if there is the\nfaintest doubt remaining in any reader's\ncharitable heart, it will be instantly di-\nspelled by the following: -\nShakespeare: I have seen her... unlock her\ncloset, fake\nforth paper.\nChapman: - \" Make haste\nTo see the dangerous paper/'\n1 ask you !"}]}, {"article_id": "bm-bmtnaau-1929-10-01-c085", "article_bluemountain": "bmtnaau_1929-10_01#c085", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "175", "page_fin": "176", "image_debut": 59, "image_fin": 60, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.24.16", "titre_corps": "THE LONE HOUSE MYSTERY by Edgar Wallace", "titre_sommaire": "THE LONE HOUSE MYSTERY by Edgar Wallace", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 59, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.59", "debut_caractere": 3882, "fin_caractere_exclue": 6479, "texte": "THE LONE HOUSE MYSTERY,\nby Edgar Wallace. W. Collins\nSons & Co., London, Price 3J6.\nIT is not as though I go unwillingly to\na thriller by Mr. Wallace, for I\nbelong to that strange crowd of English\nreaders who occasionally like to waste\nthe unforgiving hour with sixty minutes\nworth of duty dodged and I like a\nthriller. And I have ever enjoyed a faint\nthrill from the books of Mr. Wallace\n— from those I bought and those I have\nhad sent me to review.\nBut somehow the elements and\nthe English climate conspire against\nMr. Wallace. Fog — mist — rain —\ndamp are bad for books. Perhaps a\ndetective story should not be laid in\nEngland — the Detectives should\nanyhow not be Britons and the writer\nmust never be too clever or too dull.\nMr. Wallace is a mosaic of twenty\ndifferent clevernesses : like the fox of the\nfable who, had he written a tale of\ncrime and detection, would have\nemployed ail his tricks and forgotten\nthe main one. The cat would never\nhave done that. She would have been\nout of the bag in a second. Mr. Wal-\nlace, to my mind, forgets that main trick\n— which is, to carry us on to the con-\ntinent, and to do it all there. We can\nbe far more easily fooled about things\nthere, for we know its shimmering sur-\nface only, and these tales, after all, deal\nwith Hash surface things.\nAnd this is one of the reasons\nwhy I so vastly prefer Mr. A. E. W.\nMason's 44 House of the Arrow \",\n44 No Other Tiger\", and 44 Villa Rose\",\nto Mr. Wallace's 44 The Ringer\n44 Terror Keep\", and 45 The Lone\nHouse Mystery Wallace brings in\nthe foreign element now and again but\nfrom the wrong foreign parts. In the\nshape of Indians — brown, not red —\nand these poor souls only emphasise the\ndamp and foggy nature of the place\ninto which he has dragged them and\nwhere in he dumps his story.\nNo firework will go off properly\nwhen damp — the display will be\nmore dismal than is necessary. But\nin the crisp air of Mentone, or travelling\nswiftly in the Paris-Lyon express —\narriving at the Hotel International at\nBeauvantage, that charming village\nthree and a half miles, or a little\nfurther, from Beaujeu — what may\nnot click happily —- what not be put\nupon the spongy readers — who dare\nreceive it other than the author wills.\nAgain, the British detective is really\nnot the kind to sit for a full-length\nportrait — he is too genuine. To us\n— to me — the Frenchman is the\nfellow: he who shows a heart even\nif he have none — is a brilliant without\never having been a rough diamond —\nunderstands human nature — is a\nwalking Montaigne, Voltaire. and\nChopin, rolled all in one — is a\nHercules of strength — a Machiavelli"}, {"page_pdf": 60, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.60", "debut_caractere": 0, "fin_caractere_exclue": 506, "texte": "of cunning — loses his head — his\ntemper — is \" human \" — and above\nall, is not real enough to spoil the fun.\nWallace's policemen are cold vivid\nrealistic portraits — one cannot see the\nman for the likeness.\nBut \" The Lone House Mystery,\"\nbound in nice blue cloth, is well worth\nthe 3/6 Messrs Collins ask for it —\nand ask in these words, saying on the\nwrapper \" This is a thriller which\ngives us all we have learnt to expect of\nEdgar Wallace — Murder, Mystery, De-\ntection, Excitement, and a little Love.\""}]}, {"article_id": "bm-bmtnaau-1929-10-01-c086", "article_bluemountain": "bmtnaau_1929-10_01#c086", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "176", "page_fin": "176", "image_debut": 60, "image_fin": 60, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.24.17", "titre_corps": "EIGHTEENTH CENTURY COMEDYLESSER ENGLISH COMEDIES OF THE 18th CENTURY", "titre_sommaire": "EIGHTEENTH CENTURY COMEDYLESSER ENGLISH COMEDIES OF THE 18th CENTURY", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 60, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.60", "debut_caractere": 508, "fin_caractere_exclue": 1312, "texte": "EIGHTEENTH CENTURYCOM-\nMEDY.\nLESSER ENGLISH COMEDIES\nOF THE 18th CENTURY.\nNos.292 and 321 of the World's\nClassics. Oxford University Press. Price\n2j- each.\nI HE paper used in the second of\n** these two volumes would win me\nto read the five lesser Comedies before\nthe five greater ones, which can hardly\nbe ever surpassed while 44 She Stoops\nto Conquer \" is one of the latter.\nThen there is that thing called\n\" Beggars' Opera \" which is surely one\nof the great ones.\nAllardyce Nicoll gives an introduc-\ntion to the lesser five, and so for me,\nat any rate, the lesser becomes consi-\nderably larger.\nTen plays, all good, for 4/-.\nThe world is coming to an end —\nthat old expensive world when authors\nof plays wreck everything by deman-\nding so much money there's none left\nover on which to do things nicely."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c087", "article_bluemountain": "bmtnaau_1929-10_01#c087", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "176", "page_fin": "176", "image_debut": 60, "image_fin": 60, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.24.18", "titre_corps": "MODES AND MANNERS: ORNAMENTS. Translated from the German of Max oon BoehnENGLISH COSTUME OF THE NINETEENTH CENTURY drawn by Iris Brooke. Described by James Laver", "titre_sommaire": "MODES AND MANNERS: ORNAMENTS. Translated from the German of Max oon BoehnENGLISH COSTUME OF THE NINETEENTH CENTURY drawn by Iris Brooke. Described by James Laver", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 60, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.60", "debut_caractere": 1314, "fin_caractere_exclue": 2678, "texte": "MODES AND MANNERS: OR-\nNAMENTS. Translated from the Ger-\nman of Max con Boehn. j. M. Dent\n& Sons. Price 15/- net.\nENGLISH COSTUME OF THE\nNINETEENTH CENTURY drawn\nby Iris Brooke. Described by fame8\nLaver. A& C Black. Price 6!- net.\nNO introduction is needed for Herr\nMax von Boehn, whose earlier\nworks in this delightful 44 Modes and\nManners\" series are already known\nto 44 The Mask's \" readers. It is enough\nto say that this volume, with its 16\nillustrations in colour and 241 in\nmonochrome, familiarising us with im-\nportant trifles such as fans, gloves,\ngems, laces, and all kinds of lovely\nand intimate articles of adornment or\nuse, down through the ages, will give\npleasure to whoever secures a copy,\nand that a copy should certainly be\nsecured by anyone who cares anything\nfor that fascinating and serious subject,\nthe History of Costume.\nThe \" English Costume in the\nNineteenth Century \" concentrates, as\nthe title indicates, upon the development\nof the dress of men, women and children\nin England, from the beginning to the\nend of the last century. Miss Brooke\nhas done her work well, and Mr James\nLaver's descriptive text is excellent.\nIt is a nice book at a small price;\nentertaining, and of practical value, as\nthe publishers justifiably announce, \" for\nactors, artists, writers, and everyone\nneeding reliable information on nine-\nteenth-century costume."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c088", "article_bluemountain": "bmtnaau_1929-10_01#c088", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "176", "page_fin": "176", "image_debut": 60, "image_fin": 60, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.24.19", "titre_corps": "THE COMMEDIA DELL'ARTE by Pierre Louis Duchartre", "titre_sommaire": "THE COMMEDIA DELL'ARTE by Pierre Louis Duchartre", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 60, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.60", "debut_caractere": 2680, "fin_caractere_exclue": 5124, "texte": "THE COMMEDIA DELL ARTE\nby Pierre Louis Duchartre, translated\nby R. T. V/eaver. 219 Illustrations,\nHarrap & Co, Price 42j-,\nj\\ jl AY I implore the English actors to\npurchase this book on their old\ncraft — on the Commedia dell'Arte\n(professional comedy) and read it and\nthen do something. May I beg Mr.\nLaughton to be the first to get it and\nto bring it to the notice of his fellow\nactors. May I entreat Mr. Parsons,\nMr. Swaffer and Mr. Darlington, the\nbrilliant dramatic critics of the \" Daily\nMail the \"Express\" and the \"Daily\nTelegraph \" to draw the attention of\nall actors to this work and to go on\ndrawing their attention to it until they\nlisten and get the book.\nMay I beseech other critics who\ncare for our English stage to recognize\nthe value of this study and to urge\nactors to really study it.\nMay I request all publishers, editors,\nthose who care to see all the arts\nrevive, to first revive the dramatic art\nby telling actors to buy, read, study,\nand digest this book. May I invite all\nthese who lecture on the Theatre to\ntake this book round England and\nlecture on what this book contains.\nMay I supplicate these lecturers to\nrealize that in this book can be found\none of the great secrets England is\nanxious to discover.\nM. Ducharire, the author, has done\nwell to get Mr. Harrap the publisher\nto issue this volume in English and\nMr. Weaver has translated it well.\nIt is a book about the Theatre when\nDrama was made by the Theatre, in\nthe Theatre and for the Theatre and not\nby outsiders, outside the playhouse and\nto impoverish the playhouse.\nThis history of the true and only\nProfessional Comedy is the history of\nour house doing its own work.\nIn 1906, 1907 and 1908 one theatre\nalone paid £134,000 to three outsiders\nbecause the managers pretended tha*\nthe insiders ...the actors ...couldn t do\ntheir own work.\nIf the Cinema and the Talkies are\ndeveloping at our Theatre's expense\nit is because actors will not wake up\nand stop dreaming.\nThis book proves it. It shows us a\npowerful Theatre with over a hundred\nfirst-rate men of talent supporting that\ntheatre by their genius. May I suggest\nthat the Theatre can do that and become\nthat again without outside assistance.\nBut some of you actors must stop\nbeing so witless as to be found giving\nharbour in your own house to men who\nWrite plays ...when you don't need them\nand you do need the £ 1 34,000 that\nthree of them at your special invitation\nrobbed you of between 1906 and 1908."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c089", "article_bluemountain": "bmtnaau_1929-10_01#c089", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "176", "page_fin": "176", "image_debut": 60, "image_fin": 60, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.24.20", "titre_corps": "THE STUDIO. OCTOBER 1929", "titre_sommaire": "THE STUDIO. OCTOBER 1929", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 60, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.60", "debut_caractere": 5126, "fin_caractere_exclue": 6344, "texte": "THE STUDIO. OCTOBER 1929.\nAnd Some other ie Studio \" Publica-\ntions. The Studio Press, London.\nONE of the freshest series of paint-\nings and drawings by Canaletto\nappeared in the 4 4 Studio \" this last\nOctober, and most of these were En-\nglish subjects. Canaletto paintings of\nWarwick Castle, of Walton Bridge —\na bridge made, one would guess, for\nsome Chinese painter to record yet\ndone deliciously by the Italian; of\nWestminster Bridge 1747 when nearly\nready; of Westminster Bridge 1749\nwhen quite ready ,..what a beauty\nthat is.... and of Westminster Abbey;\nthese are marvels of fine painting.\nAnd Mr. Osbert Sitwell writes\nperfectly about him, giving us all we\nneed to know and telling us some\nthings we now know after reading him,\nThe Sitwells are a gifted family\nand are never happier than when wri-\nting of Italian art and artists.\nI read an article by Miss Sitwell\nrecently on English artists in general\nwhich revealed the strongest sense of\nsympathy, which taught me something\nI needed to learn,\nHaving learnt it I hope some day\nto come to a consideration of the art\nof this family of writers, for in a pre-\nvious article upon them I consider I\nwas exceedingly unjust. (0\n(1) \"The Mask Vol. XIII pp. 118-\n121."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c090", "article_bluemountain": "bmtnaau_1929-10_01#c090", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "176", "page_fin": "176", "image_debut": 60, "image_fin": 60, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.24.21", "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": 60, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.60", "debut_caractere": 6346, "fin_caractere_exclue": 6590, "texte": "Among 44 Special Numbers \" re-\ncently issued by the Studio are 44 The\nGardens of Japan 44 Caricature of\nToday 44 Art for Children \" and\n44 Modern Architecture, \"... all valuable\nadditions to the Studio's long series of\ndelightful picture books."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c091", "article_bluemountain": "bmtnaau_1929-10_01#c091", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "177", "page_fin": "177", "image_debut": 61, "image_fin": 61, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.25", "titre_corps": "EDITORIAL NOTES : OCTOBER: NOVEMBER: DECEMBER", "titre_sommaire": "EDITORIAL NOTES : OCTOBER: NOVEMBER: DECEMBER", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 61, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.61", "debut_caractere": 0, "fin_caractere_exclue": 6007, "texte": "EDITORIAL NOTES\nOCTOBER: NOVEMBER: DECEMBER\n\nTHE PLAYS OF TCHEKOV.\n'\"J\"1 CHEKOV'S Plays are now being\nperformed at the Fortune Theatre\nPlayhouse London.\nAre the plays of Tchekov trage-\ndies, comedies or what are they ?\nJ They cannot be tragedies if the\nmean, the little, way in which they\nare handled by all producers is the\nright way. Tchekov would seem to\nhave created some ordinary men and\nwomen, mostly dishonest, or good\nlittle fellows in parts, living in the\nworld we recognize as the most usual\nexpressionless of all worlds — that\nwhere experience has failed to open\nany doors. It is a cooped-in world :\nnothing tragic can enter it because\ntragedy can only come in if the\nheroic is admitted.\nStrindberg often creates a figure of\nthis stature: he may surround his\nfigure with petty ones; it does not\nmatter ; the whole play assumes heroic\nproportions because of the central\nfigure. It therefore becomes tragic or\ncomic, but nothing betwixt or between.\nNot so Tchekov, who seems not\nto write tragedies or comedies but\nsomething in between ; — delicate he\nis, — a kindly doctor not willing to\nscare his patient: he seems to create\nthings like prescriptions to be left in\nthe bottle or taken solemnly in the\nbelief that in any case it is bound to\ndo us good. And like every good\nprescription it does us no harm. His\ndoses prefer to do their level least\nrather than to attempt anything more.\nWe think we prefer this to quack reme-\ndies roaringly prescribed by one of the\nShavian school of medicine.\nAnd so we suppose after all that the\nstage producers who prepare the dose,\neven as the chemist makes up the\ndraught, are doing quite the right thing\nin bottling it with modesty — quiet\nlabel and all, with \" a teaspoonful\nafter meals three times daily \". No-\nthing tragic could result from this —\nand nothing comic either unless one is\ngiven to giggling — when it would be\n*s well to consult Dr. Sheridan and\nget done with the business.\nThat English actors can play\nTchekov as well as do the usual run\nof Russian actors is probable: but\nwhat is not probable is that they can\nplay it perfectly as did M. Stani-\nslavsky's troupe in 1900 and thereabouts.\nIf they could do so, wherein would\nlie the value of Stanislavsky, Moquin,\nKatchaloff, Dancheno, Knipper and\nLilina ? and their theatre in the Ka-\nmergersky Pereulok?\n\nA NATIONAL THEATRE.\n\\Y7HAT is to be said about the\n** recent absurd attempt to saddle\nEngland with a manufactured National\nTheatre ?\nThe best way to make a real\nNational Theatre (like that of Moliere\nin France, for example,) is to wait\nuntil the nation can single out the\nbest Theatre in London from the\nthirty worst, to discover if possible a\ngreat artist at work there, and then to\nmake the thing national by law — and\ndo it quietly.\nFirst get the man, the place and\nthe twenty plays — a reality, — a\nworking theatre (as was Moliere's\nshow) and then make that National.\nBut to set about it as it is now being\ndone —- and through the poor little\nDrama League, is ridiculous.\nBut really!!!....? Is it not ridiculous }\nWe don't think very much of the\nOld Vic, and we think poorly of\nDrury Lane Theatre as it is run\nnowadays, but we would a dozen times\nsooner see either institution given\n£ 400,000 and dubbed \" National \"\nthan this soapbubble which is being\nblown by the Drama League.\nOrganization is all very well espe-\ncially when there is something which\nneeds controlling — wrhen something\nreally exists to control. But to orga-\nnize so as to puff a bubble of soap\nis a bit thin.\nMr. Whitworth the Secretary of the\nDrama League has a real talent for\norganizing and we have always wished\nhim well. It is because Mr. Whit-\nworth was at work with the Drama\nLeague that we controlled ourselves and\ndidn't laugh loudly at the silly affair.\nBut now things have gone too far.\nMr. Whitworth has been overwhelm-\ned by the preposterous idea of the\nCommittee, (if there really be a Com-\nmittee), and the British Drama League\nhas developed a pomposity which can\nonly be equalled by the fanatics in\nIndia who think they know how to\ngovern their ungovernable selves.\nThe Drama League is a joke — but\nthe National Theatre isn't a joke at\nall. It will cost over a million, say\nwhat you will — more likely two\nmillions. If it doesn't it will become\na kind of after joke — when we laugh\nno more. There is the Channel Tunnel\nwhich will be asking for funds sooner\nor later and to which all the National\nTheatre funds could be given.\nThe British Drama Leaguers might\nall drop fooling with Theatres and\nlend a hand at burrowing under the\nChannel : — give them something to\ndo anyhow — fill in their spare time.\nDecidedly anyone in power and in\nhis senses who is taken in by the\nsolemn but not serious folk cf the British\nDrama League deserves to lose his\nplace ... for it's a fatuous idea, fan-\ntastically thought out, fanatically pursued\nand not worth a fig,\n\nSMOKING IN THE THE A TRE.\nA very excellent thing prevails (may\nbe it increases too) in the English\nTheatre. Smoking is permitted in some\ntheatres. The Official 1 heatre Guide\ngiving a list of forty-four London Thea-\ntres tells us that in seventeen of these\nsmoking is permitted.\nIt used to be allowed in Italian\nTheatres —in nearly all: but the Fa-\nscist! have done away with the custom.\nOne can suppose that for the Ita-\nlian Theatre this is a good thing: but\nwe are pleased to see that seventeen\nout of forty-four London Theatres en-\ncourage the custom.\nThe central London Theatres in\nwhich you make smoke are:\nThe Adelphi Pavilion\nCarlton Maskelynes\nDominion Palace\nDuke of York's Palladium\nGaiety Piccadilly\nHippodrome Prince of Wales\nKingsway Shaftesbury\nWinter Garden,\nand the two outlying theatres, one at\nGolders Green, one atLewisham, follow\nfollow the custom.\nWe would see smoking permitted\nat all the theatres where Shakespeare\nis played. Smoking is not an idle habit\nwith most men — as a rule it accom-\npanies them in their more seriours hours\n— it settles them.\nActors want men to feel settled at\na performance of a Shakespeare play."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c092", "article_bluemountain": "bmtnaau_1929-10_01#c092", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "177", "page_fin": "177", "image_debut": 61, "image_fin": 61, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.25.1", "titre_corps": "THE PLAYS OF TCHEKOV", "titre_sommaire": "THE PLAYS OF TCHEKOV", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 61, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.61", "debut_caractere": 45, "fin_caractere_exclue": 2317, "texte": "THE PLAYS OF TCHEKOV.\n'\"J\"1 CHEKOV'S Plays are now being\nperformed at the Fortune Theatre\nPlayhouse London.\nAre the plays of Tchekov trage-\ndies, comedies or what are they ?\nJ They cannot be tragedies if the\nmean, the little, way in which they\nare handled by all producers is the\nright way. Tchekov would seem to\nhave created some ordinary men and\nwomen, mostly dishonest, or good\nlittle fellows in parts, living in the\nworld we recognize as the most usual\nexpressionless of all worlds — that\nwhere experience has failed to open\nany doors. It is a cooped-in world :\nnothing tragic can enter it because\ntragedy can only come in if the\nheroic is admitted.\nStrindberg often creates a figure of\nthis stature: he may surround his\nfigure with petty ones; it does not\nmatter ; the whole play assumes heroic\nproportions because of the central\nfigure. It therefore becomes tragic or\ncomic, but nothing betwixt or between.\nNot so Tchekov, who seems not\nto write tragedies or comedies but\nsomething in between ; — delicate he\nis, — a kindly doctor not willing to\nscare his patient: he seems to create\nthings like prescriptions to be left in\nthe bottle or taken solemnly in the\nbelief that in any case it is bound to\ndo us good. And like every good\nprescription it does us no harm. His\ndoses prefer to do their level least\nrather than to attempt anything more.\nWe think we prefer this to quack reme-\ndies roaringly prescribed by one of the\nShavian school of medicine.\nAnd so we suppose after all that the\nstage producers who prepare the dose,\neven as the chemist makes up the\ndraught, are doing quite the right thing\nin bottling it with modesty — quiet\nlabel and all, with \" a teaspoonful\nafter meals three times daily \". No-\nthing tragic could result from this —\nand nothing comic either unless one is\ngiven to giggling — when it would be\n*s well to consult Dr. Sheridan and\nget done with the business.\nThat English actors can play\nTchekov as well as do the usual run\nof Russian actors is probable: but\nwhat is not probable is that they can\nplay it perfectly as did M. Stani-\nslavsky's troupe in 1900 and thereabouts.\nIf they could do so, wherein would\nlie the value of Stanislavsky, Moquin,\nKatchaloff, Dancheno, Knipper and\nLilina ? and their theatre in the Ka-\nmergersky Pereulok?"}]}, {"article_id": "bm-bmtnaau-1929-10-01-c094", "article_bluemountain": "bmtnaau_1929-10_01#c094", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "177", "page_fin": "177", "image_debut": 61, "image_fin": 61, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.25.2", "titre_corps": "A NATIONAL THEATRE", "titre_sommaire": "A NATIONAL THEATRE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 61, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.61", "debut_caractere": 2319, "fin_caractere_exclue": 4859, "texte": "A NATIONAL THEATRE.\n\\Y7HAT is to be said about the\n** recent absurd attempt to saddle\nEngland with a manufactured National\nTheatre ?\nThe best way to make a real\nNational Theatre (like that of Moliere\nin France, for example,) is to wait\nuntil the nation can single out the\nbest Theatre in London from the\nthirty worst, to discover if possible a\ngreat artist at work there, and then to\nmake the thing national by law — and\ndo it quietly.\nFirst get the man, the place and\nthe twenty plays — a reality, — a\nworking theatre (as was Moliere's\nshow) and then make that National.\nBut to set about it as it is now being\ndone —- and through the poor little\nDrama League, is ridiculous.\nBut really!!!....? Is it not ridiculous }\nWe don't think very much of the\nOld Vic, and we think poorly of\nDrury Lane Theatre as it is run\nnowadays, but we would a dozen times\nsooner see either institution given\n£ 400,000 and dubbed \" National \"\nthan this soapbubble which is being\nblown by the Drama League.\nOrganization is all very well espe-\ncially when there is something which\nneeds controlling — wrhen something\nreally exists to control. But to orga-\nnize so as to puff a bubble of soap\nis a bit thin.\nMr. Whitworth the Secretary of the\nDrama League has a real talent for\norganizing and we have always wished\nhim well. It is because Mr. Whit-\nworth was at work with the Drama\nLeague that we controlled ourselves and\ndidn't laugh loudly at the silly affair.\nBut now things have gone too far.\nMr. Whitworth has been overwhelm-\ned by the preposterous idea of the\nCommittee, (if there really be a Com-\nmittee), and the British Drama League\nhas developed a pomposity which can\nonly be equalled by the fanatics in\nIndia who think they know how to\ngovern their ungovernable selves.\nThe Drama League is a joke — but\nthe National Theatre isn't a joke at\nall. It will cost over a million, say\nwhat you will — more likely two\nmillions. If it doesn't it will become\na kind of after joke — when we laugh\nno more. There is the Channel Tunnel\nwhich will be asking for funds sooner\nor later and to which all the National\nTheatre funds could be given.\nThe British Drama Leaguers might\nall drop fooling with Theatres and\nlend a hand at burrowing under the\nChannel : — give them something to\ndo anyhow — fill in their spare time.\nDecidedly anyone in power and in\nhis senses who is taken in by the\nsolemn but not serious folk cf the British\nDrama League deserves to lose his\nplace ... for it's a fatuous idea, fan-\ntastically thought out, fanatically pursued\nand not worth a fig,"}]}, {"article_id": "bm-bmtnaau-1929-10-01-c095", "article_bluemountain": "bmtnaau_1929-10_01#c095", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "177", "page_fin": "177", "image_debut": 61, "image_fin": 61, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.25.3", "titre_corps": "SMOKING IN THE THE A TRE", "titre_sommaire": "SMOKING IN THE THE A TRE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 61, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.61", "debut_caractere": 4861, "fin_caractere_exclue": 6007, "texte": "SMOKING IN THE THE A TRE.\nA very excellent thing prevails (may\nbe it increases too) in the English\nTheatre. Smoking is permitted in some\ntheatres. The Official 1 heatre Guide\ngiving a list of forty-four London Thea-\ntres tells us that in seventeen of these\nsmoking is permitted.\nIt used to be allowed in Italian\nTheatres —in nearly all: but the Fa-\nscist! have done away with the custom.\nOne can suppose that for the Ita-\nlian Theatre this is a good thing: but\nwe are pleased to see that seventeen\nout of forty-four London Theatres en-\ncourage the custom.\nThe central London Theatres in\nwhich you make smoke are:\nThe Adelphi Pavilion\nCarlton Maskelynes\nDominion Palace\nDuke of York's Palladium\nGaiety Piccadilly\nHippodrome Prince of Wales\nKingsway Shaftesbury\nWinter Garden,\nand the two outlying theatres, one at\nGolders Green, one atLewisham, follow\nfollow the custom.\nWe would see smoking permitted\nat all the theatres where Shakespeare\nis played. Smoking is not an idle habit\nwith most men — as a rule it accom-\npanies them in their more seriours hours\n— it settles them.\nActors want men to feel settled at\na performance of a Shakespeare play."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c096", "article_bluemountain": "bmtnaau_1929-10_01#c096", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "178", "page_fin": "178", "image_debut": 62, "image_fin": 62, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.26", "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": 62, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.62", "debut_caractere": 0, "fin_caractere_exclue": 9178, "texte": "LAST WORDS.\n\nPLAY DOWN\nREMEMBER QUINCTILIANI\nJ. B.\n\" Care should be takers not thai the: reader\nmay understand if he will, but that he must\nunderstand, whether he will or not.\nQuinctilian.\nHP HE most interesting thing, to me, about the\ngreat Hatry sensation, is that I was not\nable to understand one word of what it was\nabout, from the great London journals which\nwere sent to me. I grant you that 1 only re-\nceived one, hut it was one of the widest-cir-\nculated, and has a continental edition, and is\na journal I am always very pleased with.\n!s it possible that the great master minds of\njournalism have a blind spot in them ?\nIs it possible that they can suppose that all\ntheir readers understand every reference to finan-\ncial things as easily as ABC ?\nPerhaps this is so.\nThe excellent paper to which I refer had its\nfront pages for three days almost packed full\nof news about Hatry and what he had done,\nand it forgot to tell us the most elemental\nfacts about the affair. It forgot to explain what\nthe Stock Exchange is, what its action might\nbe, who its Committee is, why it has a Com-\nmittee, what shares are, and how it is that\none town can be involved and suffer through\na Mr. Hatry, and how it is that such a di-\nsaster is possible, on this same Stock Exchange\nand how possible for four people, Hairy* Da-\nniels, Tabor, Dixon, to conspire.\nNow if it had been anything about thea-\ntres, or anything about painting, sculpture, ar-\nchitecture, and, to go further than this, about\nfood, about religion, about tailoring, about\ncosmetics — anything you like — the great journal\nwould have been careful to sink its intelligence\nthe level of babies and to explain every term\nthat it used. Had it been writing about thea-\ntres, and something had happened at the great\nComedie Francaise, which is the most im-\nportant theatre in Europe, it would have ex-\nplained what the Comedie was, when founded,\nwhen built, whst its functions were, what the\nchances were of success and failure in such a\nplace; and it would have left no possible loop-\nhole for anyone to misunderstand. But owing\nto this blind spot in the modern mind of the\ngreat editors of to-day, since they buy and\nsell, presumably, in this place called the Stock\nExchange, they imagine that everybody must\nunderstand what an Exchange is, what stock\nis, what this place's Committee is, and so\nforth.\nThe journal I refer to gave a list of enor-\nmous sums of money, the capitals of a dozen\nor so big business affairs — £ 68,000,000\nschemes \". it said in its headline — but\nit did not explain what a scheme was, or\nhow £ 68,000.000 could be put in to a\n44 scheme \", by a fool or a rogue and the rest\nof the people back up that scneme and ap-\nplaud the putting in of <£ 68,000,000.\nTo a fairly poor man what was printed ap-\npeared like a farcical talk or a nightmare —\nwhat must the million readers down in Dorset\nor up in Cumberland have thought as they\nread this abracadabra ? These big journals, are\nthey perhaps becoming just a trifle high-brow ?\n— are they not a little above our heads ?\nWe who adore our Edgar Wallace and\nhis perfect lucidity, we do not deserve to be\ndazzled — teazed by the subtlety of our\nmorning paper.\nI was reading Edgar Wallace only today...\nhis 44 The Ringer '. What a masterpiece it is.\nEnter Detective to Villain. 44 I am a detective\n— you have a villainous face — I suspect\nyou —- good morning *\\ Villain says as the\nDetective goes away 44 I almost believe that\nman suspects something Telegram arrives\nnext moment for Villain: 44 I said so he\ndoes suspect something — he suspects me \".\nDetective by now on the way to station;\n4 There's a thing that puzzles me and it's\nthis... that villain, though it would be hard\nto make anyone believe me, I suspect him of\nbeing the villain of this piece \".\nI recall seeing Edgar Wallace's successful\nplay 44 The Flying Squad 44 — it ran on and\non and on — a wonderful success. I sat a-\nmazed at the author's astounding capacity to\nguage the intelligence of his vast audience —\nnever for a moment did he over-estimate their\nunderstanding, their desire for originality, their\nwish for a thrill, their capacity to follow him.\nIt seemed to me as I watched that Edgar\nWallace had said to himself '4 The public is\na very great fool indeed — but indeed a very\ngreat fool. Don t be a greater one and give\n'em anything new, witty, human, touching,\nheroic, grand or melodramatic, for if you do\nit will be all thrown away on them. Just\nbring on characters known since the first play\nwas written, but be careful to bring forward\ninto prominence those overlooked supers of the\nthird row of the chorus — the featureless\nexpressionless, forlorn people who never had\na chance: centre these: tell them to be na-\ntural and never to over-do it: thus our dearly\nloved audience of 3000 dullards will see a per-\nfect reflection of themselves; they deserve that\n— it's not their fault they are dull but it\nwould be mine if I didn4t play right down to\nthem \".\nWell, ; I feel like Edgar Wallace. I feel\nit is that \"great newspaper's fault that it didn't\nplay down to my intelligence when it reported\nall about the Hatry affair and told me nothing.\n\nMISS ANGNA ENTERS\nD. P.\n| have never seen this lady perform, but\neveryone seems to speak well of her... 1 hate\nto discover that I have said what someone in\nThe School for Scandal \" says of Joseph\nSurface. There is some critical use in the\nline, when applied to any celebrated success-\nful performer: the performer must have stooped\nrather, bent a little, been of a coming-on dispo-\nsition for every one to find the performer\nwonderful. What a ridiculous creature the\nspectators form themselves into — that mon-\nstrous thing called an audience; fancy being\ndisposed to stoop to it.\nI always like a conquering actor better\nthan a winning actress, for the reason that he\ncomes at them — he doesn't bend to them :\nand indeed, for all 1 know, Miss Enters may\nbe like Mrs Siddons and do just that; I would\neven be prepared to believe that she ignores\nthem entirely — that she is so concerned with\nher art of composition that she never gives\nthem a thought. If so, she will he certainly\none of the unique persons of the stage.\n1 very much wish that those who write\nabout performers would cease to talk of them\nas artists, would invent a new name for them,\nif they are not content with the word 44 per-\nformer, \" and would refer to what they do\nby using any other word except that of 44 art. \"\nMiss Enters seems to be a dancer, and, so far\nas I can gather, her dance is more like that\nof Emma Hamilton, and much less like that\nof La Taglione. I can almost suppose that\nwhat she does is rather more acting than dan-\ncing. She seems also to dress up a great deal:\nshe likes to look each part and she has a\nnumber of them. We are told that 44 She has\na gift of expression \" and that had\nshe employed the most perfect speaking voice\nin the world, she would not have added one\niota to the effectiveness of her presentation. \"\nAH critics praise her to the skies ; but it is a\nlittle bit embarrassing to find one of them\nsaying It is not dance, it is not drama, it\nis divination. \" That won't do, and that is\nwhy I want to see her to discover what it is.\n\nREVIEW COPIES OF BOOKS.\nJ. S.\nIt was with a copy of Monsieur Duchar-\ntre's The Italian Comedy \" that we received\nfrom Messrs Harrap a printed letter in which\nthese publishers make a special and reasonable\nrequest: and we think that it is to the interest\nof authors, public, publishers, and indeed, eve-\nryone else, to reprint that \" request \" — be-\ncause it is quite likely that very few other\njournals or magazines will reprint it:-\nA SPECIAL REQUEST.\nThe practice of selling review copies\nof books at less than the published price ap-\npears to be on the increase, and is a source\nof much trouble and misunderstanding to\npublishers and booksellers. Cases have been\nknown in which such books have been sold\nto booksellers at a low rate before publication.\nWhile recognizing that it is impossible\nto prevent the sale of review copies publishers\nearnestly request editors and reviewers to use\ntheir influence to prevent such sales, at any\nrate until one month after publication.\"\n44 The Mask \" has for years now issued\nstrict injunctions that no reyiew copies what-\never are to be sold, at least within two years\nafter publication. We know that reviewers\nlook on the copies of the books they are obliged\nto review as perquisites, but we don't like\nthat notion at all. Of course, if they did not\nsell these copies, and fairly cheaply, a section\nof the public could not obtain them from the\nsecond-hand bookseller for the very few shil-\nlings it is willing to pay. But then nobody\nshould be able to buy a 30 /- book for 12/-\nthe same year in which the book is issued, the\nsame month — the same week : and we think\nthat some law might be passed to prevent any\nunder-selling of a book within a given time.\nWe suppose the Society of Authors has long ago\nlooked into the matter, but if so we should like\nto know what results have been achieved -—\nfor it must be a pretty bad state of affairs\nwhen Messrs Harrap are obliged to send round\nthis special but reasonable request.\nTHE END\nO F\nVOLU M E XV."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c097", "article_bluemountain": "bmtnaau_1929-10_01#c097", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "178", "page_fin": "178", "image_debut": 62, "image_fin": 62, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.26.1", "titre_corps": "PLAY DOWN REMEMBER QUINCTILIANI", "titre_sommaire": "PLAY DOWN REMEMBER QUINCTILIANI", "signature_source": "J. B", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 62, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.62", "debut_caractere": 13, "fin_caractere_exclue": 5145, "texte": "PLAY DOWN\nREMEMBER QUINCTILIANI\nJ. B.\n\" Care should be takers not thai the: reader\nmay understand if he will, but that he must\nunderstand, whether he will or not.\nQuinctilian.\nHP HE most interesting thing, to me, about the\ngreat Hatry sensation, is that I was not\nable to understand one word of what it was\nabout, from the great London journals which\nwere sent to me. I grant you that 1 only re-\nceived one, hut it was one of the widest-cir-\nculated, and has a continental edition, and is\na journal I am always very pleased with.\n!s it possible that the great master minds of\njournalism have a blind spot in them ?\nIs it possible that they can suppose that all\ntheir readers understand every reference to finan-\ncial things as easily as ABC ?\nPerhaps this is so.\nThe excellent paper to which I refer had its\nfront pages for three days almost packed full\nof news about Hatry and what he had done,\nand it forgot to tell us the most elemental\nfacts about the affair. It forgot to explain what\nthe Stock Exchange is, what its action might\nbe, who its Committee is, why it has a Com-\nmittee, what shares are, and how it is that\none town can be involved and suffer through\na Mr. Hatry, and how it is that such a di-\nsaster is possible, on this same Stock Exchange\nand how possible for four people, Hairy* Da-\nniels, Tabor, Dixon, to conspire.\nNow if it had been anything about thea-\ntres, or anything about painting, sculpture, ar-\nchitecture, and, to go further than this, about\nfood, about religion, about tailoring, about\ncosmetics — anything you like — the great journal\nwould have been careful to sink its intelligence\nthe level of babies and to explain every term\nthat it used. Had it been writing about thea-\ntres, and something had happened at the great\nComedie Francaise, which is the most im-\nportant theatre in Europe, it would have ex-\nplained what the Comedie was, when founded,\nwhen built, whst its functions were, what the\nchances were of success and failure in such a\nplace; and it would have left no possible loop-\nhole for anyone to misunderstand. But owing\nto this blind spot in the modern mind of the\ngreat editors of to-day, since they buy and\nsell, presumably, in this place called the Stock\nExchange, they imagine that everybody must\nunderstand what an Exchange is, what stock\nis, what this place's Committee is, and so\nforth.\nThe journal I refer to gave a list of enor-\nmous sums of money, the capitals of a dozen\nor so big business affairs — £ 68,000,000\nschemes \". it said in its headline — but\nit did not explain what a scheme was, or\nhow £ 68,000.000 could be put in to a\n44 scheme \", by a fool or a rogue and the rest\nof the people back up that scneme and ap-\nplaud the putting in of <£ 68,000,000.\nTo a fairly poor man what was printed ap-\npeared like a farcical talk or a nightmare —\nwhat must the million readers down in Dorset\nor up in Cumberland have thought as they\nread this abracadabra ? These big journals, are\nthey perhaps becoming just a trifle high-brow ?\n— are they not a little above our heads ?\nWe who adore our Edgar Wallace and\nhis perfect lucidity, we do not deserve to be\ndazzled — teazed by the subtlety of our\nmorning paper.\nI was reading Edgar Wallace only today...\nhis 44 The Ringer '. What a masterpiece it is.\nEnter Detective to Villain. 44 I am a detective\n— you have a villainous face — I suspect\nyou —- good morning *\\ Villain says as the\nDetective goes away 44 I almost believe that\nman suspects something Telegram arrives\nnext moment for Villain: 44 I said so he\ndoes suspect something — he suspects me \".\nDetective by now on the way to station;\n4 There's a thing that puzzles me and it's\nthis... that villain, though it would be hard\nto make anyone believe me, I suspect him of\nbeing the villain of this piece \".\nI recall seeing Edgar Wallace's successful\nplay 44 The Flying Squad 44 — it ran on and\non and on — a wonderful success. I sat a-\nmazed at the author's astounding capacity to\nguage the intelligence of his vast audience —\nnever for a moment did he over-estimate their\nunderstanding, their desire for originality, their\nwish for a thrill, their capacity to follow him.\nIt seemed to me as I watched that Edgar\nWallace had said to himself '4 The public is\na very great fool indeed — but indeed a very\ngreat fool. Don t be a greater one and give\n'em anything new, witty, human, touching,\nheroic, grand or melodramatic, for if you do\nit will be all thrown away on them. Just\nbring on characters known since the first play\nwas written, but be careful to bring forward\ninto prominence those overlooked supers of the\nthird row of the chorus — the featureless\nexpressionless, forlorn people who never had\na chance: centre these: tell them to be na-\ntural and never to over-do it: thus our dearly\nloved audience of 3000 dullards will see a per-\nfect reflection of themselves; they deserve that\n— it's not their fault they are dull but it\nwould be mine if I didn4t play right down to\nthem \".\nWell, ; I feel like Edgar Wallace. I feel\nit is that \"great newspaper's fault that it didn't\nplay down to my intelligence when it reported\nall about the Hatry affair and told me nothing."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c099", "article_bluemountain": "bmtnaau_1929-10_01#c099", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "178", "page_fin": "178", "image_debut": 62, "image_fin": 62, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.26.2", "titre_corps": "MISS ANGNA ENTERS", "titre_sommaire": "MISS ANGNA ENTERS", "signature_source": "D. P", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 62, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.62", "debut_caractere": 5147, "fin_caractere_exclue": 7186, "texte": "MISS ANGNA ENTERS\nD. P.\n| have never seen this lady perform, but\neveryone seems to speak well of her... 1 hate\nto discover that I have said what someone in\nThe School for Scandal \" says of Joseph\nSurface. There is some critical use in the\nline, when applied to any celebrated success-\nful performer: the performer must have stooped\nrather, bent a little, been of a coming-on dispo-\nsition for every one to find the performer\nwonderful. What a ridiculous creature the\nspectators form themselves into — that mon-\nstrous thing called an audience; fancy being\ndisposed to stoop to it.\nI always like a conquering actor better\nthan a winning actress, for the reason that he\ncomes at them — he doesn't bend to them :\nand indeed, for all 1 know, Miss Enters may\nbe like Mrs Siddons and do just that; I would\neven be prepared to believe that she ignores\nthem entirely — that she is so concerned with\nher art of composition that she never gives\nthem a thought. If so, she will he certainly\none of the unique persons of the stage.\n1 very much wish that those who write\nabout performers would cease to talk of them\nas artists, would invent a new name for them,\nif they are not content with the word 44 per-\nformer, \" and would refer to what they do\nby using any other word except that of 44 art. \"\nMiss Enters seems to be a dancer, and, so far\nas I can gather, her dance is more like that\nof Emma Hamilton, and much less like that\nof La Taglione. I can almost suppose that\nwhat she does is rather more acting than dan-\ncing. She seems also to dress up a great deal:\nshe likes to look each part and she has a\nnumber of them. We are told that 44 She has\na gift of expression \" and that had\nshe employed the most perfect speaking voice\nin the world, she would not have added one\niota to the effectiveness of her presentation. \"\nAH critics praise her to the skies ; but it is a\nlittle bit embarrassing to find one of them\nsaying It is not dance, it is not drama, it\nis divination. \" That won't do, and that is\nwhy I want to see her to discover what it is."}]}, {"article_id": "bm-bmtnaau-1929-10-01-c101", "article_bluemountain": "bmtnaau_1929-10_01#c101", "volume": "bmtnaau_1929-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "178", "page_fin": "178", "image_debut": 62, "image_fin": 62, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.2.26.3", "titre_corps": "REVIEW COPIES OF BOOKS", "titre_sommaire": "REVIEW COPIES OF BOOKS", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 62, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.62", "debut_caractere": 7188, "fin_caractere_exclue": 9178, "texte": "REVIEW COPIES OF BOOKS.\nJ. S.\nIt was with a copy of Monsieur Duchar-\ntre's The Italian Comedy \" that we received\nfrom Messrs Harrap a printed letter in which\nthese publishers make a special and reasonable\nrequest: and we think that it is to the interest\nof authors, public, publishers, and indeed, eve-\nryone else, to reprint that \" request \" — be-\ncause it is quite likely that very few other\njournals or magazines will reprint it:-\nA SPECIAL REQUEST.\nThe practice of selling review copies\nof books at less than the published price ap-\npears to be on the increase, and is a source\nof much trouble and misunderstanding to\npublishers and booksellers. Cases have been\nknown in which such books have been sold\nto booksellers at a low rate before publication.\nWhile recognizing that it is impossible\nto prevent the sale of review copies publishers\nearnestly request editors and reviewers to use\ntheir influence to prevent such sales, at any\nrate until one month after publication.\"\n44 The Mask \" has for years now issued\nstrict injunctions that no reyiew copies what-\never are to be sold, at least within two years\nafter publication. We know that reviewers\nlook on the copies of the books they are obliged\nto review as perquisites, but we don't like\nthat notion at all. Of course, if they did not\nsell these copies, and fairly cheaply, a section\nof the public could not obtain them from the\nsecond-hand bookseller for the very few shil-\nlings it is willing to pay. But then nobody\nshould be able to buy a 30 /- book for 12/-\nthe same year in which the book is issued, the\nsame month — the same week : and we think\nthat some law might be passed to prevent any\nunder-selling of a book within a given time.\nWe suppose the Society of Authors has long ago\nlooked into the matter, but if so we should like\nto know what results have been achieved -—\nfor it must be a pretty bad state of affairs\nwhen Messrs Harrap are obliged to send round\nthis special but reasonable request.\nTHE END\nO F\nVOLU M E XV."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.1", "texte": "THE MASK\nVOLUME FIFTEEN. NUMBER FOUR\nOCTOBER - NOVEMBER - DECEMBER\n19 2 9\nANNUAL SUBSCRIPTION DE LUXE EDITION\nTEN SHILLINGS R I CE.m TWENTY SHILLINGS\n(POST p-REE) jP|~ jO (post FREE)\nTWO & A HALF DOLLARS FIVE DOLLARS\nFOR AMERICA FOR AMERICA\nADDRESS: BOX 44 4. FLORENCE. ITALY.\n\nHENRY IRVING: HIS VOICE by Gordon\nCraig.\nLEAVES FROM AN ARCHITECT'S ITI-\nNERARY setting forth what Giannantonio\nSelva thought of English architecture and artists\nin 1780.\nMLLE. RACHEL'S LIBRARY, being a\nfurther Translation of the Catalogue of the\nSale held after her Death.\nDRURY LANE, AND SOME MEDITA-\nTIONS AS TO WHY THE WEAZEL\nDOES NOT ALWAYS GO POP, by Scotson\nUmbridee.\nCOSTUME VERSUS CLOTHES, AND\nTHE PSYCHOLOGY OF \" DRESSING\nUP \" by Hilaire Hiler.\nTHE MYTH AND NO MYTH, i Some\nConsiderations on Shakespeare and /Eschylus,\ntheir Translators and Commentators, by William\nAddicote.\nTHE GILBERT AND SULLIVAN OPE-\nRAS, and the Need of a Producer, by John\nFurse.\nNOTES UPON TWO NOBODIES : ON\nDUMAS PtRE AND FILS, ON CHRIST-\nMAS CAROLS, SMOKING IN THE/, TRES,\nand many other Matters.\n\nILLUSTRATIONS\nA SUPERB MINIATURE BY V. BLARENBERGHE SHOWING THE FOIRE\nST. GERMAIN, PARIS; PORTRAITS OF PHILIP ASTLEY AND GIAN,\nNANTONIO SELVA. BIRD'SEYE VIEWS OF THE TOWN OF BUDRIO AND\nTHE PALAIS ROYAL. PLANS OF THE TEATRO LA FEN ICE, VENEZIA.\nSECTION OF A PLAN OF PARIS SHOWING THE POSITION OF THE FOIRE\nST. GERMAIN, AND SECTION OF G. B. NOLLI'S PLAN OF ROME, 1848,\nSHOWING THE LITTLE-KNOWN TEATRO GRANARI."}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.2", "texte": "THE MASK. OCTOBER - DECEMBER 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 he 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 133\nHENRY IRVING: HIS VOICE Gordon Craig 134\nLEAVES FROM AN ARCHITECT'S ITINERARY . Giannantonio Selva . . . .142\nBIOGRAPHICAL NOTE on Giannantonio Selva . . P. B. . . . . . .13#\nCATALOGUE OF THE SALE OF MLLE. RACHEL'S\nPOSSESSIONS, Part 3 14#\nTHE THEATRE IN BUDRIO C. 15.\nCOSTUME VERSUS CLOTHES Hilaire Hiler 153\nDRURY LANE ........ Scotson Umbridge . . . . 1\nTHE MYTH ......... William Addicote . . . .161\nNO MYTH \" \" .... 162\nTWO NOBODIES X. Y. Z. . . . . . *164\nWANTED - A PRODUCER John Furse 166\nGETTING ON WITH IT J. S 167\nBOOK REVIEWS. EDITORIAL NOTES. LAST WORDS.\n\nILLUSTRATIONS\nPHILIP ASTLEY 10 Face 135\nGIANNANTONIO SELVA . . . . •• , j •• ,4(\nPLAN OF ASTLEY S THEATRE. . Giannantonio Selva \" 12 Precede 14<\nBIRD'SEYE VIEW OF THE TOWN OF BUDRIO \" I3 Face ,52\nBIRD'SEYE VIEW OF THE PALAIS ROYAL, PARIS . . . \"14 »• !6C\nLA FOIRE ST. GERMAIN V. Blarenberghe . \"15 \"164\n(Enlargement). ... \" \" . \"16 \"164\nTEATRO LA FENICE ,3g\nPLANS OF THE TEATRO LA FENICE . . . j Giannantonio Selva . • . . 139\n) The Meduna Brothers . , ]\nSPA CCA TO OF TEATRO LA FENICE. ....... 14|\nMAN CONSIDERED ARCHITECTURALLY [ ,55\nPLAN OF LA FOIRE ST. GERMAIN . . . . [ ,64\nPLAN SHOWING TEATRO GRANARI, ROMA ' 166\nHead and Tail Pieces from old and modern Designs."}, {"page_pdf": 4, "page_imprimee": "[132]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.4", "texte": "THE MASK\n1 9 2 9\n\nPlate 10."}, {"page_pdf": 5, "page_imprimee": "[133]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.5", "texte": "THE MASK\n\nFOREWORD AND\nANNOUNCEMENT\nWITH this number we close the fifteenth volume of this\nMagazine.\n\" The Mask \" has preached a good bit — but it\nhas also done as it preached. Not always, but when\never possible.\nIt serves — as best it can, and we believe that there is no true\ntheatre lover who is not its friend.\nWith its next number The Mask begins a new volume. But\nnot only a new Volume.\nA NEW PERFORMANCE\nIT intends to revise its entire programme.\n— It may be twice the size or half its size — and its price will\nprobably be new.\nIt may not appear until April, it may come out in June: it may\nappear as before in Florence or it may shift its head quarters to Paris,\nRome, or London: and it may offer its readers some surprises; but it\nwill let you hear of what ever it does in good time.\nWhy this indecision ?\nThe Mask generally worn is inscrutable — we never knew a mask\nthat wasn* t.\nLet this fleeting expression of indecision lend life then for the moment\nto these its old and steady features. THE MASK Publishers•"}, {"page_pdf": 6, "page_imprimee": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.6", "texte": "HENRY IRVING\nHIS VOICE\nBY GORDON CRAIG.\nIT was brought against Irving that he\ncould not speak our English tongue,\nthe English language, his mother-tongue,\nour mother-tongue.\nThis accusation lasted for some twenty\nyears or so, after which folk gave up trying\nto teach Irving how English should be\nspoken.\nIrving, never deaf to criticism, tried\nto speak as neatly, as nicely, as any suck-\ning dove, but, when ever he grew excited,\nas is customary with great actors, he would\nreturn to his old way of utterance.\nHe would say \" for God;\nthrut dug for \"cutthroat dog\"; \"\nthe rup frum mey nek\" for Take the\nrope from my neck ; \" \" Riz \" is how he\npronounced the word \"rich\"riz -\nriz - riz, he repeated, this as some will re-\nmember, during the Dream scene in \" The\nBells \" where he imagines he is in a field\nand, axe in hand, awaiting the coming of\nthe Polish Jew.\nHe hears the bells of his sledge\nafar off coming nearer and nearer and\nRiz -riz - riz - riz,he went on growling and\nhissing as they went on ringing. The effect\nof the z instead of ch was this : instead\nof the sound reminding us of an old house\nwife shooing the fowls from the kitchen\ndoor, we were horribly thrilled, as at the\nominous sound of the serpent (the\nabout to spring, and we were aware that\na duet between the regular throb of the\nbells and this voice was being sung. At\nthe end of a long-sustained series of these\nsounds, riz-riz-riz, he did spring — he struck\ndown the imaginary Jew, and fell in a\nheap on top of him. Again, in \" Mac-\nbeth the passage \"To trammel up the"}, {"page_pdf": 7, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.7", "texte": "consequence \" became in his mouth \" tram-\nmell up-p the cuncequnce \" — a sharp\ndivision of the two M's, a brief stop after\nthe first, second, and the fourth words.\nTo our English ears other English actors\nwere less curious — they were easier. With\nthese speakers, it was \" do drammel ub ze\ngonseqvence,\"or \" to tr\"\n— and if this last was a simplification of\na puzzle, it will be admitted that ' tis a\ndifficult word to hear, to believe in, and\nremember.\nFor \" good, \" Irving said \" god\nsight \" was \" seyt \" stood \" was\nstod \" smote \" became \" smot\n\" hand \" was often \" hond \" or \" hend \".\nIn short, he seemed to make words\nricher rather than poorer — it may have\nbeen an illusion but to us speech became\nexpressive instead of what in England is\nthought to be refined.\nAnd I was far away from Irving, when,\none day in 1919, I rode from Sabbioneta\nto Casalmaggiore, and as I rode, began\nto read a 16 th century ballad about\nRobin and the potter. The good old\nEnglish song begins like this: -\nIn schomer, when the leves spryng,\nThe bloschems on every bowe,\nSo merey doyt the berdys synge,\nIn wodys merey now.\nIt is not too easy to read smoothly as\nyou ride in an old four-wheeled racketty\ncarrozza on the billowy side-road leading\nout of Sabbioneta, so I took the ballad\ntwice as slowly line by line, reading each\nword aloud to myself, so that the sounds\nwould strike above the noise of the car-\nrozza, keep tune and time, to my ear\nand make good through the hearing what\nwas strange and puzzling to the eyes.\nI had not read more than four to\" jive\nverses when I felt I was in Nottingham-\nshire ; it was summer, green willows and\naspens were on each side, birds sang in the\nwood —it was pleasant. I went on until\nsomething like the fourteenth verse, when\nI was up to an old trick of mine and my\npencil was marking the book, and down in\nthe margin went the two initials\nnot once, but five or six times. But 1\nwent on quickly, and forgot H. I. for\nRobin Hood.\nOpening this book some years later, I\nsee these pencil marks, and 1 think I will\ncopy out the verses around which, for\nsome evident purpose, they flutter as though\nsome little nest was hidden there.\nThese were two of the verses beside\nwhich 1 find my pencilled H. I. s: — and\nthe words underlined which reminded me\nof his voice: —\nTogeder then went thes two\nHet was a god seyt to se;\nTherof low Robyn hes men,\nTher they siod onder a tre.\nLeytell John to hes felow hes seyde\nYend potter Welle stonde.\nThe potter, with a caward stroke,\nSmot the bokeler out of hes honde.\nThen come several more /. s, against\nsuch lines as: - \" Hes bokeler at felte\nwhat we call \" his \" but which\nis here pronounced fette, like wet-t: and\n\" I well prey the, potter and\n\" what ys they name seyde the potter \".\nOn reading the whole ballad again, this\ntime indoors, 1 am no longer in Notting-\nhamshire, 1 am at the Lyceum Theatre,\nand 1 become very aware of Irving, and\nI hear again as it were the fine voice ;\nand as I listen to this pure old English\nstrain, 1 think how odd it is that always\nfor preserving the best do men lay\nthemselves open to the attacks of their\nfellows.\nFor this is the old English speech, and\nIrving brought back to us something of\nthose ripe old sounds — and damme if\nwe didn't object."}, {"page_pdf": 8, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.8", "texte": "Some fifty years before Irving' s time,\n2,000,000 English school boys were being\ntaught by some 8,000 English school masters,\nmistresses and ushers to say \" God \" and\nmean the Almighty; the o was insisted on;\nit was to sound noble - i.e., frozen; it\nwas to sound like the word \" Gourd \".\n\" Once again, Billy, Gourd \".... \" No,\nBilly, Gourd \".... Billy tries, and then says\n\" Guud \".... \" Now Billy, I give you two\nmore chances before 1 use my prerogative \".\nBilly, trembling before the whistling shadow\nof the prerogative, drops one u the more -\nthen another, and, in a burst of religious\nfervour and dashing for it comes out\nwith \" Gorrd \"; and the deadly and the\nhard once more triumph over the real and\nthe beautiful.\nAnd so by Irving's time all \" o \" s\nwere hard and deadly, all \"e\"s were\nbrayed or mewed, all double \"oo \"s be-\ncame \" u \" s, and \" a\"s were flattened;\nall kinds of contortions were employed to\nbring out the full nobility of every vowel\nand the sweetness of each consonant, and\nnow on the day of victory, the nation hugs\nto its breast its immense defects.\nIt comes to it, that it was because\nIrving's calling permitted, even expected,\nhim to boil when about to speak, that,\navailing himself of this permission and doing\nas he was expected, he came to speak\nEnglish as I believe it should be spoken,\nthat same good rich English spoken in the\ndays of Robin Hood, and long before and\nafter.\nIt was an unfortunate thing for Irving\nand his critics; for while they both agreed,\ntheoretically, that \" ° \" should be pronoun-\nced like \" o\" and not like \" u , Ir-\nving fell from grace every time he got\nnear an \"o\": and uttered it like a \"u'\nand his critics, while theoretically quite\nin sympathy with him, had in the presence\nof an enlightened public to rap him sharply\nover the knuckles for what they con-\nsidered sheer carelessness. \"Do I say\n\"Gud \" when I say \" Gud\" ? \" asked\nIrving ; and it had to be admitted with\nsundry apologetic coughs that he\nthough some had the grace to add \"but\nyer Inglish is perfict, mi dear fellar\".\nAnd so, while Irving's was \" perfict\nInglish\", it was none the less asseverated\nthat he could not speak our mother\ntongue — that his amazing range of sound\nwas monotonous !\n\" Apres Fesprit de discernement, ce\n\" qu'il y a au monde de plus rare, ce\n\" sont les diamants et les perles\", says\nLa Bruyere ; and indeed, if something rare\nbe worth the having, it is well to wait\na long time before asserting that an Irving\ncannot speak English, a Lope de Vega\ncannot write plays, a Rossini cannot\ncompose an Opera, and a Bruegel cannot\ndraw. Yet this is what we hear, and\nhave heard continually, year in and year\nout — and Byron is no poet, Mozart no\nmusician, and Mussolini cannot rule.\nTo sum up, Irving was not only a\ngreat actor, he was a polished actor in\nas much as he spoke perfectly, and moved\nfaultlessly, amongst people who for the\nmost part spoke sloppily and moved with-\nout significance.\nLate in life, he said to an old friend\none day, on reading in a newspaper a\nfresh attack on his \"de\" of speech\nand deportment, \"For one who can nei-\nther speak English nor carry himself like\na human being, I seem to have got\npretty far\"."}, {"page_pdf": 9, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.9", "texte": "BIOGRAPHICAL NOTE\n\nIOVANNI ANTONIO SELVA was born, according to\nmost authorities, on June 13, 1753 in Venice;\nsome however put the year as 1 755.\nHe died in Venice January 22, 1819.\nSelva was architect and art historian. He was pupil\nof Temanza (1705-1789) 44 a man of extraordinary\nmerit \" who in 1 778 published a work on the 44 Lives\nof the most excellent Architects and Sculptors of Venice \".\nSelva is perhaps best known as being the successful\nentrant in the 1788-1790 competition for the building\nof the Teatro La Fenice in Venice, inaugurated on\nMay 17 1792.\nThis competition was an interesting one for several\nreasons. To begin with not one of the first 39\ncompetitors is mentioned by Milizia in his 44 Lives\".\nNor by Russell Sturgis A. M. Ph. D. in his Dictionary\n\nSELVA AT TRIESTE\nSOME NOTES ON THE\nTEATRO NUOVO, TRIESTE.\nJune 11th 1798 the magistrate\nof the town accepted the plans\nof the architect Giannantonio Selva*\nThis Theatre, the largest in Trieste,\nchanged its name five times. First\nit was called \" Teatro Nuovo then\n44 Teatro di Trieste \"; in 1820 \"Teatro\nGrande\"; in 1861 \"Teatro Commu-\nnale \", and, by unanimous vote of the\ncity Council on January 29th 1901 it\nwas renamed, presumably for the last\ntime, \" Teatro Giuseppe Verdi \".\nIt is curious, in the little Guide to\nTrieste published about 1907 to find\nthe secretary to the Magistrate, Ignazio\nKollmann, writing that the project of\nthe Teatro Nuovo was executed from\nthe design of Matteo Pertsch, honorary\nmember of the Academies of Roma,\nVenezia, Bologna and Firenze and cor-\nresponding associate of those of Parma\nand Napoli. The documents possessed\nby the archives of Trieste do not,\naccording to Giuseppe Caprin, who\npublished a brochure on the subject\nin 1801, in any way indicate this\ncollaboration, attributing the work to\nthe Venetian artist Selva. In fact, so\nfar as the exterior of the building goes\nwe suspect that all that Pertsch did\nwas to make a few modifications of\nthe first plan by Selva.\nSelva had, without in any way\ndeserving it, many enemies, who recog-\nnized neither his vast culture nor his\nlofty and noble taste, but only envied\nhim his influential relationships and his\nfriendship with Canova, and lost no\nopportunity of wounding him.\nWhen the Teatro Fenice of Ve-\nnezia was brought to completion the\ninscription SOCIETAS was set upon\nthe attico as a reminder that the buil-\nding had risen by the will of the members\nof the Teatro S. Benedetto. Selva's en-\nemies at once composed this epigram;—\nSINE\nORDINE\nCUM\nIRREGULAR1TATE\nEREX1T\nTHEATRUM\nANTONIUS\nSELVA\nAnd when, after his death, as a\nperpetual memorial, his bust was set\nin the atrium, the same foes of the\narchitect manifested their ill-will afresh.\n\nGIOVANNANTONIO\nSELVA VISITS\nENGLAND.\nLEAVES FROM AN\nARCHITECT'S\nITINERARY"}, {"page_pdf": 10, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.10", "texte": "of Architecture; yet several famous archi-\ntects competed, among whom were Cosimo\nMorelli of Imola, Pistocchi of Faenza and\nCossetti of Colorno.\nijj There were eighteen designs sent\nin and twelve models. Where can any\nof these models be? They would be all\nworth seeing. I possess the original set\nof Designs, by Cossetti. It is a very\nlarge oblong book containing some dozen\ndrawings in colour which are certainly\ntechnical achievements of no mean order r\nthe text, though written, looks as if it were\nprinted. But I keep on wondering who\nit is can possess the other designs and the\nmodels ?\nThere is one set of designs which\nshould be curious, those by a certain\nOnorato Vigano. Filippi does not mention\nhim, nor does Sturgis; nor Milizia.\nCould it possibly be the dancer Onorato\nVigano who, for this once, so ambitiously\npirouetted into the realms of architec-\nture ? who knows ? if so he was still\nwriting Ballets, making up Ballets, in 1 799\nin Venice, in the very Teatro Fenice\nerected by his rival Selva, and his son\nSalvatore Vigano was dancing in them.\nOnorato had even designed the Ballet\nfor the opening night in 1792, May 16\nor 1 7 (the authorities differ as to the day).\nWhen Onorato died, or when he\nwas born, 1 have not discovered in any\nof the seventy books which 1 possess on\nthe Dance. What is the matter with\nthese historians! ...or Onorato?\nBesides all this, the Teatro la Fenice\naroused a good deal* of discussion when\nit was put up, and even before.\nHis Excellency the Procurator Andrea\nMemo came out with a volume of a hundred\npages, which would seem to caution folk\nagainst the project by Selva which was\ninteresting the people who were to pay\nfor it.\nSelva's project was submitted in the\nform of a model, not designs; doubtless\nhis designs were under lock and key, safe\nin his own house — and they call artists\nunpractical !\nCosimo Morelli, always enthusiastically\nactive in building Theatres, came out with\nhis design and the explanation of it in a\nvolume which has an interesting folding\nplate — which \" The Mask \" must re-\nproduce unless forestalled now that I've\ndrawn the attention of the ferrets to its\nexistence. — Also for \" The Mask \" I\nshall search to discover something about\nthe dancer Onorato's designs; — they may\nhave been his, or may be he had speculated\nin a design and put his name to it.\nBut to return to Selva.\nIn 1780 he visited London and"}, {"page_pdf": 11, "page_imprimee": "139", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.11", "texte": "SELVA'S PLAN FOR\nTEATRO LA FENICE, 1790.\n\nTHE MED UNA BROTHERS'\nPLAN FOR TEATRO LA FENICE, 1837."}, {"page_pdf": 13, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.13", "texte": "GIANNANTONIO\nARCHITECT.\nPlate II.\n\nTHE MASK\n1929"}, {"page_pdf": 15, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.15", "texte": "PLAN OF ASTLEY'S THEATRE FROM THE MS. OF GINNANTONIO SELVA.\nPlate 12.\n\nTHE MASK\n1929"}, {"page_pdf": 17, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.17", "texte": "SPACCATO OF SELVA'S “TEATRO LA FENICE”\n\nParis; when in Paris for the second time\nin 1 781 he carried out \" with satisfaction\nto the Ambassador Dolfin \" an illuminated\ntransparency of an allegorical nature in the\nambassador's palace to celebrate the birth\nof the first son to the king in the month\nof October — that poor Dauphin who\ndied on June 3rd 1 789.\nIn November 1 781, taking the Alsace\nroute, Selva returned to Venice, where\nhe prepared the Box at the Teatro\nSan Benedetto for the reception of the\n\" Conti del Nord \" under which title the\nhereditary Grand Duke of Russia and his\nwife travelled in Europe in that year.\nIn 1791 he began building the\nTeatro la Fenice, first contemplated in\n1 788, and completed by May when it\nopened with \" I Giuochi d'Agrigento \",\na Drama in Musicain three acts by\nConte Alessandro Pepoli : Music by\nGiovanni Paisiello. Also a ballet,\n\" Amore e Psiche \" by Onorato Vigano.\nIn 1 799-1800 Selva submitted designs\nfor a new Theatre to be built at Trieste,\nwhich were accepted; the builder was\nFrancesco Zucca, and the Theatre opened\non April 2 I st 1801.\nSelva died in Venice on January 22\n1819, of apoplexy, while walking along\nthe Riva degli Schiavoni, but they did\nnot close the Fenice in his honour that\nday or on the day of his funeral. Lord\nByron who was in Venice at the time,\ndoes not mention the fact of his death\nin any of his letters.\nSelva was not so very famous, though\nfew better Theatres were built at that or\nat any later day than his Fenice.\nIn 1836 the great opera house was\nutterly destroyed by fire on the night of\nthe 1 2th of December 0) and the Meduna\nbrothers assisted by Tranquillo Orsi (1 791 -\n1844J erected it afresh in seven months\nupon Selva's plans, and it was opened\non January 30th 1838. How faithfully\nthe Medunas followed Selva is made\nevident for the first time by printing side\nby side the two designs — that of I 790\nand that of 1837. (See pg. 139).\nI have come across Selva's Notes on\nAstley's Amphitheatre with a rough plan\nof interest to English students, even though\nthe notes are in the hand of Baccani his\npupil, for the Theatre he visited was the\nfirst one built by Philip Astley in 1 773\nand burnt in 1 794. (2)\nThree times Astley had fires which\nwere devastating, and three times he rebuilt\nhis circus.\nInteresting too are Selva's notes on\nfamous English houses.\n\n(1) On the night of December 13 says Tassini,\n(2) See plate 12."}, {"page_pdf": 18, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.18", "texte": "Cav. Giovanni Baccani made a copy\nof this Selva manuscript and it is this copy\nwhich I possess and from which these extracts\nhave been taken: it consists of eighteen\ndouble leaves of paper, sewn loosely\ntogether. Whether the original in Selva's\nhandwriting still exists I do not know.\nIn the year 1837 F. Lazzari, writing\na biographical Note on Selva in the \" Bio-\ngrafie degli Italiani Illustri \" says it is in his\npossession.\nThis copy of Baccani's was made\nsomewhere near the year 1833.\nBaccani was born in Florence about\n1 792 and flourished in the first half of\nthe 19th century, and flourished so well\nhe became almost as well known as his\nmaster and probably more successful.\nIn 1824 he reconstructed the Palazzo\nBorghese later called the Casino; in 1832\nhe designed the monument for the funeral\nof the Grand Duchess of Tuscany. He\nwas living at Casa Baccani No. 4604\nPiazza Santa Maria Novella in Florence in\nthe year 1838, and in 1845 designed\nand built the campanile of Santa Croce.\nI don't care much for Baccani's work,\nbut a few sketch books of his which came\ninto my possession contain a number of\nvery endurable pen drawings of bits of\narchitecture — not sketches, but careful\ndrawings — many plans — and, what\npleased, and decided me to purchase the\nbooks, many Theatres.\nBeyond this I have been able to gather\nlittle information regarding this diligent\npupil of Selva's, this enthusiastic young\nman who later in life lost perhaps some\nof his buoyancy as he settled down at\nNumber 4604 Piazza Santa Maria No-\nvella in 1845, to jolly well damn Florence\nwith the ugliest campanile it possesses,\nbut to remind all sentimental lovers of\nlate English architecture of the beauties\nof the Earl's Court Road.\n\nP. B.\n\nSELVA IN ENGLAND.\nEXTRACTS TRANSLATED FROM THE\nMANUSCRIPT ACCOUNT OF HIS TRAVELS\nr I 1HE Fine Arts in England, although pro-\ntected, have never attained perfection.\nIn Painting the English have only been\nLandscape and Portrait Painters; now they\nbegin to devote themselves to the Historic,\nbut are not very successful in Heroic subjects,\neven in the History of their own country. Of\nSculpture one may judge from those works in\nWestminster Abbey ; there are few which\ndo honour to the Nation. (The Fine Arts\ncannot endure mediocrity). The two pieces\nwhich are now being erected to Milord\nChantan will be the best, and Signor\nBacon, who is their author, does himself\nmuch honour, although he has not been in\nRome.\nArchitecture is in little better state. The\nEnglish character is dry and poor. They are\nobservers of the good rules but without\nunderstanding in what consist the ultimate\nrefinements of the Arts; thus, although they\ncopy the works of Palladio existing in the\nVenetian state, they do not produce the same\neffect. Inigo Jones has been their best\nArchitect, and, if he truly entered into, and\nsucceeded in, the Art, Palladio was his guide;\nand, had the English carried out his project\nfor the Palace for the King of England, he\ncould boast of a fine achievement. One may\nknow this from the portion accomplished,\nwhich is called White-Hall or Bang netting\nHall; in it the whole and the parts are in\nadmirable accord. The and the\nwork are executed with understanding. I\nbelieve it to be the best piece of Archi-\ntecture which the English possess. From\nthis Palace the unfortunate King Charles\ncame out when he was beheaded.\nHorse-Guards. The House for the\nmounted guards is too heavy.\n€| The Palace of the King could not be\nmore clearly indicated for a sovereign. It was\nonce a convent. It looks upon St. James's\nPark, and, in the same park there is the\nPalace of the Queen. The Palace of the\nQueen belonged to a Duke who had built it\n\n(I) Presumably Lord Chatham."}, {"page_pdf": 19, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.19", "texte": "for himself, nor is there anything Royal\nabout it.\nSt. Paul's is by the Cav. Cristofolo Wren,\nbegun in 1670 and completed in 1725. I\nexpected to see an amazing thing but found\nthe descriptions given of it to be exaggerated.\nThe interior could not be worse in both\ndesign and execution. The exterior is much\nbetter, but of two orders, which robs it of the\nmajesty which it might possess were it of one\norder only. That which pleases me is the\ncupola which has a stately drum with isolated\nintercolumns. Inside it is entirely bare of\npaintings and sculptures.\nThe churches in London are very numerous,\nand, especially in their exteriors, magnificent,\nbut of bad Architecture.\nThe Reformed religion does not use\npainting in their decoration, or at most a\npicture on the communion Altar, and this,\nperhaps is one great reason for the scarcity\nof Historic Painters in England, owing to\nlack of exercise. (l)\nSt. Stephen's is a very clebrated church,\nbut is not a building which impresses itself\nupon connoisseurs ....\nAt Covent Garden, a piazza in which\nthere is the fruit market, there is a church of\nInigo Jones which is very beautiful in its\nexterior fagade, which is like a vestibule of\nthe Tuscan Temples described by Vitruvio.\nWestminster Abbey.The church is\nGothic, and magnificent for those times.\nWhat principally distinguishes it is the tombs\nof the illustrios personages of England. It is\na monument to the robust thought of the\nNation because the Sovereign, the Philosopher,\nthe Artist<2) is there not distinguished save by\nhis own merit, in the Chapel of St. Michael\nthere is the monument of Giuseppe Gascoigne\nNightingalle and his wife, of picturesque\nW \" l'Album\ntheatral. \" I myself came\ncopy, but then I have never seen \" L'Argus\ndes theatres \", quotidien, sold at 20 cen-\ntimes a copy by its Directeur-proprietaire\nL. Huar, Rue du Croissant 16, with its\ndesigns by Cham, by Daumier and Maurisset.\nYes, Rachel must have liked just these\ntwo extremes, the Religious books and the\ntwopenny theatrical newspapers.\nWith a copy of l'Eventail in her hand,\nwaving it gently to and fro, 1 almost see her,\nhear her, as she sits in her low chair near\nthe window at TV. 9 lo\nRoyal, the only place for an artist to live\nin if a French artist — that glorious square\nenclosed by Henry IV — that pretty good\nPrince.\nAnd it was a noble house she lived\nin; none other than the de\net de Nicolay. Its Ro\nRevolutionary number\nnumber the magic number\nShe installed herself on the first floor,\nand there she sits on a Sunday evening of\n1856 at about the hour of 6 fanning herself\nwith l'Eventail, that \" journal de la coulisse\ntheatrale \" — that \" organe special des\nartistes dramatiques, \" that organe whose\nredacteur en chef boasts\nMonsieur Turpin de Sansay. It came out\n\" to us le dimanches \" and was petit in folio,\nonly a trifle, costing ten centimes — mais\nformidable —\nIn I 856 it was in\ndo not know how old\nYes, I know it has occurred to you that\nI seem to know quite a little about the thea-\ntrical journals of those times — I do. I know\nall their names — and their prices, the\nnames of their Editors and of a gerant or two.\nThere was no\" Mask\" then — no\n\" Masque \" even, yet there were to my\nknowledge, in Paris alone, fifteen journals\nand magazines devoted entirely to the Theatre\nand twenty-seven in part devoted to it.\nHow lovely is the Theatre when one\ncomes to think °f it- How much it offers\nus all. — Those of us who work and those\nwho enjoy the result: yet I should say that\nit offers the workers the most.\nSuppose we cannot write a play like\nL'Avare: we may perhaps be able to act a\npart in it as well as did Mr. Munden: or to"}, {"page_pdf": 24, "page_imprimee": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.24", "texte": "prepare the modern Mr. Munden's dress like\na Mrs. Lovat Fraser does: or write about\nMunden as did Charles\nSuppose we cannot\nmay be we could discov a\nbuilding a theatre or of\nble stall with two arms —or a\nmethod of shortening rehearsals and preser-\nving enthusiasm or of entering the field of\nresearch.\n{IT And to think of\njl when Pachel lived and sat and fanned\nherself at the window of the Place Royal.\nIs 1'EventaiI still — or\ndead now? — alas, poor Rachel is, so what\nmatters the fan.\n\nC.\n\nBOOKS\n\nRELIGIOUS\n1. Biblia Sacra polyglotta, etc., auctore\nSamuele Lee, S. T. B. L 1831,\nin-fol., black velvet.\nSuperb copy with clasps and garniture in repousse silver. Very\nfine frontispiece painted in water-colours by Rousset, representing\nParadise lost and the four Evangelists.\n2. The Holy Bible in Latin and in\nFrench, etc. A Parischez 1828,\n13 vol., in-8. pap. vel., mar. viol, dent. tr.\ndor. illustrated by Achille Deveria. {Initial).\n3. \" The Women of the Bible\", etc.\nwith explanatory text. Paris, 1846.\n4 Limitation de jesus-Christ, translated\ninto verse by M. de Sapinaud de Boishuguet\nParis, 1844, in-12.\nAutograph inscription (7 lines) signed Foures, 15 July 1865.\n5. Limitation de Jesus-Christ, translated\nand paraphrased in French verse by P. Cor-\nneille. Paris, R. Ballards, 1665, in-16, has. fig.\nRare edition.\n5 bis. Heures a l'usage de Paris.\nVery fine example, printed on vellum, illustrations and borders\nengraved on wood, bound in red velvet.\n6. Le Koran. Paris, Charpentier, 1855,\nin-18, br,\n7. Lettreswritten to a provincial by\nBlaise Pascal.\n— Les Pensees de Blaise Pascal. Paris,\nA. Andre, 1839, 2 vol., in 8, pap. vel. port,\nmar. n. fil.. n. rog. {Initial on sides).\n13. Homer, Iliad and Odyssey, translated\ninto French by Dugas Montbel. Paris, 1834,\n2 vol., n-8, purple morocco viol. fl. fleurons.\ngilded tr. dor. {chiffre).\n14. The Collection of the Latin authors\nwith the French translation, published under\nthe direction of M. Nisard, Paris, Dubochet,\n1848, 27 vol. large, in-8, format Pantheon,\nhalf bound blue morocco.\n15. Virgil, Oeuvres Completes, new\ntranslation by MM. Charpentier, Amar,\nParisot and Fee. Paris, Panckcucke, 1833,\n3 vol., in-8, blue morocco, fil., fleurons, tr. d.\n{chiffre).\n16. Quintus Horatius Flaccus, Landini,\nG. Pickering,1824, small, in 64, cart.\nOn the fly-leaf translation in verse of ode\nIX by Adolphe Halzfeld, in autograph,\nsigned.\n17. Les Metamorphoses of Ovid, new\ntranslation with the Latin text, by G. T.\nVillenave. Paris, 1806, 4 vol., morocco,\nveil fil. dent., tr. dor. illustrations\nby Lebarbier, Monsiau and Moreau. (Initial\nR. on the sides.\n18. Etudes antiques by F. Ponsard. —\nHomere. — Ulysses. Paris, Michael Levy,\n1852, in-18, v. fauve.\n19. La Fille d'Eschyle. antique study\nin five acts and in verse, by J. Autran.\nParis, 1848, in-18, pap. vel.\nSigned autograph dedication by the author to Mile. Rachel.\n20. Menander, historical and literary study\non the Greek comedy and society by\nG. Guizot. Paris, Didier, 1855, in-8, half\nbound, morocco, r. Portrait.\n\nMODERN FRENCH AND FOREIGN POETS.\n21. Works of Boileau Despreaux, Didot\nFame, 1815, 3 vols, in 8vo, violet morocco.\nInitial.\n22. Fables of La Fontaine, Paris, imprint\nof P. Didot, 1813, 2 vols, in 8vo.\n23. Works of La Fontaine, new edition,\nrevised, coordinated and accompanied by\nnotes by C.-A. Walkenaer. Paris, Lefevre,\n1827. (Initial on sides).\n23 bis. Fables of La Fontaine. Paris,\n1820, 2 vols, in 12, violet morocco.\n24. Fables of La Fontaine, illustrated\nedition. Paris, Didier, 1842, 5 vols, in 18.\n25. La Henriade, poem by Voltaire."}, {"page_pdf": 25, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.25", "texte": "Paris, Roux-Dufort, 1824, (from the collection\nof classics in miniature).\n26. Poems of Andre Chenier, preceded\nby a Note by La Touche. Paris, Charpen-\ntier, 1841.\n27. Poems of Millevoye, with a note by\nPongerville. Paris, 1843, pink morocco.\n28. Iambics and Poems by Auguste\nBarbier. Paris, Masgana, 1845.\n29. Complete Works of P.J. de Beranger,\ncontaining the ten new Paris,\nPerrotin, 1850, 2 vols, in 18 and album of\n84 vignettes on wood by Grandville.\n30. Nouvelle Nemesis, satires by Barthe-\nlemy. Paris, 1845.\n(Signed autograph dedication to Mile. Rachel).\n\nTHEATRE.\n101. History of Dramatic Literature, by\nJ. Janin, Paris.Michel Levy, 1853, 2 vol.,\nin 18. Half bound morocco.\n102. Studies on Dramatic Art, followed\nby unpublished anecdotes about Talma, etc.,\nby his widow, Mme. Talma. Paris. 1836,\nin 8vo, half-bound. Portrait.\n103. Of the Influence of manners on\nComedy, by A. Perlet. Paris, 1848, in 8vo,\nhalf bound morocco, br.\n104. Dramatic Proverbs by Theodore\nLeclercq. Paris,1835, 7 vols, in 8vo, illus.\n(vol. VII is missing).\n105. Coup d'oeil on the Performances of\nMile. Rachel, at Amsterdam, by A. van Lee.\nAmsterdam, 1846, in 8vo.\nOn the flyleaf is a drawing of the author in Chinese ink.\n106. The Theatre of the Greeks, translated\nby P. Brunoy, 2nd edit, complete, augmented\nby a selection of extracts from the Greek\npoets, by M. Raoul-Rochette. 1826,\n16 vol., in 8vo. Illustrations and portraits.\n(Initial).\n107. Complete Theatre of the Latins, by\nJ.-B. Levee, and the Abbe Le Monnier.\nParis, 1820, 15 vols., in 8vo. (Initial).\n108. Repertory of the French Theatre or\nCollection of the tragedies and comedies re-\nmaining to the theatre since Rotrou, with\nnotes on each author, and the examination\nof each piece, by Petitot. Paris, Foucault,\n1817, 33 vol., in 8vo. (Initial on the\nsides).\n109. Theatre of P. Corneille, with the\ncommentaries of Voltaire. from the\nimprimerie of P. Didot1805, 10 vol.\n110. Chefs d' CEuvres of T. Corneille.\nParis, Debure, 1825, in 16.\n111. Chefs-d'CEuVres of P. and T. Cor-\nneille, revised from the last original editions,\npreceded by the eulogy of P. Corneille by\nVictorin Fabre. Paris,1833, 6 vols, in 8vo.\nEnglish binding, (very fine copy).\n112. Chefs-d'CEuvres of Pierre and\nThomas Corneille. Paris, 1814,\n5 vols, in 8vo. (Initial).\nIn the works of Thomas alone some passages have been sup-\npressed by pasting over them scraps of paper.\n113. Complete Works of J. Racine, with\nthe notes of all the commentators, published\nby Aime-Martin, Paris, Lefevre, 1825, 7\nvols, in 8vo.\n114. Works of Moliere, preceded by a\nnote on his Life and works, by M. Sainte-\nBeuve, vignettes by Tony Johannot.\nPaulin, 1835, 2 vols, in large 8vo, illustrated.\n1 15. Works of Moliere, with notes of\nall his commentators. Paris, Didot, 1850,\n2 vol, in 18.\n116. Works of J. F. Regnard. Paris,\nDidot, 1819, 4 vols. (Initial on the sides).\n117. Works of Crebillon. P. Didot\nI'aine, 1828, 2 vols in 8vo. (Initial).\n118. Works of Ducis. Lemoine,\n1826, 6 tomes, in 3 vols, in 32.\n1 19. Works of Casimir Delavigne, of the\nFrench Academy, Paris, 1850, 6 vols,\nin 8vo, illus by A. Johannot.\n120. Complete Works of M. Eugene\nScribe, of the French Academy. Paris,\nFume, 1840-50, 7 vol., large Ivo, fig.\n121. Complete Theatre of F. Ponsard.\nParis, M. Levy, 1852, in 18.\n(Autograph dedication from the author to Mile. Rachel).\n122. Theatre of Emile Augier, in 18,\n(La Cigue. — Un homme de bien. —\nL'Aventuriere. — Gabrieile. — Le joueur de\nflute).\nAutographed signed dedication from the author to Mile. Rachel.\n123. Sapho, Opera in three acts, by\nEmile Augier. Paris, 1851, in 18, br.\nThree lines of autographed signed dedication to Mile. Rachel.\n124. Alexandre Dumas. Theatre. Pa-"}, {"page_pdf": 26, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.26", "texte": "ris, Gosselin, 1843, 3 vols., in 18. (\nand dedication from tke ).\n125. Rosemonde, Tragedy in one act, in\nverse, hy Latour-Saint-Ybars. Paris, 1855,\nin 18.\nNine lines of signed autograph dedication, to Mile. Rachel.\n126. Macbeth, in five acts and in verse,\nby Emile Deschamps, in 18.\nSigned autograph dedication, in verse, by the author.\n127. Charlotte Corday, tragedy in five\nacts and in verse, by F. Ponsard. Paris,\n1850, in 8vo. Agnes de Meranie, by the\nsame, in 8vo.\nAutograph and signed dedication by the author to Mile. Rachel.\n128. Agamemnon, tragedy by Alfieri,\ntranslated from the Italian into French verse,\nby Mme. Josephine de Roinville, 1856.\nManuscript signed Josephine de Roinville.\n129. The Testament of Caesar, drama in\nfive acts, by Jules Lacroix. Paris, 1849,\nin 8vo.\nSigned autograph dedication from the author to Mile. Rachel.\n130. Valeria, drama in five acts, in verse,\nby Auguste Maquet and Jules Lacrois.\nParis, 1851, in 18. Morocco lined with\nwhite moire, binding by Despierres.\nCharming copy on strong papier vclin. Unique copy offered to\nMile. Rachel by the authors of Valeria.\n131. Les Noces Venitiennes, drama in\nfive acts, by Victor Dejour. Paris, 1855, in 18.\nCopy on papier velin with signed autograph inscription from the\nauthor to Mile. Rachel.\n132. La Bourse, comedy in five acts, in\nverse, by F. Ponsard. Paris, 1856, in 18.\nSigned autograph inscription from the author to Mile. Rachel.\n133. L'Honneur et L'Argent, by Ponsard.\nParis, M. Levy, 1853, in 18.\n134. L'Honneur et L Argent, by Pon-\nsard. Paris, M. Levy, 1853, in 18.\n135. Le Bourgeois de Gand. — Le der-\nnier Marquis. — Catherine 11, by Romand\n(extr. de la France dram at.) in 8vo.\n136. Edith de Falsen, by Ernest Le-\ngouve. Paris, 1852, in 18.\nSigned autograph dedication.\n137. Chefs d'CEuvres of the Foreign\nTheatres (German, English, Chinese, Danish,\nSpanish, Dutch, Indian, Italian, Polish, Por-\ntuguese, Russian, Swedish, translated by\nAignan, Andrieux, de Barante, Guizot,\nCh. Nodier, Villemain, etc. Paris, Ladvocat,\n1822, 25 vols, in 8vo. (Initial on the sides).\n138. The Dramatic Works of William\nShakespeare with remarks on his Life and\nWritings by Thomas Campbell. London,\n1838, in 8vo. Blue morocco. Engraved title\npage and portrait.\n139. Complete Works of Shakespeare,\ntranslated from the English by Letourneur,\nnew edition published by Guizot. Paris,\nLadvocat, 1821, 13 vols, in 8vo. Portrait.\n(Initial).\n140. Gallery of Shakespearean personages,\nreproduced in the principal scenes of his\nplays, with a succinct analysis of each of the\npieces of Shakespeare, and the reproduction\nin English and in French of the scenes to\nwhich the eighty engravings with which this\nwork is adorned, relate: by A. Pichot and\nOld Nick. Paris, Baudry, 1844, violet\nmorocco, richly gilt.\nSigned autograph inscription from M. J. Janin to Mile. Rachel.\n141. The Pictorial edition of the Works\nof Shakespeare. Edited by Charles Knight.\n(Histories, 2 vols. — Comedies, 2 vols. —\nTragedies, 1 vol., (vol. IV), London.\n142. Gallery of the Women of Shakespeare.\nCollection of 45 portraits, engraved by the\nfirst artists of London, enriched with critical\nand literary notes. Paris, Delloye.\n143. Dramatic Works of J. W. Goethe,\ntranslated from the German by Stopfer.\nParis, Al. Mesnier, 1828, 4 vols, in 8vo.\n(Initial).\n144. Goethe's Gedichte. Stuttgart, 1851,\nin 18. — Egmond, von Goethe. Stuttgardt,\n1855, in 18.\n145. Schiller's Sammtliche Werke in\neinem Bande. Stuttgardt, 1834. Back and\ncorners of morocco; portrait. (Initial on the\nsides).\nDedication in Italian signed E. de F.\n146. Dramatic Works of F. Schiller,\ntranslated from the German. Paris, 1821,\n6 vols., in 8vo. Violet morocco, gilt.\n(Initial).\n147. Three to one, a comedy, in two\nacts. London, }. Hearne, 1850, in 8vo.\nInscribed from the author to Mile. Rachel."}, {"page_pdf": 27, "page_imprimee": "151", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.27", "texte": "PLAYS USED BY MLLE, RACHEL\nWHEN STUDYING HER ROLES.\ni 48. Lmna, tragedy in five acts, bv\nCorneille.\n149. Les Horaces, tragedy in five acts,\nby Corneille.\n150. Andromaque, tragedy in five acts,\nby Racine.\n151. Tancrede, tragedy in five acts, by\nV oltaire.\n152. Iphigenie en Aulide, tragedy by\nRacine.\n153. Mithridate, tragedy in five acts, by\nRacine.\n154. Bajazet, tragedy in five acts, by\nRacine.\n155. Esther, tragedy in five acts, by Racine.\n156. Nicomede, tragedy in five acts, by\n•]] J 7 J\nCorneille.\n157. Marie Stuart, tragedy in five acts,\nby P. Lebrun.\n158. Ariane, tragedy in five acts and in\nverse by T. Corneille.\nMS variations in Mile. Rachel's writing.\n159. Le Cid, Tragedy in five acts, by\nCorneille.\nTwo autographic MS notes, one of them signed Rachel.\n160. Fredegonde et Brunehaut, tragedy in\nfive acts, by N. Lemercier.\n161. Polyeucte, tragedy in five acts, by\nCorneille, in 8vo.\n162. Phedre. tragedy in five acts, bv\nRacine. y\n163. Angelo, drama in three days by\nVictor Hugo, in 8vo.\nNumerous variations and annotations, written in ink and in\npencil, by Mile. Rachel.\n164. Britannicus, tragedy by Racine,\nin 8vo.\n165. Le Misanthrope, by Moliere, in 8vo.\n166. Athalie, tragedy by Racine. Paris,\n1817, in 8vo.\n167. Don Sancho d'Aragon, heroic co-\nmedy by Corneille, arranged in three acts\nby Mega)be. Paris, 1833, in 8vo., (nume-\nrous MS variations).\n168. Virgmie, tragedy in five acts, by\nLatour de Saint-Ybars. 1845, sr.\nin 8vo.\nSome MS notes in pencil by Mile. Rachel.\n169. Catherine II, tragedy in five acts,\nby H. Romand. Pavis, 1844. in large 8vo.\n170. Le Vieux de la Montagne, tragedy\nin five acts, by Latrou de Saint-Ybars.\nParis, 1847, in large 8vo.\n/\nInscribed in signed autograph by the author.\n171. Adrienne Lecouvreur, comedy-drama\nin five acts, m prose, by MM, Scribe and\nErnest Legouve, in 8vo, paper.\nu LPliCe £etuje pf. Mile, Rachel, with iwo autograph note3 in\nher hand-writing (variations).\n172. Cleopatre, tragedy in five acts,\nin verse, by IMme. Emile de Girardm. —\nParis, 1847, in 8vo. Morocco gilt.\nAutograph inscription from the author to Mile. Rachel.\n173. Tragedies acted by Mile. Rachel,\nbound in linen with her name on the\nside. Andromaque — Bajazet — Polyeucte\nPhedre — Les Horaces.\n\nPLAYS FOR STUDY AS USED BY TALMA.\n174. Misanthropie et Repentir, drama in\nfive acts and in prose, from the German\ntheatre of Kotzbue, translated by Bursay.\nParis, year VII, in 8vo, paper.\nNumerous changes of scenes and variations in Talma's hand\nwriting.\n175. Adelaide de Guesclin, tragedy in\nfive acts, in verse, by Voltaire. Paris, 1806,\nin 8vo, paper.\nTalma's copy. The last leaf in manuscript, with three autograph\nverses of the great tragedian.\n176. CEdipe, tragedy arranged in three\nacts, by Voltaire, published with a preface,\nby M***, in 8vo, br.\nThe preface is manuscript. All the feuillets. formed of two\ncopies, are mounted on paper, with manuscript alterations in Talma's\nwriting.\n177. Gabrielle de Vergy, tragedy in five\nacts and in verse, by de Belloy. Paris, 1813,\nin 8vo, paper.\nTalma's copy, with twenty one lines and some alterations in\nhis hand writing.\n\nDESIGNS.\n178. Album of thirty-six engraved sub-\njects of the principal scenes of the\nfrancaise (Louis XV costumes), coloured,\nhalf-bound in morocco."}, {"page_pdf": 28, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.28", "texte": "179. Costume of court lady (1540) in\nwater-colour, by Pichat.\n180. Theatre costumes, in water-colour,\nby A. Geniol.\n181. Geschicte der oper und des Koeni-\nglichen opernhauses in Berlin von L. Schneider\nBerlin, 1852, in folio ; bound inperc. gauf:\ncostumes in colour and pi. (plates) black.\n182. Russian album, containing two\ndramatic scenes taken from the works of the\ncelebrated poet Pouchkin, in 4to, bound in\nmorocco.\nThis collection, offered to Mile. Rachel during her stay in\nRussia, is preceded by a photogravure portrait of Chtchepkin, cele\"\nbrated muscovite actor. — Verses to Mile. (manuscript). —\nTv/o views of Moscow representing the Emperor's palace at the\nKremlin (photogr.) dramatic scenes of Pouchkin, manuscript (in\nRussian), with the two principal scenes, in water-colours by Sokolof.\n\nLETTERS.\n183. Unpublished Letters of Marie Stuart,\naccompanied by various despatches and in-\nstructions (1558-1 587) published by Prince\nAlexandre Labanoff. Paris, 1839, in large\n8vo, morocco.\nAutograph signed inscription from the author.\n184. Letters of Madame de Sevigne, of\nher family and her friends, with portraits,\nviews and facsimile. Paris, Blaise, 1820,\n10 vols. (The first volume is missing).\nMemoires of M. de Coulanges, published by\nM. de Montmerque, 1 vol. illustrations and\nfacsimile. In all 10 vols, instead of 11,\nCorinthian morocco, gilded.\n185. Persian Letters by Montesquieu,\nfollowed by his various works. Printed by\nP. Didot aine,1820, 3 vols, in 8vo, blue\nmorocco. (Initials).\n186. Letter of the Marquise de M*** to\nthe Comte de R*** by de Crebillon\nThe Hague, 1828, in 12. br.\nMademoiselle Clairon's copy.\n\nTHREE MORE BOOKS\nA Popular account of the ancient\nEgyptians. By Sir J. Gardner \"Wilkinson.\nLondon, J. Murray, 1854, 2 vol. m-8, Illus-\ntrated With many wood engravings.\nThe Nile Boat; or glimpses of the Land\nof Egypt; by W. HL Bartlett, London, 1852,\ngr. in-8, cart, many fine engravings and\nmaps.\nRussia on the Black sea and sea of Azof:\nbeing a narrative of travels in the Crimea\nand bordering Provinces ; By H. D. Seymour,\nLondon, J. Murray, 1355, in-8, Russia leather\ngilt, illustrations, and m\nj'Yes-bel exemple. Enooi autogr. de l'auteur a Mile. \"Rachel.\n\nENVOI\n\" Envoi de Vauteur\nWho was \" l'auteur \" was it Lord Henry\nSeymour son of the third Marquis of Hertford,\nhe who founded the Jockey Club in Paris in\n1833 — who was born in Paris and who\nlived there most of his\nOne ought to know\nall the Biographical Dictionaries; but are\nthere no occasions when a historian of sorts\nmay float away from facts and into fancies ?\nI think 1 Mill float here\nI like to dream that the founder of the\nJockey Club wrote a jolly nice book Qt the\nSea of Azof — that —\nRachel said it was \" un Ires bel exemple \".\n\nTHE THEATRE IN BUDRIO.\n\n13 EADERS of \"The Mask'* will have heard of a performance gi-\n\"*■ ven in the town of Budrio reported as far back as 1923 in the\nTealrino of the Palazzo Lazzone (1), a modern performance.\nI have nothing to do with the modernity of Budrio here — I\nmerely bring to light for the first time in any journal the existence\nof the town itself and its twenty-two streets and its two theatres.\nThe average two in twenty-two is not bad for a bit of a town\nin the first quarter of the 18th century.\nOn the plan the theatres are marked 9 and I 5. No. 9 is Tea-\ntro Sgargi ; N. 1 3 is Teatto Medosi.\nThere was (it appears) also a \" Teatre da Commedie \" built by\nGiambattista Fracassari for the \" comodo della Gioventu di Budrio ;\nthis theatre is not marked on the birdseye view, but I believe it\nto be the same as No. 15.\nThese two Theatres are referred to by Golinelli (1720) as due\nvaghi Teatri * and of Teatro Sgarbi he writes. 4 Paolo Jogarbi...\nbuilt in his house and entirely at his own expense a vast leatro\",\nIn Budrio was an Accademia degli Affidati.\nHere in 1788 was born Francesco Cocchi a celebrated scenogra-\npher who travelled as far as St Petersberg and Lisbon, Berlin and\nHamburg and died in 1865. Giuseppe Gotti is another scenographer\nborn in Budrio, in 1726.\nThe population in 1907 was 2.400 persons, but at the time\nthe birdseye view was drawn there were 5000 ; but that included\nthose who dwelt in the commune as well as in the town.\nToday there is a Teatro Consorziale, but 1 have no notion\nwhether it be one of the tv/o theatres of the 18th century restored,\nrebuilt and ruined or a bran new affairs. But I am going to find\nout next month. A. C.\n(1) See 44 The Mask \" Volume IX pg. 43."}, {"page_pdf": 29, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.29", "texte": "BIRD'S EYE VIEW OF THE TOWN OF BUDRIO.\nPlate 13.\n\nTHE MASK\n1929"}, {"page_pdf": 31, "page_imprimee": "153", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.31", "texte": "COSTUME VERSUS\nCLOTHES\nBY HILAIRE HILER.\n\n\\Y/ HEN I was about six, 1 was the proud\n* * owner of a policeman suit. It had a\ncardboard helmet of the form then correspon-\nding to the regulation ones used by the force,\na breast-plate covered with blue cloth which\nwas embellished with a badge and brass\nbuttons, a whistle, and a club. Donning\nthis outfit, not without the aid of my mother,\nI would mount my trusty tricycle and proudly\npedal about in imitation of the bicycle cop\nwho frequently passed our door.\nOne day my diminutive club became\nentangled in the front wheel of the tricycle\nwhile I was chasing imaginary robbers at a\nreckless pace. It brought my machine to too\nsudden a stop and I went over onto the\nasphalt, head first. Tears were wiped off\nmy insignia with some sympathy and an\nattempt made to repair the larger dents in\nthe helmet, but the morale of the tricycle\npersonnel had been injured beyond repair.\n1 never resumed my constabulary activities.\nAt seven or so, I was an Indian, an\nuncle having presented me with a suit of\nbrown twill fringed with red; but having\nlost a part of the headdress which went with\nthis, in slipping out of an apple tree which\nwas being ascended for purposes of long\nrange scouting, I obtained a wide brimmed\nhat several sizes too large for me in place\nof it, and for a considerable period became\nalmost simultaneously a desperate outlaw\nand brave sheriff — being thus somewhat\ninconveniently forced several times to chase\nmyself around an adjacent lot.\nLater we had a theatre in the barn, and\ntable cloths, feather dusters, old clothing of\nall sorts, curtain rings (used for earrings),\ncorks (for \" blacking up\"), pot and kettle\ncovers (for shields), and other materials of\ndivers nature, would disappear from the house\nto find their way to the hayloft which served\nas a dressing room every time we gave a play.\nSometimes there were masquerade balls.\nThere was Halloween — and when excuses\nwere not there ready-made, I would find\none. Always eager to \" dress up \", I seldom\nhad much trouble in persuading my little\nplaymates to do likewise. When, later on,\nan opportunity offered itself in \" real \" school\nand college theatricals, I always liked to\nhelp design and make the necessary costumes.\nIn short — as long as I can remember, I\nhave had a lively interest in costume.\nIn art school I started patiently to trace\nthe hundreds of figures in the two volume\nwork of Hottenroth, being at the time unable\nto afford a copy, and in day dreams would\ngo back into different historic epochs and\nlook admiringly at the dress of the people of\nthese periods as they appeared (more or less\naccurately) in my fancy.\nSome ten years ago, going to Europe, I\nbought books and plates concerning costume\nwherever I found them. They were scarce,\nProud when I had some fifty volumes, I felt\nmy collection nearing completion at five\nhundred, and gave up all idea of completing\nit when owner of twelve hundred books and\nbetween six and ten thousand plates.\nI wrote a book on prehistoric, primitive\nand barbaric costume and ornament, and\nwhile doing so collected a bibliography on\ncostume, dress, clothing, adornment and\napparel — including over ten thousand books\nprinted in fifteen different languages, about\nman's bodily covering. It was then apparent\nthat I was not the only person nor the first\nperson to have been interested in \" dressing\n»» «\nup !\nCLOTHING VERSUS COSTUME.\n|f]T \" Dressing up\" implies a dressing in\nTU a style distinct from that worn habitually.\nOne is costumed rather than merely clothed.\nBetween the terms clothing and costume there\nis a great distinction. Clothing is bodily\ncovering; costume, raiment.\nTo elucidate. Let's assume that we have\na nice clean blank white page. Drawing a"}, {"page_pdf": 32, "page_imprimee": "154", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.32", "texte": "line down the centre, it is divided into two\nequal parts. The half on the left will have\nprinted at the top the word MATERIAL;\non the right the word MENTAL will\nappear.\nUnder the word Material, we will write\nthe terms Apparel, Clothing and Dress;\nunder the word Mental, the terms Costume,\nAdornment and Body Ornament. Thus if\nwe were making a study of the subject we\nmight continue to write in the rest of the\nleft-hand side such phrases as \" Environment\nmakes clothing necessary \". \" Climate fur-\nnishing in flora and fauna sufficient to provide\nmaterials for the fabrication of garments to\nprotect man from its own temperatures\".\nEconomic side of clothing \". \" Physiology\nof clothing \". \" Technique of manufacture\nfrom felting to tanning\". \"Bodily comfort;\nphysical health \".\nThen we might cross the line and arrive\non the Mental side where we would see\nsuch terms as Sex, Religion, Magic, Totem,\nTrophyism, Taboo, Ego, Aesthetics, Prestige,\nImitation, et cetera, all tied up with the\nsubject of clothes.\nClothes are economically, of course, of\nprimary importance. Food, Clothing and\nShelter are the three economic \" goods \"\nneeded, in the order named.\n.Man is born naked but dies and is put\naway with clothes on. Clothes have a prac-\ntical material hygienic side of great scientific\nimportance. Nothing warmer than fur, ounce\nlor ounce, has ever been discovered. Wool\nis warmer than silk, silk than cotton, and\ncotton than linen. Dr. Dearborn, of the\nU. S. Army Medical Corps says that the\ncomfort, or lack of it, in clothing means\nimmeasurable loss or gain in the efficiency\nof people in all sorts of jobs. Measured in\nterms of money, collectively estimated, it:\nmakes the head swim.\nBut luckily this is not the side of the-\nsubject we are studying. I started out to\ntalk about \" dressing up The term has\nan oddly theatrical implication.\nPUTZ.\nTHOMAS CARLYLE had his studious cha-\nracter Diogenes Teufelsdrockh take a»\nlook into this business a long while ago. In.\nhis book Sartor Resartus, Herr Teufelsdrockh\nrather long-windedly came to the conclusion\nthat barbarous man spiritually craved deco-\nration while he showed considerable indiffe-\nrence about the warmth and protective qualities\nof his clothes. He was strong on the aesthetic\nside, and craved that touch of ne sais quoi\nof necessary decoration (Putz). It was hinted\nthat man, as Diogenes T. states, changed\nfrom a \" naked animal \" to a clothed animal\nfor some obscure artistic reason.\n1 think that man took to costume before\nhe took to clothing ; he \" dressed up \" before\nhe clothed himself. Carlyle's Heir was right\nwhen he said or hinted that ornament, not\ncovering, was the preoccupation of the \" hairy\nsavage \".\nThere is much evidence that the savage,\nhard-boiled concerning the vagaries of tempe-\nrature, showed downright indifference about\nhis clothing. The ancient Chinese and the\nold Greek commentators thought that clothing\nwas adopted for warmth, but this is not a\nmodern scientific view of the matter.\nAn early traveller describes a Mangai\nislander as \" being clothed v/ith a hunting\nknife which was stuck through the lobe of\nhis ear \". Darwin speaks of giving a good-\nsized piece of red cloth to a Fuegian who,\nalthough \" he certainly stood in need of pro-\ntective clothing \" tore it up and distributed\nit among his companions who used it deco-\nratively.\nAfrican Safari porters wear all the odds\nand ends of clothing they can get hold of\nin the heat of the day, and throw them off\nin the cool of the evening when camp is\nreached. The evidence all over the primitive\nworld, with few exceptions, seems to show\nthat clothing plays a secondary role to costume.\nDecoration first, protection afterward. Man's\norigin in the tropics does not point to an\nadaptation of clothing for economic reasons.\nThe primitives do not \" wear clothes .\nThey \" dress up \".\nTHE PSYCHOLOGY OF \"DRESSING UP\".\nTHE assumption of the dressing up procli-\nvity puts by the board theories such as\nthat held by Ratzel and the older school of\nethnologists, that clothing was forced upon\nwomen by their lords and masters as a means\nof diminishing the force of their charms. It\nalso does not agree with the Mosaic assumption"}, {"page_pdf": 33, "page_imprimee": "155", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.33", "texte": "MAN CONSIDERED ARCHITECTURALLY"}, {"page_pdf": 34, "page_imprimee": "156", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.34", "texte": "explained naively by St. Augustine in con-\nnection with the apple-eating act — that\nmodesty is at the bottom of dress. Robert\nBurton in his somewhat sour \" Anatomy of\nMelancholy \", Dumaurier, Stendhal, Remy de\nGourmont, Westermarck, Havelock Ellis and\nmany others deny this possibility emphatically.\nModesty came after clothing. Ornament\npreceded clothing and was worn to attract\nand not to hide. Salomon Reinach denies\nthis possibility, favouring the explanation of\na blood taboo as reason for the origin of\ndress ; but it is simpler and just as probable\nto accept, at least in part, the more intriguing\ntheory that men and woman started \" dressing\nup \" to make themselves mutually attractive.\nThe behavior of many savages supports such\nan assumption, for more than one people\namong whom nudity is the habitual state,\ndon body ornaments and garments when\nabout to engage in licentious ceremonies or\nlewd dances. They do, in fact, \" dress up \"\nfor every sort of ceremony.\nCeremonial and dressing up scent of the\ntheatre in embryo. Frazer, who gives such\nan excellent idea of these activities in the\nGolden Bough, hints that magic may have\nsomething to do with it. Tree sprites, being\npresent in the tree and in its bark, are present\nin bark clothing. Clothing is again pictures-\nquely connected with the worship of the\nserpent, which was the only animal which\ncould change its dress — and therefore its\npersonality. Elliot Smith, whose theories\nhave somewhat lately romantically revolutio-\nnized ethnology, claims that costume originated\nthrough the wearing of amulets of sexual\npower, near the appropriate spot. Crawley,\ndiffering with him, yet agrees — in his\nMystic Rose.\nPerhaps a hunter carrying his trophy\nproudly thought of hanging it about his neck,\nor more conveniently, wearing its skin.\nShining ornaments may have been worn\nbecause of a purely aesthetic attraction which\nsuch objects seem to have exerted upon\ncreatures as diversified as jackdaws, monkeys,\nAustralian bower birds and Park Avenue\ndowagers.\nAnyway — our material, physical side of\nthe affair seems, at first at least, to have had\nvery little to do with \" dressing up \". It is\non the mental side of our paper that we find\nall our terms, now somewhat explained, which\nhave to do with costume as opposed to\nclothing. Raiment as opposed to mere Ap-\nparel ; Adornment, as opposed to Dress.\n\" Dressing up \" then, is the whole artistic\nside of clothing, the psychological side in its\npurest connotation — Sexually Attractive, Ma-\ngico-Religious, Prestige imitational, Ego-\nLotzean-stimulating, Aesthetic, Architectural,\nWar, Theatrical, Ceremonial, Caste-marking,\nArmorial, T otem-influencing, Trophyistical\nDressing Up.\nCOSTUME DEVELOPING.\nIF people are assumed as having begun to\ndress with ornament: the girdle grew\ninto kilt, skirt and trousers; the necklace into\ncape, robe, cloak and coat. Around the\ndiadem or head-band, feathers sprang up,\nflaps hung down. Bracelets, rings, anklets,\nearrings, labrets, garters and armlets pretty\nwell complete the list of ornaments from\nwhich clothing stemmed, because they\nexhaust the places where ornaments could be\nconveniently worn.\nThe architecture of the human body, as\nSemper remarks, forms the architecture of\ncostume.\nTwo pendantiy pendicular ornamental\nearrings, one on each side. A nodding plume\nor floating feather leaning backward to\naccentuate its wearer's movement forward.\nCorresponding with the axes of the human\nbody, as explained in the illustrations.\nCostume, following the paths of the other\narts, becomes architectural. It reacts mu-\ntually with the human body.\nCLOTHES AND CASTE.\nCLOTHES artistically satisfying, were insur-\nficient. Norman Douglas, in his Siren\nBook, recalls Lotze's observations on the manner\nin v/hich man enlarged his personality, extending\nit by a huge headdress and a walking stick.\nHappy coincidence that economically the\nheaddress and walking stick could so uiifit\ntheir wearer to perform anything in the nature\nof productive labour.\nVeblen shows that the \" canon of wasted\neffort\", when it lent value to the chief's\ncloak, which was made of the difficultly\ncollected feathers of the what-you-may-call-it\nPacificus, lent value to the chief. A leisured"}, {"page_pdf": 35, "page_imprimee": "157", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.35", "texte": "man was he, with the leisure of others at his\ndisposal. The rich one then hung his riches\nround his neck. A mighty man's riches were\ntoo mighty to do this? Well then, other\nnecks were provided — wives, concubines and\nservants each did their share in aiding the\ndisplay.\nIf one was \" dressed up \" — that is to\nsay, dressed up from every point of view —\nthen one was aesthetically satisfying, the\nnatural aesthetic assets being properly stressed;\ntherefore, sexually attractive, with a maximum\nexpansion of the ego in all directions ; magi-\ncally protected by the proper amulets, with\nmetamorphasized trophies visible somewhere\nabout one's person (having taken on the de-\nsirable qualities of brightness and shinyness);\neconomically conspicuous because of the ability\nto wear rare and therefore valuable materials;\nfearless, because protected from demons, pos-\nsible accusation of poverty, insignificance, or\nnonconformity; en regie, provided with the\nproper papers for one's class and epoch,\npointing always toward the appropriate ideal.\nCHANGES THROUGH THE AGES.\nf\" ca change, plus\nchose. \"All those things which so elusively\nthrough the ages went to make up that inde-\nfinable thing called taste. Reflected there,\nand everywhere. The tightly corseted figures\nof the anatomically dressed Aegeans. The\nbeautiful gravitational folds of the Greek robes.\nArchitectural forms repeated on.... or from\nhumanity, as pointed out by Viollet, le Due,\nWebb and Heard. The Assyrian mitre and\nthe Assyrian Juggenaut. Hat ends and roof\nends bending upward in China. The roundly\nbulging mosque dome and the roundly bulging\nturban. Gothic steeples and steepled hennins.\nThe flat Tudor arch, silhouette and shoe.\nAn old print showing factory chimneys, and\nan old locomotive puffing wood smoke through\na black stove pipe as it pulls a train of\nbewhiskered passengers in \" stove pipe \"\nhats. The melon shaped dome of the\nPalais in front of which men stand on the\nroof to be photographed in chapeaux melons.\nBut it seems to me lately that men at\nleast (and they have until yesterday, with one\nexception, set the styles) are becoming more\nclothed and less and less \" dressed up \".\nDoes this point to a return to the uniformity\nof savagery, as Havelock Ellis sometimes\nseems to fear ? Man's choice of clothing\nappears to be getting instinctively selbverst-\nandlich.\nThere is seemingly little hope offered by\na future in a civilization dominated by ma-\nchinery.\nTrotter's rationalization of the belief in\nthe herd idea is here appropriate. It serves\nto justify the assumption of herd suggestion,\nwhich is so rapidly taking on a universal\nforce and scope. \" This mechanism \", he\nsays, \" enables the English lady who, to\n\" escape the stigma of having normal feet,\n\" subjects them to a formidable degree of\n\" lateral compression, to be aware of no\n\" log inconsequence when she subscribes\n\" to missions to teach the Chinese lady how\n\" absurd it is to compress her feet longitudi-\n\" nally ; it enables the European lady who\n\" wears rings in her ears, to smile at the\n\" barbarism of the colored lady who wears\n\" rings in her nose; it enables the Englishman\n\" who is amused by the African chieftain's\n\" regard for the top hat as an essential piece\nof the furniture of state to ignore the\nidentity of his own behavior when he\n\"to church beneath the same tremendous\n\" ensign \".\nBut the tendency is toward a devolution\nfrom costume toward clothing. The \" tre-\nmendous ensign\" itself is becoming old-\nfashioned. Ever there is less of the real\ncostume psychology in clothes. \" Dressing \",\nas a conventional art, is dead or dying.\nCostume is too close to dancing, music,\npoetry and ceremonial to occupy a place in\na world given over more and more exclusively\nto mass production. It must give way to\nclothing, and that quickly. The headgear\n(the' last article of costume to be given up\nis the hat) is made to disappear when not\nsacrificed, as it usually is without a struggle.\nTurkey and Persia lately have suppressed\nthe national top piece by stern sumptuary\nedict. The \" Whisker Rebellion \" in\nAfghanistan still threatens, echoes. Verlaine's\ndire prophecy of the time \" when madmen\nwalk the streets all clothed in black\" is\nbeing everywhere fulfilled.\nThe effect of unaesthetic clothing upon\nmorale is too well known to need stressing.\nIt is certainly in youth and the virile period\nthat the individual is preoccupied with dress."}, {"page_pdf": 36, "page_imprimee": "158", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.36", "texte": "Which of us might not sneakingly enjoy a\nreal costume, if he dared ? — real costume,\nwhich is now confined to the theatre.\nMay the theatre keep the spark of sug-\ngestion alive until some more leisured age\nwhen the play spirit reawakens, and we may\nall again \" dress up \" I\nParis, January 1929.\n\nDRURY LANE\nMEDITATIONS UPON WHY THE WEAZEL\nDOES NOT ALWAYS GO POP.\n\nWHEN writing of Drury Lane, of Sir Al-\n* fred Butt's doings, and of the Theatre\nas business, I have always had in mind to\nenquire into and see how the best-managed\ntheatre — that is to say, Drury Lane (best-\nmanaged from the point of view of business)\n— compares with other businesses.\nMr. Gordon Craig has recently written\nan article entitled \" Little Business Men in\nthe Big Theatre,\" which appeared in \" Vanity\nFair \" and was reprinted in a German daily.\nHis article had a rather cryptic title, but what\nit meant was that the Theaire is bigger than\nthose business men who dabble in it; and\nhe says that there is no great business man\nwho ever touches the Theatre, except to\nendow it, for to make money out of it would\nseem ridiculous to a great business man. It\nis this point in the Craig article which seems\nto me to be uncontrovertible.\n€$ I have taken a glance — only a glance,\nby the bye — into the business affairs of\nLondon. I wanted to compare Theatr9 as\nbusiness, with Trade proper as business.\nI only looked at the reports of two of the\nmost popular houses which occurred to me\noff-hand — Selfridges and Lyons. I had\nno notion whether these two would prove to\nbe but paltry business concerns by the side\nof Drury Lane. 1 must admit I had\nrather a hope that they would do so, and\nthat after all I should be entirely confounded,\nand that the grand old Drury Lane, though\nturning out stuff for the public which is\nunworthy both of Drury Lane and of our\npublic, would at any rate be doing it at a\nterrific profit, so that at least one thing would\nbe established — that the Theatre\nmake money.\ntj The figures which are published below\nprove that the Theatre cannot make money.\nCjj No business man who has respect for\nhimself as a business man will go into Thea-\ntre business to make money — for himself\nor for shareholders — if only for the one reason\nthat it renders the ancient and steady tradi-\ntions of great business farcical.\nEnquiry shows that in 1926, Drury Lane\nis making a profit of £ 49.000, and in the\nsame year Selfridges a profit of 490.000.\nIn 1927, Drury Lane is making a profit of\n£ 37.000 odd, and Selfridge is making a\nprofit of £ 821.000.\nIt amounts to this then; that business and\nthe Theatre are misfits. It is as though a\nboy went out with his father's large top hat\non, and it covered his eyes: and Drury Lane\nseems to be wandering about in this ridiculous\nplight and no steps are taken to alter it.\nThis cross between business and art is not\nonly ridiculous, the result is pitiful. It\ncreates as pitiful results as a cross\nbetween an Arabian steed and a giraffe\nwould do. There is a remedy for it which\nis to exterminate the breed, and prevent it in\nfuture; don't go on crossing business and the\nTheatre. Let us at any rate have the pure\nstrain of the Theatre: though the Theatre\ncome not into the highest category of creation,\nlet it be good of its fand. Let us be rid of\nthis mongrel state of affairs, this under-breeding\nof an already under-bred species.\nThe following figures may interest you.\nThey have interested and vastly entertained me.\nTHEATRE ROYAL, DRURY LANE, LTD. .\n(Registered in 1897).\nIssued Capital, £ 125,000. Loan capital outstanding,\n25,000 6 °/0 Redeemable Debentures.\nYear. Net Profit. Dividend.\n1926 £ 49,009 10°J0 & bonus 2 t/2 %\n1927 » 37,854 !0°/o & bonus 2 1{2 %\n1928 » 44,546 10 % & bonus 2 1/2 °/o\n1929 Not available yet. 10°/0 & bonus 2 fj20Jo\nDirectors: Sir Alfred Butt, Bart., M. P. (Chairman),\nLord Lurgan, and S. Smith."}, {"page_pdf": 37, "page_imprimee": "159", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.37", "texte": "SELFRIDGE & CO., LTD.\n(Registered in 1908).\nIssued Capital, £ 3,146,097. Loan Capital outstanding,\nXJ 263,400 5 °/0 Debenture Bonds.\nYear. Net Profit. Dividend.\n1926 £ 489 JOS 15*/0 Tax-free.\n1927 » 821,122 20 °/Q less Tax.\n1928 » 461,578 20 % less Tax.\n1929 » 463,124 20°/o less Tax.\nJ. LYONS & CO., LTD.\nIssued Capital, £ 8,388.338. Loan Capital outstand-\ning, £ 512,609.\nYear. Net Profit Dividends.\n1926 £ 754,960 21 l;4f0\n1927 » 757,160 21 1\\4 %\n1928 » 832,516 22 !/20/0\n1929 » 908,950 22 //2%\nI HE same kind of thing is happening in\nStratford-upon-Avon that is practised in\nDrury Lane, they are trying to make money\nwith Theatre. They are trying to make money\nout of Shakespeare, down there. I have\nrecently seen \" The Shakespeare Pictorial: a\nmonthly illustrated chronicle of events in\nShakesoeare land. \" I do not know whether\n£.\nthis Monthly is worthy of Stratford-upon-Avon,\nin 1929 but it would even do honour to the\nlocal Brewers Union, if there were such a\nUnion, and it had its headquarters at Paisley\nin Scotland, it bustles Shakespeare along\njust as if he were a jolly old Brewer: it\njollies up the actors as though they were a\nlot of melancholy unsuccessful tradesmen\nwho had to be taught that Shakespeare had\ndone England a power of good.\nThis also can be said for the journal: on\nits title-page it advertises the Stratford-on-\nAvon Hippodrome, and its many attractions.\nThus, on May 6th we get \" THE GIRL\nFROM REVUE \" and \" SOMETHING\nALWAYS HAPPENS; \" on May 22nd,\n\" THE FIFTY FIFTY GIRL; \" from May\n30th to June 1 st, \" RED HAIR \" and \" THE\nNIGHT OF HER LIFE. \"\n€jj This is presumably the leading picture-\nhouse of the bard's birthplace.\n€J Side by side with this announcement,\nwhich runs down a column, is another column,\nsaying what is to be done at the Shakespeare\nMemorial Temporary Theatre — \" Much Ado\nAbout Nothing, \" \" Macbeth \" \" Twelfth\nNight, \" and some other plays: but this\ncolumn looks just a little stuck-up and\nforeign by the side of the Stratford-on-\nAvon Hippodrome advertisement. Thus that\nold fashioned Shakespeare, the English one, is\nworsted in the first round on the first page: and\nyou heard them playing \"Ol man River\"\non Shakespeare's birthday didn't you, Mr Han-\nnen Swaffer, while waiting to see the unfurling,\nof the sixty four flags — colours of all nations.\nAnother thing that possibly tells against\nShakespeare (comparing these two columns\nof the Hippodrome and the Temporary Thea-\ntre) is that the Hippodrome oilers its merry\nentertainment at 1 /6d. to 6d., whereas the\nShakespeare prices are higher; they are\n8 6d., and the lowest is 1 /2d. One won-\nders who will waste 1 / 2d. — the minimum\nsum — on Shakespeare, when he could\nsee \" BABY MINE \" on the screen for 6d. ?\n€j At Stratford too!\n@ Unless you can sell Shakespeare at a\nlower figure, or at least at the same price as\nthat for which the Pictures are sold, difficulties\nmay soon crop up. Of course a wholesale\nattack on the Pictures, since it is Shakespeare's\ntown, might be successful, if you could get\nall England to agree that the Pictures were\nto be excluded from Stratford-on-Avon.\n\" The Shakespeare Pictorial \" contains\ncome nice simple little features. One to be\nfound on page 7 is called.\n\" HOW MUCH DO YOU KNOW? \"\n44 Which house is supposed to be the\noriginal home of the Shakespeare family 7 \"\n4 4 Who were the ancestors of Mary Arden\n(Shakespeare's Mother 7) \"\n44 Where is Shakespeare's Crab-Tree 7 \"\net cetera. And at the bottom is found\n\" Answers on Page 7. \" — so you get your\nquestions and your answers in the same\nnumber; a sort of crib, so that Jackie may\ncome down in the morning and explain that\nhe knows all about Shakespeare without having\nany trouble over it. A suspicion is aroused\nby this publication, which is whether anyone\nknows why Shakespeare was born, or what\nsort of thing Shakespeare liked.\nWe might have doubts about whether he\nwould have much pleasure in the kind of\ngame being played at Stratford on Avon.\nThere is an excellent page or \" Stratford\nGossip, \" some pieces of which are bound\nto interest Italian readers — for example."}, {"page_pdf": 38, "page_imprimee": "160", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.38", "texte": "\" Mr. and. Mrs. T. S. Waldron are at present in Italy. They\nwill visit Rome, Florence, and Venice before their return.\nMiss Blue is visiting Biarritz.\nWhen I say this will interest Italy, I mean,\nnaturally, that northern Italy will be disappointed\nthat Miss Blue isn't visiting Bologna.\nOn the other hand, *' Stratford Gossip \"\ndoes not merely lay itself out to please\nforeigners (who presumably can find \" The\nShakespeare Pictorial \" on all the railway\nstations between Stratford and Constantinople)\n— it pokes the home fire all right. Example: —\n\" Congratulations to Canon and Mrs. Melville upon\nattaining the dignity of grandparentsge. The baby is to be\nchristened With Jordan water brought home by Captain Manley\nJames, V. C. and presented by Miss Ashwin for the occasion.\nIt omits to say what will be done with the\nwater after the occasion. Another paragraph\nwill surely interest everyone who has sub-\nscribed to the Memorial Theatre : —\n\" The annual Tennis Tournament on the Southern Lane courts\nWill be held from Tuesday, 23rd July, to Saturday, 27th July,\ninclusive. That will he a busy Week for Stratford-upon-Avon, as\nthe Agricultural Show will he in progress at the same timed'\nHow tactful is the writer of this Gossip, in\nnot saying at all brutally that there will be\nrather less time for anyone to get bored by\nShakespeare thai week — anyhow.\nA few lapses occur in this excellent\njournal — from one of which it will be\ndifficult for the Editor to extricate it. There\nis a mention of Mr. William Poel: now\nwhat has Mr. Poel to do with Shakespeare?\nOn the other hand, there is a charming\nportrait of Miss Joyce Bland, \" as Ophelia\nin ' Hamlet' \" (you are not to confuse the\nrole with the other ' Ophelia' which, as\neverybody knows, is in \" Caprice\"). Miss\nBland has won a scholarship at the Royal\nAcademy of Dramatic Art; she has understudied\nMiss Tallulah Bankhead at the Globe Theatre,\nand has played in \" The Constant Nymph \"\non tour. \" A graceful figure of sweet inno-\ncence in the first blush of love\" was Mr.\nGeorge W. Stark's tribute in the\nNews. It does not say whether Miss Bland\nis American or English; but the picture\nshows her in the well-fitting traditional\ncostume, with the traditional expression, and\nmaking a nice traditional gesture. — Well....\npoor Ophelia !\nThere is an interesting report of the\nShakespeare Birthday celebrations, and, though\nit lack the brilliance of Hannen Swaffer's\nreport of the same event, it tells us how ably\nevery land in the world has been beaten up\nto send in its flag. A Birthday Luncheon\nwas held as usual, and a flashlight photograph\ntaken immediately prior to the Luncheon.\nIt reminds one of those photographs of\nCollege Commemoration Day, with all the\nhappy parents assembled in a miserable sort\nof way : not a very fortunate photograph.\nOne of strangest omissions from this\nShakespeare Pictorial \" is that there is\nnothing in it which informs you about the\nfamous beer that is brewed at Stratford-on-\nAvon, and I must say that Shakespeare would\nnot have liked that to be omitted. Subtle\nShakespeare may have been, but he was also\ndownright; and we have heard that the beer\nthere is so much improved since the new\nspring of water was discovered, that it is a\npity should this world-wide advertisement\ndrawing attention to Stratford-on-Avon fail at\nthe same time to draw attention to the beer.\nWe may understand Shakespeare or not\nas we like, but let there be no possible\nchance of misunderstanding about the beer.\nAfter all it is the main thing, isn't it?\nBusiness should be business.\n\nScotson Umbridge."}, {"page_pdf": 39, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.39", "texte": "BIRD'S EYE VIEW OF THE PALAIS ROYAL, PARIS.\nPlate 14.\n\nIn the right lower corner we see the first Opera House\nbuilt in the Palais Royal — though not the first home of\nOpera in Paris.\nIt was built by le Mercier and opened in 1641 on Ja-\nnuary 14 as a theatre for plays.\nIts position was the corner which today is formed by\nthe meeting of Rue de Valois with the Rue Saint-Honore.\nConstructed for Cardinal Richelieu when he built the Pa-\nlais Royal (then called the Palais Cardinal) it was at first\na somewhat small theatre and was only enlarged and made\nmagnificent during the last years of his life. He was not\na fool, this Cardinal, and did not consider two to three\nthousand ecus over-much to pay for the stage fittings.\nThe carpenters, on receiving the order from the builder\nfor eight large oak beams for the ceiling of this playhouse\nlaughed on reading the measurements; — each of these beams\ncost 8000 francs to transport from the royal forests of Moulins.\nIn 1661 it passed into the hands of Moliere, and in 1673\nout of his hands into those of Lulli who established the\nOpera there.\nIt was destroyed by fire on April 6th-7th 1763, dying an\nOpera House though born a Theatre.\n\nC.\n\nTHE MASK\nI9 2 9"}, {"page_pdf": 41, "page_imprimee": "161", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.41", "texte": "THE MYTH.\n\nWHAT is a myth ? It is, says the Oxford\nDictionary \" A primitive tale, imaginatively\ndescribing or accounting for natural phenomena,\nespecially by personification \" ; it is \"a tale of\ngods or demi-gods ; an old wives' tale \" ; it is\na prevalent but false belief \" ; it is \"a person\nor thing falsely supposed to exist'', and the myth\nShakespeare is most of all this.\nShakespeare is one of the most interesting,\nyet baffling, enigmas of history \", writes Sir\nDunbar Plunket Barton ; and adds that \" His\nmyriad-minded soul has mysterious recesses which\nwe can never fathom \".\nBrushing aside all doubt as to whether it\nwould be wise ever to attempt to fathom a recess,\none is forced to admit that Shakespeare baffles\nall those writers who will write books about that\npart of him which is mythical -— and to my mind,\nutterly uninteresting. The only thing that I find\nin the very least interesting about the being we\ncall Shakespeare, is, that he wrote plays and\npoems. The only thing with which I think English\npeople should concern themselves, is to see that\nthese plays and poems are as correctly printed as\npossible, and that they are continually played.\nIt is to the credit of England that much time\n* and money is given to the printing of Shake-\nspeare's works : it is to the discredit of England\nthat practically nothing is done towards the per-\nforming of his plays. As for the time, money,\nintelligence, energy, and everything else, that is\nspent on bringing out new books on this myth —\nwhat can be said of that?\nFor my part, I do not doubt that Sir Dunbar\nPlunket Barton's notes, linking Shakespeare up\nwith the law, are full of truthful statements: but\nI simply cannot believe any of them, because the\nman is a myth, and because until his plays are\nhonoured by perfect performance, we render\nourselves foolish in writing books about him —\nand we render him no service in doing so.\nI much prefer a volume, such as that by Mr.\nCharles Williams, published by the Oxford\nPress — a play which brings Ben Jonson, Burbage,\nSir Andrew Aguecheek, Shakespeare, Sir Toby\nBelch, and the Clown into the same scene,\nmakes them all sit round the same table at the\nMermaid Tavern, makes these Shakespearean\ncharacters run through the things that they say\nin the play of \"Twelfth Night\", and makes\nJonson, Shakespeare and Burbage butt in after-\nwards with a few foolish remarks of their own.\nWe know the kind of play, though this is\nbetter of the kind than such plays are as a rule.\nBut what is it for ?— to what end written ? —\nno one could act it — would anyone ? why this\neccentric English way of going qn about this\nmajestic mythical figure, Shakespeare ? Why not\ndevote the same energy, intelligence, and the\nrest — if you are so fond of Shakespeare —to\nendeavouring to bring about the performance of\nhis plays ?\nThis play of Mr. Williams is prettily printed,\nbut it has the most extraordinary cover, on which\nseventy-three heads of Shakespeare (and more hands\nthan should go with that number of heads) are made\ninto a kind of wallpaper — that special kind which\nevery poor sick man or woman knows all about.\nIt is a sort of mesmeric cover — you keep on\ncomparing the left eye of the fifth head with the\nleft eye of the fifty-ninth — these two coming\nupon the back portion of the cover, that portion\nwhich looks at you when the book is in its shelf.\nThe two eyes are not quite alike — there is\nsomething a little different about them. And there\nis also this about the top figure — it has not\ngot a pen, whereas the three figures underneath\nit all have got pens; but one of them has the\ntips of his fingers off. I mean, it's beautifully\nvaried, this effect of seventy-three Shakespeares.\nThere's one of the Shakespeares I have found that\nhas its little finger curled up — no, I have found\ntwo of them — three of them. It should prove one\nof the games of the season. I have found\nanother one with the little finger curled up ; so\nthat makes four. Has anybody found any more ?\nThere is a French book on Shakespeare, by\nM. Constantin-Weyer. He does not figure as a\nmyth on the cover. He is described there as one\nof the \" Maxtres des Litteratures \", and bee ides\nhis being credited with having written \" Hamlet\nit is asserted that he had a son called Hamlet\n(born 1585, died 1596). Yes, I have not made\na mistake, it is written clearly, \" H-A-M-L-E-T \"\n\nPREFACES TO SHAKESPEARE, First Series, by Harley\nGranville-Barker (SidgWick Jackson) 9|- net.\nSHAKESPEARE'S WORKSHOP, by W. J. Lawrence\n(Blackwell). 5\\- net.\nSHAKESPEARE, The Man and his Stage, by E. A. G.\nLamhorn and G. B. Harrison (Oxford University Press, 2\\6).\nA MYTH OF SHAKESPEARE, by Charles Williams\n(Oxford University Press. 5I-).\nLINKS BETWEEN SHAKESPEARE AND THE LA W,\nby Sir Dunbar Plunket Barton (Faber & Gwyer). 12/6 net.\nWILLIAM SHAKESPEARE, by M. Constantin-Weyer\nLes Editions Rieder, 18 fr.)."}, {"page_pdf": 42, "page_imprimee": "162", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.42", "texte": "— I may not know what I am talking about,\nbut I know what 1 see. And I see a very excellent\nnumber of plates in collotype at the end of this\nlittle volume — sixty such. They show views of\nStratford, views of the Myth's house, the chamber\nin which the Myth was born, the grammar-school\nwhere he never studied, the house of Anne\nHathaway, with the mythical bed mentioned in\nthe Myth's will, a portrait of the Earl of\nSouthampton (a mere glance at whose face causes\nyou to murmur \"The plot thickens\") — and\nthen the catastrophe four portraits of the Myth\nitself, no more Shakespeare, any one of them,\nthan my hat.\nThe delightful way in which the book is\nwritten, the excellent way in which it is brought\nout, the charming way in which we shall all\nread it, and linger on phrases such as \" Sir Toby\nBelch est une voix distante de Falstaff\", is\nnothing to the conviction that we should close\nall these books, convinced of the terrible — the\nfarcical — distance of Shakespeare himself.\nAnd yet, why terrible and why so funny ?\nThe mere wasting of what the wrong people have\ncalled '' the divine creations of a poet \" — is it\nnot quite ordinary ? and wouldn't it be still better\nif poetry were suppressed once and for all ?\nCouldn't something be done in the matter —\npractically done by practical people ? 1 know what\nit is to keep all the scraps that come into the house,\nall the prospectuses, all the press-cuttings, all the\njournals : I have got a barn full of them, and soon\nthey will go into sacks and be boiled down and\nmade into pulp from which plates or trousers\nwill be made. Could not the fine poems that\nwill be written in the next hundred years be\nprevented twice as easily, and at one-fiftieth the\ncost if the poets are allowed to live, write, be\nprinted, and, for all we know, become myths ?\n1 don't like being too optimistic, or 1 should say\nthat in this enlightened age this will not be merely\na possibility but that in a few years, it will\nactually be done.\nIt is an awful thing to think that the Granville\nBarkers and the W. J. Lawrences of the years to\ncome will bring out their books about some very\ngreat author of to-morrow, and that these books\nwill be as delightfully written as are Mr. Law-\nrence's \" Shakespeare's Workshop \" and Mr.\nBarker's \" Prefaces to Shakespeare \". Mr.\nBarker comically promises us that this is only\nthe '' first series ''. He only prefaces three of\nthe plays. He does it so charmingly, so reason-\nably, in such a scholarly manner that it is heart-\nbreaking. For it is quite useless.\n\"We need not claim for him (Shakespeare)\nimpeccability as a playwright'', says Mr. Barker;\nand he really might have added \" But he's top-\nnotch as a myth In other passages Mr. Barker\nis not so happy ; for example : \" This last scene\nof Lear's madness may be redundant, then, to\nthe strict action of the play, but to its larger\nissues it is most germane \" . And like unfortunate\ntouches are to be found on many pages : this\ntaking the thing to be reality is what is so\nunhappy. For is there a last scene of Lear's\nmadness ? I begin not to believe it. There was\na scene which I once read, I believe in a dream,\n— so terrible and so wonderful that had it been\na reality, no nation with any sense of football,\nany appreciation of Test Matches, could possibly\nhave passed it over. A nation seriously inclined\nlike that would have brought such a scene to the\nattention of the many millions of men — damn se-\nrious, fine men, too — who light their pipes so\noften, as they sit watching the game —in a\ndrizzle, may be — and thinking about all sorts of\nfine things. No, no, it really is a myth, the whole\nthing. The man never existed and the plays\nnever existed : no nation could possibly possess\nsuch plays, and be such great and such blithering\nfools as not to play them before the millions to\nwhom they belong.\n\nWilliam Addicote.\n\nNO MYTH\n\nIT is so pleasant to realise that /Eschylus was\nno myth, and that his nation honoured him.\nThis is not the least part of the happiness which\ncomes to you on opening any translation of the\nAgamemnon.\nFive such translations are open on the table\nas I write, and this version by Sir Henry Sharp,\nthe fifth of my five, has many of the good things\nof the others. The first page, with its wonderful\nscene of the watchman couched on the Atridae's\nhouse-top, like a dog, is enough for me to speak\nof: I-should need a whole year, or longer, to\ncompare these five translations, to swim in such\na sea — one page enough for me.\nOne of the translations I am looking at is by\nLewis Campbell (1890), and although Gilbert\nMurray's (1920) is good, and the Headlams'\nversion (1909) is good, and good the version\nby Morshead, (1911) I never can like any of\nthem better than Campbell's. -\n\nTHE AGAMEMNON OF JESCHYLUS: an English\nVersion by Sir Henry Sharp (Oxford University Press, 2 6).\nTHE HOUSE OF ATREUS, D. A. Morshead. M. A.\n(Macmillan. Golden Treasury series. 3\\6.)\nTHE PLA YS OF AESCHYLUS, Walter Head lam (George\nBell & Sons). 3\\6\nTHE AGAMEMNON OF JESCHYLUS, Gilbert Murray\n(George Allen & Unwin). 3\\6\nJESCHYLUS, Lewis Campbell, (Kegan Paul, Trench,\nTrubner & Co)."}, {"page_pdf": 43, "page_imprimee": "163", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.43", "texte": "It is interesting to note that of the whole five,\nonly Murray misses the word \"dog\"; (\"like\na _ dog \" dog-like \" watch-dog \"), and\nmisses, too, \" head on arms \", \" with head on\nhand \", \" propped on one arm ''. Murray\ngives us —\n44 watching elbow-stayed,\nAs sleuthhounds watch, above the Atreidae's hall **,\n44 while couched upon the Atreidae's roof dogfashion on my arms'\nsays Headlam.\n** Propped on one arm, upon the palace-roof\nOf Atreus* race\",\nsays Morshead. And Campbell —\n4 Couched on the Airidae's house-top, like a dog,\nWith head on hand, and ever-wakeful eye \",\nSir Henry Sharp's line runs —\n44 Upon the Atreidae's roof, where, head on arms,\nDog-like, I learn — \" etc.\nWhile I like much in Sir Henry Sharp's\ntranslation, I do not like his stage directions at\nall. Of the translators I have mentioned, only\nGilbert Murray and Sir Henry indulge in these\ndirections. If /Eschylus has not clearly drawn\nthe scene, described the position of the solitary\nwatchman in the scene, given his gestures, his\nface, and — though I cannot read Greek, I'd\nswear to it — even given us each tone of his\nvoice, then /Eschylus too is in danger of becom-\ning a myth.\nNow how does Sir Henry Sharp describe this\nfirst scene ? —\n\" The scene shows the front of the palace of Agamemnon at Argus,\nBefore the palace are ranged altars and images of the Gods. On\nthe roof stands the Watchman. It is night \".\nHow does Gilbert Murray describe it ? —\n44 The Scene represents a space in front of the Palace of Aga-\nmemnon in Argos, with an Altar of Zeus in the centre and many\nother altars at the sides. On a high terrace of the roof stands a\nWatchman. It is night \".\nNow both of these descriptions of the scene\nand the Watchman are either too much or should\nbe fifty times more — which Heaven forbid. To\nbegin with, why omit to say that it is winter,\nand that it is the season of storm? Why say\nthe Watchman is standing, when he is \" couched\nlike a dog, head on arms \" ? A dog doesn't\nstand up on his hind legs with his chin on his\npaws, except he be badly bred, and asking for\nsomething from the table — perhaps /Eschylus\nmeant that.\nAnd why does Murray say that there are\nmany other altars besides the chief altar, without\nsaying how many : it might lead Mr. Bel Geddes\nto put a hundred there, and then there would be\na scandal at once and Mr. Ivor Brown would\nbe furious. And if there are images of the\nGods, according to Sir Henry Sharp, why is it\nthat according to Sir Gilbert Murray there are\nno images of the Gods ?\nThe fact is that Sir Gilbert and Sir Henry\nare too clever. Presumably their intention is to\nhelp a perishing people : but if the words of\n/Eschylus, even in translation, do not fan our\nvision, the blandest explanation in the world will\nnot fire it.\nThe next stage direction comes 22 lines\nfurther on in one version, and 21 in the other :\nboth have reached the same spot, yet one of them\nhas taken longer to do it. But when they arrive\nat the spot, they go running around it like mice\ndo at night , in between the ceiling and the floor\nabove, in summer, when the storm is over.\nSir Gilbert writes: \" \" (that is, the\nWatchman) \" is silent, watching. Suddenly, at\na distance in the night there is a glimmer of\nfire, increasing presently to a blaze \".\nOn the other hand, Sir Henry says that the\nWatchman '' Composes himself for sleep \",\nwhich is in flat contradiction, by the bye, to\nSir Gilbert, who assures us not only that he\nis silent, but that he is watching. Then Sir\nHenry comes out hot and strong, or rather,\ndelicate and mysterious, as a stage-manager, and\nsays —\n\"Faint music is heard, heralding the approach of the Chorus.\nAs the music grows clearer a red flame shoots up in the hack-ground.\nThe Watchman moves uneasily, then starts to his feet and gazes\nat the flame \".\nI have known stage-managers and producers,\nand will not, in my pride at the fact, put on\nany airs with Sir Gilbert or Sir Henry. It must\nbe exceedingly difficult to translate so beautifully\nas either of them does. Yet not one of them\ndoes it like my old friend Campbell — old friend\nin the bookish sense. But if difficult to translate\nit is obviously far too easy for these fine scholars\nwhen it comes to writing stage directions. The\nintention is very good indeed, and their intention\nis to be abreast of the times. Unfortunately,\nthese stage directions are about sixty years behind\nthe times and belong to the age of Charles Kean.\nThe two tasks, directing a stage and transla-\nting a play, are over much for one man — though\nI think that the translating is the easier of the\ntwo, because the translator has the words of /Es-\nchylus to translate from. He has rather less to help\nhim when he wishes to explain what is being done,\nand how it is being done.\nSir Henry is really somewhat curious in saying\nthat \" faint music is heard \" — especially\nsince Sir Gilbert has said no such thing. Sir\nGilbert has said that there is \"a glimmer of\nfire, increasing presently... \" etc. — nothing about\nfaint music. Sir Gilbert says that the fire is\n\" at a distance '' and '' in the night \". — why\ndoesn't Sir Henry tell us that it's in the night,"}, {"page_pdf": 44, "page_imprimee": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.44", "texte": "and at a distance ? No, Sir Henry rather fancies\nmusic at a distance — sort of coming in gradually,\neffectively, mysteriously. There are signs, in\nfact, that Sir Henry is getting rather bitten by\nthe stage-management of the Agamennon ; and if\nhe doesn't take care, before he comes to an end\nhe will be becoming positively expressionistic.\nI just turn over rapidly, to have a glance, and I\nsee that he is very fond of these distance ef-\nfects — for later on, \" A sound of distant shout-\ning, mingled with music, gradually approaches \".\nBut to return to the first scene ; why he should\nsay that \" a red flame shoots up in the back-\nground and cause the Watchman to turn his\nback on us and gaze at the flame (for he says\nthis is what he does) — well, I don't know that\nthis isn't going too far: I don't like to say it,\nbut I feel that it is almost taking liberties with\nthe author. An author taking liberties with the\nauthor ! !\nIt is quite true that the Watchman immediately\nsays, M Hail, day-star of the night \". — and of\ncourse, the imagination of everyone will instantly\nturn to the thought of a good red star : \" The\nred light signifies danger, the green light safety\n— but I needn't bore you with that story, though\nI am not so sure that I wouldn't have put a\nlittle yellow light somehow ; for then they would\nhave known that the show was on fire.\nAnd indeed, this great Agamemnon is on fire\nfrom the very start — what a fire ! I must give\nyou the first lines, they are so full ; —\nI ask the gods deliverance from the toil\nOf these long watchings. Through twelve weary moons\nCouched on the Atridae's housetop, like a dog,\nWith head on hand, and ever-wakeful eye,\n[ have conned the nightly concourse of the stars\nThat shine majestical in yon clear heaven\nAnd bv their risings and their settings bring\nSummer and winter to the world.\nWho is there, even if Shakespeare is a\nwash-out, who can resist buying this half-crown\nbook, in which is the world, and the seven seas,\nand all the constellations — and more.\n\nWilliam Addicote\n\nLA FOIRE\nSTGERMAIN\n\nSECTION OF A PLAN OF PARIS\nSHOWING THE SITE OF THE FOIRE\nST GERMAIN OF WHICH SCENES\nARE SHOWN IN PLATES 15 & 16\n\nTWO NOBODIES.\n\nTHE FIRST.\nPOOR old Nollekins — Nollekins and his\nDinah — he who had the misfortune to\nhave Mr. John Thomas Smith as pupil, poor\nold Nollekins. The name is that of a Punch\nand Judy showman — a name born for that\njob. My poor old Nollekins, you were cursed\nto become a sculptor! a sculptor!! and your\nPunch's heads and Hangman's hands would\nhave been such bonny bits of carving — your\nold voice issuing from behind the curtain\n\n1. Nollekins and his Times by J. T. Smith.\n2. Lord Chesterfield s Letters. The World s Classics. Oxford\nUniversity Press. Humphrey Milford. Price 2/- each, cloth."}, {"page_pdf": 45, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.45", "texte": "THE “FOIRE DE ST. GERMAIN”\nJ. S.\n\nTHIS miniature, which is reproduced here in two sizes —\nits actual size, and enlarged — is presented by permission\nof the Director of the Wallace Collection, London.\nThe writing on the miniature is as follows;\n\" V. Blarenberghe 1763\nThe painter \".\nLe grand Escamoteur Chinois, which means to those\nas ignorant of French as myself. \" The great Chinese\nconjurer \" Marionettes sans pareilles du Se Bienfait\navec privilige du Roy\nAgain for the sake of my fellow-sufferers: — \" The Incom-\nparable Marionettes of Sieur Bienfait by appointment to his\nMajesty\nThe king was Louis XV, and M. Bienfait was the second\nin a line of three Bienfait - father, son and grandson. He\nwas Nicholas the second and was born about 1702, dying\nanyhow after 1763, but when is not certain.\nHis theatre was exceedingly celebrated and it was situated\nin the Foire de St. Germain which was destroyed by as cele-\nbiated a Fire, since three different years are acclaimed for its\ncoming and the going of the Fair. This miniature was made\nin 1763, and it is said that the celebrated fire made its first\nand only flourish and crackle in 1760, 1762 and 1763,\nThe painter V. Blarenberghe (1734-1812) had settled in\nParis in 1760. Renowned just for his ability to fill a space of\nabout two and a half inches with hundreds of figures, my rea-\nders will repeat this to themselves in amazed and hushed tones,\nas I do now and will gape in astonishment as I don't now,\nBut there will be some who will.\nIt is the way he filled his inches of space that counts.\nIt will not take you a moment to see that this \" Fair of\nSt Germain \" is a little marvel. The original is in the Wal-\nlace Collection. It has, so far as 1 know, not been reproduced\nin any magazine before.\nCertainly not in a Theatre magazine in Europe or America.\n\nTHE MASK\n1929\n\nPlate 15."}, {"page_pdf": 47, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.47", "texte": "THE “FOIRE DE ST. GERMAIN”.\nAn Enlargement of the Miniature.\nPlate 16.\n\nTHE MASK\n1929"}, {"page_pdf": 49, "page_imprimee": "165", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.49", "texte": "of your show would have amazed even the\nvery ordinary faculties of John Thomas Smith,\nhad a momentary recollection of dignity al-\nlowed the said Smith to stop before your\nbooth.\nBut you became a sculptor and had the\ndeuced hard luck to be misinterpreted by\nJ. T. Smith.\nWas he a good sculptor,(,) this Mr. Joseph\nNollekins? Goodness knows : his work has\nnever been pointed out to me — I have, to\nmy knowledge seen none of it. His life bores\nme, for Mr. Smith is a bore in the way he\npresents it to us. I never come to know Mr.\nNollekins — his pupil prevents this — he is\nfor ever putting things badly and so we get\nbut a portrait of Smith.\nI think one has always known Smith —\nwho without sneering teaches us to sneer.\nThis little cockney born in a hackney coach\non July 23 1766 is a forerunner, one of the\npioneers of the talkies. His voice is common\nand what he says is not carefully considered.\nHe tells of the London twixt 1737 and 1823\nand some interesting people come into the\nrecital, and a few of these are actors and it\nfollows that the book will have an interest for\nthe readers of \" The Mask \".\nBut I doubt Smith's veracity; — his talk\nabout Mrs Nollekins' meanness — his chatter\nabout the Venuses, and' so I doubt if any-\nthing he reports about the stage is to be\nrelied on.\nMr. Nollekins became very rich later in\nlife, and, dying, left Smith £ 100 — Smith\nhad hoped for more. Personally I consider\n£ 100 was £ 95 too muck\nTHE SECOND.\nT\\ HIS nobody was anyhow more than Smith\nwho was not even a nobody: he was anyhow\nLord Chesterfield's son.\nThis nice dull fellow of course never read\nany of the letters of advice that arrived for\nhim week by week; had he done so he would\nhave possibly benefited — possibly gone mad.\nYet his father wrote sense about most things\n- even about the Theatre, a thing few people\nin his position can bother to do.\nThe publish ers of this series as usual have\nmade it almost faultless — no one cares to\nhave an obvious fault pointed out, but to have\nit pointed out over and over again must be\na joy,\nThe design on the back of the cover is\nthe fault I have touched on at times.\nAntimacassars can be lovely things, though\na bit out of date — ill - designed antima-\ncassars are the limit; the design on the back\nof the World's Classics is like an ill-designed\nantimacassar.\nBut to return to Lord Chesterfield.\nThis is good sense:\n\" I could wish there were a treaty made\n\" between the French and the English\n\" ires, in which both parties should make con-\n\" siderable concessions. The English ought\n\"to give up their notorious violations of all\n\" the unities', and all their massacres, racks,\n\" dead bodies, and mangled carcases, which\n\" they so frequently exhibit upon their stage.\n\" The French should engage to have more\n\" action and less declamation; and not to cram\nand crowd things together, to almost a de-\n\" gree of impossibility, from a too scrupulous\n\" adherence to the unities...\"\nAnd this is positive understanding: —\n\" Tragedy must be something bigger than\nlife, or it would not affect us. In nature\n\" the most violent passions are silent: in\n\" gedy they must speak, and speak With\n\"dignity too \".\n... and so on.\n\"It is quite otherwise with Comedy, which\n\" should be mere common life, and not one jot\n\"bigger. Every character should speak upon\n\" the stage, not only what it would utter in\n\" the situation there represented, but in the\n\" same manner in which it would express it...\"\nThere is something not quite right in these\nwords about Comedy; taken too literally his\nblithe remarks on Comedy would mislead us.\n\"As for Operas, \"he goes on, \" they are\n' essentially too absurd and extravagant to\n'mention: I look upon them as a magic scene,\n\" contrived to please the eyes and the ears,\n' at the expense of the understanding; and I con-\n\" sider singing, rhyming, and chiming heroes, and\n\" princesses, and philosophers, as Ido the hills,\n\" the trees, the birds, and the beasts, who ami-\n'cably joined in one common country dance,\n\"to the irresistible tune of Orpheus's lyre.\nWhenever I go to an Opera, I leave my\n\" sense and reason at the door with my\n\n(I) He is referred to by Selva, see pg. 145."}, {"page_pdf": 50, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.50", "texte": "\" guinea, and deliver myself up to my eyes\n\" and my ears.\"\nMy Lord Chesterfield even in his insipi-\ndity does not often fluster, but here he does\nfluster.\nHe reveals a chirk—those of us who know\nwhat Opera was in Italy in the 17th and 18th\ncenturies, know what purpose it ser ved and how\nfrom Monteverdi to Malipiero the musicians\nhave been anything but absurd, and the de-\ncorators from Torelli to Bakst just as grave ;\nthe singers and dancers must not have it all\ntheir own way.\nJust because the singers and dancers of\nChesterfield's day were trivial (and all of them\nwere not that), the danseuseand\ntoo amiable, Lord Chesterfield need not grow\nagitated and commit himself to stupidities.\nOpera is an immense and very serious\nbranch of Theatrical art. The tree has but\ntwo branches — Prose and Lyric — and\nthis Opera is the first off-shoot from the branch\nwe call the Lyric Theatre.\nLord Chesterfield adores the extravagance\nof Ariosto, and Ariosto is the very godfather\nof Opera.\nWell then —\nBut after all I prefer the faulty Chester-\nfield, parodied so fatally by Dickens in\" Barnaby\nRudge\", to the more perfect nobody his son.\nLord Chesterfield and Nollekins seem not\nto have noted one another — but a certain\nSelva, an Italian architect travelling in London\nin 1780, does mention Nollekins. Once.\nHe writes in his day book: \" Sig. Nelechin\nmediocre scultore\" — but then Nelechin\ndoesen't mention Selva at all.\n\nX. Y. Z.\n\nTEATRO GRANARI, ROMA\nJ. S.\n[HO knows anything about the Teatro Granari of Roma?\n* It was known to Nolli the cartographer, who marks\nit clearly on his plan by the number 618. That was in 1748.\nNear by is the Teatro Pace, no. 611 of the plan. This also\nis a theatre not universally well-known, but compared with\nthe Granari it is a notorious theatre.\nA thousand selected books will hardly yield a reference\nto the Teatro Granari of the Vicolo De' Granari. Yet here\nin 174.8 was perfomed the intermezzo \" II bravo e il bello \"\nwritten by Rinaldo di Capua. So much we will say to help\nany student.\nIndeed, we point to this little playhouse because here is\na historical corner so obscure that any theatre magazine with\ncapital to back it might feel impelled to do some work and\nspend some time discovering all about it.\nIf they fail \" The Mask \" will solve the difficulty.\n\nWANTED - A PRODUCER.\nSTAGING THE GILBERT-SULLIVAN\nCOMIC OPERAS\nBY JOHN FURSE\nFOREIGN visitors to Britain interested in the theatre have\na thin time of it. If they want, for instance, to\nsee Shakespeare done in English, as they naturally often\ndo, one can but send them to the Old Vic. — and really,\nthat's rather hard on someone who is used to the artistic\namenities of a German capital. Not so long ago, asked by\na German to recommend a show to him, I rashly sent him\nto the D'Oyly Carte Opera Company's production of\n\" The Gondoliers \", the best show I'd seen for a month\nor two. A few days later he told me about it; \"So\nquaint \", he said, \" so Victorian"}, {"page_pdf": 51, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.51", "texte": "Now the Gilbert-Sullivan operas have a unique impor-\ntance in Britain. Not only are they performed by the\nD'Oyly Carte Company at more or less regular intervals\nin London, but they are toured throughout ihe whole of\nBritain, and there is not a town of any note in the country\nwhere every year or two the local theatre isn't packed to the\ndoors for a week or more while the operas are being done.\nThe productions are among the most popular on the\nBritish stage; they are among the best; and they are\n\" so quaint, so Victorian \".\n\" The Mikado\" was re-dressed a year or two ago\nand new sets designed for it. Mr Charles Ricketts, R. A.,\neveryone admitted, improved considerably on the work of\nthe previous person responsible for the wcrk. But still\nthe production of \" The Mikado \"as a whole is more\nthan a trifle distressing. (One daren't say that in an\nEnglish paper, of course: the Gilbert-Sullivan-D'Oyly\nCarte idolaters number millions, and are unrelenting.\nMr Henry Lytton acts Ko-Ko with infinite skill; Miss\nBertha Lewis sings Katisha's numbers magnificently ; and\nthe part of Pooh-Bah never found a better interpreter\nthan in Mr Leo Sheffield. Without a firstrate producer,\nhowever, the ensemble is atrocious. If Mr Ricketts had\nbeen a man of the theatre as well as a painter of taste\nand learning, he might have actually modernised \" The\nMikado\" to the extent the newspapers said he did.\nThe opera has now new mis-en-scene — otherwise it's still\n\" quaint and Victorian \".\nWhen the D'Oyly Carte Opera Company next\nappears in London '6 The Gondoliers \" will be redressed\nby Mr Ricketts and \" The Pirates of Penzance\" by\nMr George Sheringham Mr Sheringham has also, I\nunderstand, done new sets for \" Patience \". I can thus\nforesee numberless articles in praise of the modernised\nproductions, and unless I'm vastly mistaken not a single\ncritic will rise on his hind legs and, looking at the\nproductions with fresh eyes, say \"No good. This is 1929\n— and I've seen what Russia can do — and the Russian\nBallet has been here — and there's a Gordon Craig in\nItaly\". Because there's a widespread belief here in\nsomething called \" the tradition\", which the D'Oyly\nCarte Company is reputed to uphold.\nOf course the Beverley Nicholses of dramatic criticism\nmay believe that a decade or two can establish a tradition.\nSurely it's patent enough, however, that the D'Oyly Carte\nCompany is not upholding a tradition but merely perpe-\ntuating the rather circumscribed views of Sir William\nGilbert. The new scenery and dresses are a step in the\nright direction, but only the first of very many essential\nsteps towards the satisfactory presentation of the operas.\nWho is in charge of the D'Oyly Carte productions? I've\nnever heard of him. I think there is only a stage manager\n— the English stand-by. It would do the English theatre\na world of good were a producer of genuine talent called\nin to tackle the presentation of the operas, so vast is their\npublic. It is for the same reason we all hope Sir Thomas\nBeecham is to take expert advice before staging his operas\nunder the aegis of the League of Opera.\n\nGETTING ON WITH IT.\nJ. S.\nfUlR. Bel Geddes has been producing a \"Hamlet,* in\nAmerica, the whole piece being arranged so as to\nplay well within two hours.\nThis has entailed a little judicious condensation of the\ntext of the play which is one of Shakespeare's longest.\nIt is, by the way, the Shakespeare version that was used.\nThe First Scene, which we reprint here, was cabled\nacross to us, though we cannot vouch for its being correct\nto a comma. Should our correspondent have omitted\nanything, we trust Mr. Geddes will take any gaps in\ngood part.\nElsinore. A platform before the castle.\nEnter Bernardo to Francisco.\nBer : Who's there ?\nFra : Long live the King.\nEnter Horatio.\nHor : Holla! Bernardo!...\nWhat, has this thing appear'd again to-night?\nFra : I have seen nothing.\nBar: Peace, break thee off ; look, where it comes again!\n(Enter Ghost).\n(Pause : business).\nFra: It is offended. See !it stalks away.\nBer: 'Tis gone. (Exit Ghost). Is it not like the King?...\nFre: Lo! where it comes again, (enter ghost).\nHor: Speak to me. Speak to me, oh speak! (Exit\nGhost).\nBer: 'Tis gone.\n(Pause : business).\nHor: Break we our watch up, and\nLet us impart what we have seen to-night\nunto young Hamlet.\nFor: Let's do't.\n(Business : exeunt).\nWhile We must admit that something a little longer\nwould have satisfied us better, we cannot deny that we\nhave here the happenings, the important happenings, sta-\nted clearly and without any extra to-do.\nNo word has been altered or its position changed;\nthe only thing that has been done is the removal of some\n160 extraneous lines."}, {"page_pdf": 52, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.52", "texte": "THE GRAND CONVERSATIONS\nON NAPOLEON.\nJHESE verses seem to have escaped the notice of the anthologists. The book\nfrom which We have taken this piece measures only about 4 1/2 inches;\nhy 3 inches; the paper on which it is printed is cheap stuff and the\ntype small and often damaged ; the pages are not numbered. It is an informal\nbooklet and in the kind of pocket edition anyone could buy and everyone\ncarried. Whether it cost 3d or 6d is not clear.\nWe understand that books like this cannot be printed today for there\nWould not be a sufficient sale at such a price.\nIt was over that wild beaten track a friend of bold Buonaparte,\nDid pace the sands and lofty rocks of St. Helena's shore,\nThe wind it blew a hurricane, the lightning's Sash around did dart,\nThe sea-gulls were shrieking, and the waves around did roar,\nAh ! hush, rude winds, the stranger cried awhile I rove the dreary spot,\nWhere last a gallant hero his envied eyes did close,\nBut whilst his valued limbs do rot, his name will never be forgot,\nThis grand conversation on Napoleon arose.\nAh England, he cried, did you persecute that hero bold,\nMuch better had you slain him on the plains of Waterloo;\nNapoleon he was a friend to heroes all, both young and old,\nHe caus d the money for to fly wherever he did go;\nWhen plans were ranging night and day, the bold commander to betray,\nHe cried, I 11 go to Moscow, and then 'twill ease my woes,\nIf fortune shines without delay, tnen all the world shall me obey,\nThis grand conversation on Napoleon arose.\nThousands of men he then did rise, to conquer Moscow by surprise,\nHe led his men across the Alps, oppress'd by frost and snow,\nBut being near the Russian land he then began to ope his eyes,\nFor Moscow was a burning, and the men drove to and fro;\nNapoleon dauntless viewed the flame, and wept in anguish for the same,\nHe cried, retreat my gallant men, for time so wiftly goes,\nWhat thousands died on that retreat, some forced their horses for to eat\nThis grand conversation on Napoleon arose.\nAt his men they fought commanded by great Bonaparte,\nAttended oy field-marshall Ney, and he was bribed by gold,\nWhen Blucher led the Russians in, it nearly broke Napoleon's heart,\nHe cried my thirty thousand men are kill'd and I am sold;\nHe viewe d the plain and cried its lost, he then his favourite charger cross'd,\nThe plain was in confusion with blood and dying woes,\nThe bunch of roses did advance, and boldly entered into France,\nThis grand conversation on Napoleon arose.\nThen Bonaparte was plann'd to be a prisoner across the sea,\nThe rocks of St. Helena, it was the fatal spot,\nDoom'd as a prisoner there to be till death did end his misery,\nHis son soon followed to the tomb, it was an awful plot,\nLong enough have they been dead, the blast of war around is spread,\nAnd may our shipping float again to face the daring foes,\nNow my boys, when honour calls we'll boldly mount the wooden walls,\nThis grand conversation on Napoleon arose.\nWe have cafehflly followed the spelling, and punctuation of the version of this celebrated\npoem pnnted by Mr. V/. S. Johnson, 60 St Martin's Lane at a date unknown to us in his\nBritish Songster, N. 2 which includes amongst other gems \" Villikins and his Dinah\nJerence s farewell ' and \"Cookey, Darling \".\n\nCOOKEY, DARLING.\nJ. S.\n(i)\nThe meat is roasting, cookey darling,\nAnd the taters are boiling for me,\nBut this nasty cruel dog is at me snarling,\nAnd I can't get down the area to thee:\nThe gas-lamps are dimly burning,\nBut my bull's-eye shines so bright,\nThen hasten to your Bobby, cookey, darling,\nAnd we* II have a jolly spree to-night.\nCookey, cookey, etc.\nI m as hungry as a glutton, cookey darling,\nFor two days 1 ve had nothing to eat,\nA slice of mutton, cookey darling,\nTo me I'm sure would be a treat.\nThe leg of a goose or a chicken,\nOr a nice little sop in the pan ;\nLet me in the kitchen, cookey darling,\nWe 11 make the most of our time while\nwe can,\nCookey, cookey, etc.\nMeet me at the corner, cookey darling\nWhen your missus is gone to her bed,\nHasten to your Bobby, cookey darling,\nAnd then we will do as we said,\nFor there I shall be waiting,\nWith my truncheon in my hand\nAnd if you will lend me four-pence, cookey\ndarling,\nA quartern of gin I will stand.\nCookey, cookey, etc.\nSure I m laughing at your missus, cookey\ndarling,\nWhen I think how astonished she would\nbe,\nIf she caught me in the kitchen, cookey\ndarling\nWhen she knew that on duty I should be\nBut the fire shines so brightly,\nAnd the night is cold and wet,\nOpen the door, cookey darling,\nAnd quite jolley we will get.\nCookey, cookey. etc.\n(I) The exact date of these verses is\nunknown to me, hut I should say that they\nare circa or, (as a friend wrote me yesterday)\nversus /860-'65 (it cannot be prior to 185/).\nThe land of their birth is England, the lo-\ncality London."}, {"page_pdf": 54, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.54", "texte": "BOOK REVIEWS.\n\nALEXANDRE DUMAS FILS\nDRAMA TIST by H. Stanley\nSchwarz. The New York Univer-\nsity Press. Price $ 4S0Q.\nDUIMAS FILS was popular for twen-\nty-five years or more: Dumas pere\nwas popular for thirty to forty years:\nMolier6 was popular, Shakespeare too;\n— but these things belong to the past.\nNot even one of the seventy mil-\nlion ants which are busy today, 1929,\nin my garden can bother to concern\nitself with that which was once the year\n1918; so how can the Public be expec-\nted to bother its many heads about the\npast so long passed by — about 1873,\nthe year in which Dumas gave it 44 La\nFemme de Claude\nThe public, like the ants, prefers\nthis year to any other.\nToday is June 1st 1929: I am in\nItaly: it is unpleasantly close — no\nblue sky and the thunder seems lurking\naround — all dreary and depressing.\nJune 1st of 1918 was in Italy very\nhot; the sea was calm and delicious,\nthe sky blue and clear; a cool breeze\nkept the whole day fresh.\nYet the Public of 1929 prefers\nthe inferior day of today to the vastly\nmore delicious day of eleven years ago.\nI don't.\nWere I a writer striving to improve\na public I would, on perceiving the\nant-like sense of the Public, give it\nall up and go off and pick up crumbs\nand tiny bits of straw in the hope of\nsetting it a good example.\nBut Alexandre Dumas fils never\nsaw this: I doubt if he ever saw any-\nthing. He lived so in touch with\nthings. He had a vague notion of these\nthings gleaned by hearing different\nreports day by day. These scraps he\nkept, recorded them — and referred to\nthem later on.\nI suppose he did this: even as I\nonce kept a record of what was hap-\npening to the sky, the sea, the sun\nand the wind in 1918-19-20. My re-\ncord has little pictures added to it here\nand there so as to force people who\nshall see it in 1938 to prefer one day\nto another even be the day 7392 days\nmore out of date than the day they\nare living through at that moment.\nAnd if Dumas fils had made more\nattractive his Reasonable Conclusions\n— and that is the title I would give\nto all his works — made them hap-\npier things by a little inconsequent em-\nphasis here and there about nothing,\nhad the tail pieces to his books been\nlittle designs, plain or coloured, instead\nof words, those final words, I do\nbelieve that some day the Public,\nlooking back like the celebrated wife,\nwould turn into pillars of sugar, become\nall sweetness for a moment... intent,\nabsorbed... and then of course back\nto its own far sweeter human shape\nand its humanity.\nBut Dumas fils was bent upon re-\nforming the world, a world determined,\ncome what come might, never to be\nreformed,\nFils was weak: fils somehow felt\nthat he was born out of wedlock, — that\nwedlock which so bores the Public\nwhen past, is so necessary to it in\nthe Present, and let us hope inevitable\nto it in the Future.\nFils was not exactly one of the\nPublic; to him the present was not only\nan important thing, it was everything.\nFils was in fact limited to the pre-\nsent — and now he is in the past\nwhile his pere is still going strong.\nTHIS book on Dumas fils in in-\nteresting in a not quite dull way. It\nappears to be the only book in En-\nglish on the younger Dumas which\ngives a proper smattering of his life, a\nnotion of his ideas and something of\nhis technique.\nIt is very interesting to me because\n1 like to witness the spectacle of Pa-\nris accepting a moralist who teaches it\nwhat it ought to do by means of ser-\nmons from the boards. I love to see\nand hear all that going on in Paris\ntwixt 1844 and 1895 ... Paris. And\nto think, too, that he, the son of old\nAlexandre, took up writing, — even\nwrote plays — succeeded very well,\nand yet spite of all in the last estimate\nfailed. This passion for teaching morals\nthrough dramatic sermons, never found\nin the father, grew strong in the\nson; the son sported with moral things;\nthe father was only Dumas pere, ... than\nwhich anything more moral without\nbothering to know of it never was or\nwill be.\nThose old tales of Musketeers and\nKings and Cardinals, of the Due de Ri-\nchelieu, ... those long and, to me, ma-\nsterly conversations out of which you\nfeel the life of the persons emerging\ntill you fancy you are with them and\nthey breathing, walking, visible.\nBut you've not read one of these\nconversations for years — if ever.\nThose between the Due de Richelieu,\nand ... I forget in which book, delight\nme even in translation. It is, of course,\nin one of the Louis XV books, not\nLouis XIII or XIV: — that's the\nCardinal Richelieu. Quite another mor-\nsel. It is such fine stuff, this Dumas stuff.\nIt's not Proust, I know, nor Bal-\nzac nor Stendhal: it's not Wilde or\nWilder : it's ordinary Dumas — plain\nBeaujolais au carafe. Everyone drinks\nit and enjoys it and so it* s not even\non the wine list. It's like the uncon-\nsidered air one breathes, the good bread\nand salt one eats — these things so\nunconsidered are too common to con-\nsider. Who ever spoke of bread?...\ndid you know anyone stop to say a\nkind word about salt? These are things\nabout which even a kind word is not\nnecessary,\nEnfold your little son who did\ntry so hard, enfold him in your big\narms and sleep well, you delicate old\ngiant. I for one find you a very great\nartist.\n\nTHE STORY OF MY LIFE —\nMY MEMOIRS, by Yvette Guilbert.\nGeorge G. Harrap. Price 2 / /-net.\nTALE ONE.\nNEVER HEARD OF HER.\nBERNHARDT in 1894 invited\nYvette Guilbert to supper and\ngave her one of her fans inscribed\n44 affectionately and admiringly yours\nSarah Bernhardt \". Yvette went to\nAmerica three weeks later, Bernhardt\nfollowing still three weeks later.\nIn New York City the reporters\ntold Sarah Bernhardt as she stepped off\nthe boat that a well known French artist\nhad had a great success in their city.\n44 Who can this be?\" said Sarah\nBernhardt.\n44 Mile. Yvette Guilbert answered\nthe American reporter.\n44 Don't know her \" said Sarah.\n44 Do you mean to say that you've\nnever heard of Yvette Guilbert ?\n44 Never \".\n44 But we were told she was a\ncelebrity in Paris \".\n•4 Don't know her \" said Sarah.\n44 I've never even heard her name .\nTALE TWO.\n44 What's her name ? \" asked \" a\ncertain American business man reputed\nto have made 600,000/000 dollars out"}, {"page_pdf": 55, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.55", "texte": "of munitions and said to be a pos-\nsible person to help Madame Yvette\nGuilbert found a school of the Theatre\nin New York.\nMadame Guilbert had gone to see\nhim in his office with Miss Alice L....\nand Miss L.... had explained what they\nhad called for (ie, some of his money),\nand he had been making paper balls\nand tossing them into the air when he\nsuddenly 44 dropped the juggling and\npointing a ruler at me said 44 what's\nher name? \" 44 Her name? Why, that\nis Madame Yvette Guilbert, the French\nartist \".\n44 Never heard of her \".\n44 Oh, you must have ; Madame\nGuilbert has been giving concerts in\nNew York every week for the last\nthree years \".\n44 Never heard the name \", and he\nbegan to toss up his little paper balls\nonce more.... and so on.\nNEVER HEARD OF HIM.\nNever to have heard of a famous\nstranger is not quite excusable, but to\nhave forgotten a not famous friend is\nvery strange.\nMadame Yvette, in her amusing\nbook ably translated by Madame\nBeatrice de Holthoir seems to have\nforgotten several of her friends in\nEngland: perhaps if asked she too\nwould answer 44 I've never heard of\nhim \".\nOn the other hand she recalls\nDan Leno, Marie Lloyd, 44 and then\nIrving, the great Shakespearean tra-\ngedian, so much a gentleman, so much\nin love with his art, who, famous as\nhe was, did not manage to arouse my\nenthusiasm\" ...: also 44 Cyril Maude,\nand his wife, who like me suffered\nfrom Kidney trouble \".\nShe remembers some of our writers,\n...George Moore — Knobloch — Fa-\ngan — Arthur Symons -— Granville-\nBarker and Grein. Does she not\nremember Haldane MacFall or John\nMasefield, or even Max Beerbohm?\nShe remembers a number of thea-\ntrical and social people: — Sir Alfred\nButt 44 who neglected my publicity for\nthe sake of my fellow actor, Consul,\nthe chimpanzee\"; 44 Fred Terry and\nMiss Neilson so beautiful Beerbohm\nTree, Bourchier, Boucicault, come in\nfor mention — for the barest mention\npossible.\nThen there is Theresa — English\nreaders would have liked to learn who\nexactly was 44 La Grande Theresa \".\nBeing a reviewer of books by\nprofession I, Drury Pervil, have an\nodd collection of paper-bound books\n— some 2300 books line the walls of\nmy little den in Fleet Street which\nmeasures eleven feet square. They\nhelp to warm my room in the winter,\nfor they act as do those fur linings of\nthe celebrated coats worn by successful\nperformers —- and amongst these books\nI find 44 Memoires de Theresa ecnies\npar Elle-Meme (3rd Edition) Paris E\nDentu 1865\nI have never read the book, and,\nhad I the time, now would be the\nmoment — if only to see if she forgets\nany of her friends ...those who, anyhow,\nwere artists of sorts ...or any artistes.\nArtistes and artists are not very much\nalike.\nSeveral films of a nice thick pro-\ntective lining cover the perceptions of\nperformers — artistes — or they would\nretreat sooner than they do from the\npublic stage and forget who Bernhardt\nwas while intent upon who Goethe is.\nArtistes have to be less sensitive -—\nthough Madame Guilbert all through\nher book is ever more than sensitive\nto the sufferings of her fellow artistes\nand unmindful of the feelings of ordi-\nnary millionaires, artists and other\ncommon folk. But Madame Guilbert\nhas a tender corner in her heart for\nthe big middle class — although she\ndoes not say so she lets you see that\nit is the middle class she understands\nthe best.\nIt is a charming book by a charming\nperformer.\n\nFIRST PLAYS hy Ivor Brown.\nHERE WE GO ROUND by Evelyn\nSharp. Qerald Howe Ltd. Price 2/6\neach.\nWO volumes of the series being\nissued by Gerald Howe Ltd un-\nder the classification 44 The Beginning\nof Things \" edited by G. Elliot Smith\nF. R. S, — two theatre volumes and\ntherefore of interest to scholars young\nand old of the Drama and the Dance.\nBoth Miss Sharp and Mr. Brown\nhave gone to Sir W. Ridgeway, F. M.\nCornford, jane Harrison, E. K. Cham-\nbers and Cecil Sharp for assistance,\nthe five authorities being listed in both\nwriters' short Bibliographies.\nThe origin of the Dance and of\nthe Drama are dry themes — and\nas we read we still feel thirsty for\nsomething — is it for the truth we\nthirst ?\nBoth Mr. Brown and Miss Sharp\nare obliged to avoid giving us the truth.\nIt might please them to see a few of\nus refreshed, but to do so at the expense\nof the others would never do. So they\nsteer clear of things they would\nsincerely like to face and we are unre-\nfreshed, and the others not lowered into\nthe well.\nWhat books are best then? Books\nwhich parch a hundred believers or\nthose which drown the sceptical ?\nThe authors are not on the side\nof the angels,.,, presumably assuming\nthat these can always look after them-\nselves, and that a wilderness of monkeys\nis 44 so sweet \". But for this the authors\nof these two volumes could not have done\ntheir work better — and it is not con-\nceivable that anything more difficult to\ndo could have been asked by a public\nnot ~ caring a fig what sort of book\nit gets.\nThe publish ers have bound these\nvolumes perfectly and the paper used\nis good,* the type topping, — But\ngosh ! what a public ... if this is what\nit is asking for.\n\nGILBERT AND SULLIVAN. A\nromantic prose version: of the Famous\nOperas, hy Lillian Bradstocl£. Cecil\nPalmer. Price 7 / 6.\nTUTlSS BRADSTOCK is enthusiastic\nthe Savoy Theatre of 1881\n— and they who love Gilbert and\nSullivan are enthusiastic too. — I know\nI am.\nAnd so when Miss Lillian Brad-\nstock starts off on the Mikado with\n4 4 Long tassels \"of blossom hung low\nover the courtyard of a stately old pa-\nlace in Japan \" I see the eyes of ten\nthousand lovers of Gilbert and Sulli-\nvan glistening,.... And so I like all this.\nBeginning about the Pirates of Penzance\nshe writes 44 Long and long ago, the rocky\ncoast of Cornwall was the hiding place\nof a number of pirate gangs... \": about\nthe Gondoliers 44 Venice lay bathed in\nglorious golden sunshine \" .... tirrile tir-\nrila. 44 Not so very long ago, a band\nof fairies held sway over this stately\ncountry of England \".... there we are and\nthere* s lolanthe. 44 It was a beau-\ntiful sunny morning about the middle\nof the 16 th century, and the grim\noutline of the Tower of London....\n... Right ! you' ve guessed it first time\n— Yeomen of the Guard,\nBut what about the next — 44 The\nlittle fishing village of Rederring lay\nbasking in the Cornish sunshine Can\nyou guess that one?\nI won't give it away — for after\nall you must buy the book — eve-\nryone that I know says so — you'll\nfind it ever such a sweet companion\nfor many many days and winter eve-\nnings — so come and buy and bask in\nthe sunshine of Gilbert and Sullivan and\nMiss Lillian Bradstock at the little\nfishing village of Rederring,"}, {"page_pdf": 56, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.56", "texte": "MEMOIRS OF LORENZO DA\nFONTE9 Translated with an Intro-\nduction and Notes, by L. A. Shep-\npard. Routledge. Price 15-/net,\nHPHESE Memoirs of Mozart's Li-\nbrettist are now for the first time\npresented in an English translation,\nThe book, written in the author's\nold age in America, has, as the trans-\nlator points out, a distinctly though not\navowedly apologetic purpose and aim,\nbeing designed by Da Ponte to protect\nhimself from those of his fellow coun-\ntrymen 44 political exiles from their\nnative land, like him dependent on\nteaching for their livelihood \", who\nsought to discredit him with his Ame-\nrican pupils and friends by communi-\ncating their knowledge of his past life\nin Europe.\n4 4 There can be little doubt there-\nfore \" writes Mr. Sheppard, 44 that\n44 Da Ponte found himself forced to\n44 present his own version of events,\n44 omitting awkward facts, slurring over\n44 and confusing others, in order to\n44 produce a story in which he would\n44 appear, in spite of a few venial\n44 faults, a man of letters now of\n45 miimoeachable conduct, magnanimous\n44 and generous towards his enemies,\n44 ever a victim of the malice, fraud\n44 and jealousy of others\nIt is necessary to bear this in mind\nin reading the book, and the translator\nhas added many useful notes which\ncorrect some of Da Ponte's otherwise\nmisleading statements and inaccurate\ndates in various instances, which would,\nuncorrected, confuse the reader.\nThese Memoirs cover the author's\nlife from his youthful escapades and ad-\nventures in 18th century Venice; the\nyears of his life at Vienna and of his as-\nsociation with the Imperial Opera-House\nthere ; they throw a vivid light on the\nrelationship of the Emperor Joseph II\nto the Viennese theatre life and per-\nsonalities; tell of Da Ponte's associa-\ntions with Mozart and other musicians,\nartists and impresarios; his later life in\nLondon in association with William\nTaylor, director of the King's Theatre\nin the Haymarket, and the endless\nfinancial embarrassments into which that\nassociation brought him ; and finally of\nhis escape to America and his life\nthere as bookseller and teacher.\nThe whole book is entertaining,\ngives us many intimate glimpses of\nnotable figures, is furnished with an\nIndex and many helpful notes, and\ncontains some good illustrations, inclu-\nding a view of the Interior of the\nKing's Theatre, and portraits of the\nEmperor Joseph II, of Mozart, of the\nauthor, and of the foxy Madame Mo-\nnchelli and that 44 infernal demon \"\nMadame Brigida Banti.\n\nDRAMA IN GLOUCESTER-\nSHIRE (The CotsWold County) by\nTheodore Hannam-ClarlMinchin\n& Gibbs6 Gloucester; Simpfain Mar-\nshall, London. Price 5j~.\nHIS is one of those really useful\nbooks the compilation and writing\nof which 44 The Mask \" is always\nadvocating, as collecting and collating\ninformation about some individual\ntheatre, district, or personality, instead\nof presenting a rechauffe of well-known\nfacts of the whole world theatre.\nMr. Hannam-Clark is a solicitor,\nand devotes his leisure to the study\nof the theatre records of his county,\njust as do so many scholarly Italians,\nwith the result that they produce little\nbrochures or larger books full of valuable\ninformation.\nMr. Hannam-Clark in his Prologue\nstates his most sensible reason for\nhaving entered upon his work; 44 I\n44 compile this book only because no\n44 one else has done it.... My late father's\n44 collection of Gloucestershire books\n44 and my own theatrical one of several\n44 hundred volumes have stood well a\n44 severe test for reference purposes,\n64 with some help from the British\n44 Museum and Drama League and\n*e Archaeological Libraries, the Public\n44 Libraries of Cheltenham, Cirencester\n44 and Gloucester, and the Gloucester\n44 Guildhall records, whose librarians\n44 and their staffs have been very\n44 helpful\nMr. Hannam-Clark's love for the\ntheatre is evidently deeply rooted, for\nhe further tells us that for years, after\nhis days at the law, his' evenings were\ndevoted to acting. 44 There are few\n44 important halls in the County where\n44 I have not performed, and none (I\n44 think) in Gloucester, Cheltenham or\n44 Stroud. V/henever possible, I have\n44 accepted invitations outside, and have\n44 thus played in theatres of London\n44 (including the Haymarket and Strand),\n44 Stratford-on-Avon, Cardiff, Brighton,\n44 and (by way of a novel holiday in\n44 1926) as far afield as Bayes Theatre,\n44 New York, with a 44 Gloucester\n44 Vale \" Company, visiting also Glou-\n44 cester, Massachusetts\nAfter years of this acting, starting\nafter the day's work to 44 drive a loaded\ncar \" to some neighbouring or distant\nplace, 44 bear the strain of an evening's\nentertainment and drive home again,\nnext morning starting out at 8.30 \",\nand after the 44 playing of nearly two\nhundred parts (two or them over one\nhundred times) \" Mr. Hannam-Clark\nfelt that 44 coming middle age \" asked\nfor some rest, and so decided to *\ndevote his leisured evenings to the\npreparation of the notes which make\nup this book, a task, the accomplish-\nment of which entitles him to the\ngratitude of theatre students.\nStarting from the earliest records\nof old religious plays, he works down\nto the performance in February 1863\nat the Corn Hall, Cirencester by Miss\nEllen T erry and her mother, of which\nthe account in the 44 Wilts and Glos.\nGazette is worth quoting from : —\n44 Mrs. Terry does not yet wish her\n44 young daughter to go out by herself,\n44 and although she (Mrs. T.) has not\n44 acted for 15 years, she consented\n44 to do so on this occasion .... In\n44 Miss Ellen Terry, although almost\n44 a child, being only 1 5 years of age,\n44 we see an actress who will shortly\n44 shine in the highest rank of her\n44 profession. We consider her acting\n44 wonderfully good, particularly when\n44 we know that, with an unselfishness\n44 which did her much credit, she only\n44 fixed a small share of her attention\n44 on herself and her own acting, and\n44 by far the largest share on everybody\n44 and everything else, always on the\n44 look out to help an actor out of a\n44 difficulty, even to taking his sentence\n44 and ingeniously making it her own,\n64 and ever and anon keeping a\n44 watchful eye on the scenery and\n44 stage business ... \".\nIt is to be wished that many men\nof like enthusiasm and affection for the\nhistory of the English theatre would\nget to work in their own counties, so\nthat we might have a complete series of\nthese regional histories and records of\nthe drama and the theatre.\nBut we hope, if they do this, they\nwill do it without being organized to\ndo it — for the Drama League is all\nvery well.... but.\n\nEASTER AND OTHER PLAYS,\nby AUGUST STRINDBERG (An-\nglo-Swedish Literary Foundation. Jo-\nnathan Cape, 7/6.\nHj HIS is the first publication of the\n* Anglo-Swedish foundation, the\ncreation of which is due to Mr. George\nBernard Shaw. As it will be remem-\nbered, he was awarded the Nobel\nPrize in literature by the Swedish\nAcademy in 1928, when he offered\nto give the whole sum — 1 18,165\nSwedish crowns — 44 for the purpose\nof encouraging cultural intercourse\nbetween Sweden and the British"}, {"page_pdf": 57, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.57", "texte": "Islands and promoting a knowledge and\nappreciation of the literature and art of\nSweden in Great Britain. \" So says\nMr. Erik Palmstiema in the Foreword.\nAnd then, almost as wishing to\ndamn Strindberg in the eyes of the\nEnglish purchaser of this first volume,\nsomeone or other selects for it the four\nleast representative plays and someone\nelse permits the dastardly blunder. No\nenemy of Strindberg could have acted\nwith more jealous care for his discom-\nfiture than the two, whoever they may\nbe, who selected and approved this\nselection. Was no English Dramatist\nat hand with whom to take counsel ?\nno true admirer of this great Swedish\nwriter. Two plays which should have\nbeen in this first volume are 44 The\nFather \" and 44 Miss Julie \". To\nbegin with, 44 The Father \" was written\nin 1887, and 44 Miss Julie \" in 1888 \"\nwhereas the four plays which we have\nbeen given were written in 1901 and after.\nThe Introduction by Professor\nJ. G. Robertson is also unfortunate.\nWhat but this can one say for it in\nits lame attempt 44 to promote a know-\nledge and appreciation of the literature\nand art of Sweden in Great Britain\nDr. Robertson writes of Strindberg\nthat he was 44 Crushed and broken,\ndespairing, mad \", and asks 44 is it to be\nwondered at that his life is strewn\nwith unforgivable sins against the Holy\nGhost ? \" If I should not be thought to\nbe irreverent, I should murmur 44 Holy\nWillie! \" Really, Dr. Robertson! and to\nsay that44 his genius was perverted by the\nmisfortunes of birth and upbringing\nthat 44 he was helplessly at the mercy\nof passions — of hate as of love —-\nover which he had no control \" ; or\nagain, 44 He found in life no sympathy,\nno permanent friends, no love of the\nkind that could resolve his distraught\ncomplexes into harmony I wonder\nif Dr. Robertson ever knew Strindberg,\nor ever knew one of his many friends.\nDid he ever see him 44 crushed and\nbroken \" or is it only a bad guess ?\nWe are a little surprised that Mr.\nGeorge Bernard Shaw allowed such\nan Introduction to appear: but then\nperhaps our noisy egoist has ceased\nto have any interest in the English\nsuccess of his brother Strindberg.\n\nTHE BIBLE IN SPAIN. George\nBorrow. Oxford University Press.\nPrice 2j~.\nTHE AUTOBIOGRAPHY OF\nLEIQH HUNT. Oxford University\nPress. Price 2j~.\njj HE Oxford Press continues to\nstrengthen its series \" The World's\nClassics\" and Hunt's 44 Autobiography \"\nand Borrow's 44 Bible in Spain \" are\nthe two latest pilasters which have been\nadded to the edifice. One wonders\nwhat modern books will get into such a\nseries fifty years from now. Will a\nConrad be found there ? — what\noutstanding book has he made ? Will\nanything by Wells be there ? or by\nEdgar Wallace ?\n\nCONTEMPORARY MOVE-\nMENTS IN EUROPEAN LITE-\nRATURE Edited by William Rose\nM. A. and J. Isaacs M. A. Routledge.\nPrice 10/6.\nIT is nice to know something about\nProust, Capek, Joyce, and Valery\nand about their work.\nIs it or isn't it ? It is: and yet\nwho are all these ? These four head\nthe movement and others follow.\nIsn't it time to stop calling attention\nto movements and groups and fix upon\none man as best of the bunch ? ]\nHere in this collection (very well\ndone by Mr. Rose and Mr. Isaacs)\ncome learned Doctors from Spain,\nfrom Italy, from Russia and France\nand from Holland, and they lecture to\nthe students at King's College all about\nit. And from Czechoslovackia comes\na deputy, and Scandinavia is repre-\nsented.\nEngland is not left out, though to\nmy way of thinking it's England with\nthe prince of literature left out.\nIt is Mr. j. Isaacs writes of its\nLiterature and omits the name\nBeerbohm.\nM. Saurat, attempting to assess\nthe influence of the war on present\nday literature, comes to Proust. Proust\naccording to M. Saurat seems to be\nan analyst, and that, if you yourself can't\nanalyze, can often prove to be a treat:\ngetting a book by an analyst is then\na real experiment.\nIf he enjoyed himself, this analyst,\nthen what is the matter with the Via\nGaribaldi? Valery can't make up\nhis mind to -— or to —- et cetera.\nAnd Maurois is 44 more of a force for\nthe future than the master of an\nachievement in the past \". Literature\nin Europe is either terribly vague\naccording to these critics or it is the\ncritics who are vague.\nWhat I would have liked to learn\nis whether one of these can write\nwell, and what is the kind of good\nwriting the said one writes: a little of\nit analyzed; I would very much like\nto know about a writer and good\nwriting and what goes towards making\nthe writing good. The writers in this\nbook are concerned with conception —\nsubject — tendencies of thought. It's\nthe delivery would interest me.\nIn a past age and a grander age\n— an age when it went without\nsaying that if you wrote at all you\nhad to write well — really well —\nany opinion would have been well\nworth hearing expressed — or rather\nreading its written expressien. Today\nit is nothing we feel — an engineer\nexpresses more — the turning lathe is\nthe modern pen, we say.\nWell, until you stop to pick cut\nthe one writer from the hundred the\nlathe will (for the moment anyhow) be\nmightier than the pen.\nThis volume is rather like those\nwonderful books about our Lord Byron\n....saying unto us 44 Do you know what\nI take this man to have been? \" never\n44 Do you know what it is makes 4 We'll\ngo no more aroving by the light of the\nmoon \" a miracle. Byron gnashing his\nteeth, — Byron thinking things out —\nByron the bad boy of the family : Byron\nat sea and actually asleep during a storm.\nAll this we get with new readings.\nWho ever tells us what it takes to\nwrite 44 and love itself have rest \" ?\nWell: I'm enjoying this book by\nIsaacs, Saurat, Rose, Pastor, Del Re,\nMirsky, Robertson, Selver and Ham-\nmtjes, for unless I enjoyed it I should\nquestion every word of it and should\nwonder what King's College was about.\nAnd that would take me far too\nlong, if I wanted to answer the hundred\ndoubts which this book raises in me:\nI mean I haven't a whole month to de-\nvote to this one subject, the doubtful sig-\nnificance of Literature today with the\nfew masters (as usual) omitted.\n\npnrr^n~TiT~—rrmnri mrr IMTTNWWN TIWIII TTI D-gnTiiwr-rr-nrr- TTT— peace, mother, O peace, mother,\nYour weeping doth me grieve;\n0 1 must suffer this,\" he said,\n<4 For Adam and for Eve.\"\n44 O how can I my weeping leave,\nOr my sorrows undergo,\nWhilst I do see my own Son die,\nWhen sons I have no mo'?\"\n44 Dear mother, dear mother, you must take\nJohn,\nAll for to be your son,\nAnd he will comfort you sometimes,\nMother, as I have done.\"\n44 O, come, thou John Evangelist,\nFnou'rt welcome unto me,\nBut more welcome my own dear son,\nThat I nursed upon my knee.\"\nThen he laid his head on his right shoulder,\nSeeing death it struck him nigh :\nThe Holy Ghost be with your soul, —\nI die, mother dear, I die.\"\nOh the rose, the rose, the gentle rose,\nAnd the fennel that grows so green !\nGod give us grace in every place\nTo pray for our king and queen.\nFurthermore for our enemies all\nOur prayers they should be strong.\nAmen, Good Lord! your charity\nIs the ending of my song,\nI will pray for the King and\nQueen all right, but the rose the rose\nand the virgins seven and praying for\nthe enemy simply won't do — at least\n1 can't do it to the command of the\nsinger. That's why I like an old\nPagan carol best — the words, I mean.\nBut if I had a piano — if I had\nthe gift for reading music at sight -—\nI know I should write something\nwhich would cause 30,000 copies of\nThe Oxford Book of Carols to be\nsold in one day... on anyhow three co-\npies.\nWhy doesn't the Oxford Univer-"}, {"page_pdf": 59, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.59", "texte": "sity Press know how to advertise —\njust a little more, rather better?\nI confess to being utterly ignorant\nabout the management of the Oxford\nUniversity Press, and it may be a poor\nimpression I have received. Yet while\nentirely an admirer of its organization,\nits creative output, I somehow find\nmyself wondering whether it has mas-\ntered the awful art of distribution as\nit might do — and as it surely will do\nin time.\nDistribution is essentially a cunning\nAmerican art as is advertising. I read\namazing good notices of an Oxford\nPress book in 44 The Times \", in\n44 The Telegraph \", in the 44 Daily\nNews \", the 44 Daily Mail \", 44 Ex-\npress 44 Manchester Guardian\n44 Yorkshire Post\"; yet when I go\ninto a bookseller's shop and look\naround for a copy of the amazingly\nwell noticed book, dash it, I can't\nfind one.\nI go out and peer in at a window\n— not one displayed.\nI did this about a book I was keen\nto see everywhere and found nowhere,\nalthough from the 44 l imes \" to the\n44 Express\" every paper had said it\nwas a first-class, British, manly, top-\nping book.\nThe Oxford University Press is a\nnoble institution, but thai is no reason\nfor its not realizing the essential ma-\nterial practicalism of this age.\nIt is an honour to have a book\npublished by the Oxford University\nPress, printing, paper, binding, courtesy\nof the whole management being per-\nfection; — but business is after all\nsomething : and I can suppose that an\nauthor, even the most British spirited\nof British, might feel that after all\nbusiness results are what are desirable.\nThe great firm, I have heard, always\ndeals in a most businesslike way about\neverything: its contracts are all that\ncould be desired by the two contracting\nparties — Publisher and Author —\nbut results — what of these ?\nAnyhow, I, for one, would see\nsuch an exceptionally sound Publishing\nconcern better advertised and its books\nbetter displayed.\n\nSHAKESPEARE AND CHAP-\nMAN AS TOPICAL DRAMA-\nTISTS, by Percy Allen (Cecil Palmer,\nPrice 7/6). _______\nTHIS book purposes to say that\nChapman had got Shakespeare so\nnicely on the brain that he did 44 with\nsurprising ingenuity and felicity, trans-\nmute, at will \" certain scenes from\nthe plays of the said Shakespeare -— and\nthere you are. He transmuted 44 their\nphraseology and ideas \" only, says the\nauthor.\nHe gives a few examples of precisely\nwhat he means. Shakespeare wrote\n44 Heaven's cherubim horsed upon the\nsightless couriers of the air and then\nChapman writes :\n\" Like death,\nMounted on earthquakes\nIs that middle stump or not? Why,\nthe man's a beastly thief.\nAgain:\n\" Fair is foul and foul is fair:\nTover through the fog and filthy air/'\nNow who wrote that? Don't all\nsay at once 44 Chapman \" — Shake-\nspeare wrote it: but what did Chap-\nman write ? -\nThrough foul and fair...\nToss you into the air,\nIf that isn't 1. b. w., I don't know\nwhat is.\nq Of course there will be peo-\nple who will say that the first piece\nby Shakespeare, about 44 Heaven' s\ncherubim,\" has ten or twelve different\nreadings, no two of which are alike\nand that 44 Fair and foul \" was put in\nby somebody later, and that the word\n44 air \" was really hair — 44 filthy hair\nbut then those are people who treat the\nmatter without sufficient thought. This\nbook I am glad to say is one which\nimpels thought.\nTo take another and better example,\nShakespeare's\n\" You have displaced the mirth, broke\nthe good meeting\nWith most admired disorder ; \"\nhas so got into Chapman's brain, so\nutterly possessed him, that without\nknowing what he is doing, he writes ;\n44 Ladies, ye have not done our ban-\nquet right I think the case for the\nplaintiff is proved: but if there is the\nfaintest doubt remaining in any reader's\ncharitable heart, it will be instantly di-\nspelled by the following: -\nShakespeare: I have seen her... unlock her\ncloset, fake\nforth paper.\nChapman: - \" Make haste\nTo see the dangerous paper/'\n1 ask you !\n\nTHE LONE HOUSE MYSTERY,\nby Edgar Wallace. W. Collins\nSons & Co., London, Price 3J6.\nIT is not as though I go unwillingly to\na thriller by Mr. Wallace, for I\nbelong to that strange crowd of English\nreaders who occasionally like to waste\nthe unforgiving hour with sixty minutes\nworth of duty dodged and I like a\nthriller. And I have ever enjoyed a faint\nthrill from the books of Mr. Wallace\n— from those I bought and those I have\nhad sent me to review.\nBut somehow the elements and\nthe English climate conspire against\nMr. Wallace. Fog — mist — rain —\ndamp are bad for books. Perhaps a\ndetective story should not be laid in\nEngland — the Detectives should\nanyhow not be Britons and the writer\nmust never be too clever or too dull.\nMr. Wallace is a mosaic of twenty\ndifferent clevernesses : like the fox of the\nfable who, had he written a tale of\ncrime and detection, would have\nemployed ail his tricks and forgotten\nthe main one. The cat would never\nhave done that. She would have been\nout of the bag in a second. Mr. Wal-\nlace, to my mind, forgets that main trick\n— which is, to carry us on to the con-\ntinent, and to do it all there. We can\nbe far more easily fooled about things\nthere, for we know its shimmering sur-\nface only, and these tales, after all, deal\nwith Hash surface things.\nAnd this is one of the reasons\nwhy I so vastly prefer Mr. A. E. W.\nMason's 44 House of the Arrow \",\n44 No Other Tiger\", and 44 Villa Rose\",\nto Mr. Wallace's 44 The Ringer\n44 Terror Keep\", and 45 The Lone\nHouse Mystery Wallace brings in\nthe foreign element now and again but\nfrom the wrong foreign parts. In the\nshape of Indians — brown, not red —\nand these poor souls only emphasise the\ndamp and foggy nature of the place\ninto which he has dragged them and\nwhere in he dumps his story.\nNo firework will go off properly\nwhen damp — the display will be\nmore dismal than is necessary. But\nin the crisp air of Mentone, or travelling\nswiftly in the Paris-Lyon express —\narriving at the Hotel International at\nBeauvantage, that charming village\nthree and a half miles, or a little\nfurther, from Beaujeu — what may\nnot click happily —- what not be put\nupon the spongy readers — who dare\nreceive it other than the author wills.\nAgain, the British detective is really\nnot the kind to sit for a full-length\nportrait — he is too genuine. To us\n— to me — the Frenchman is the\nfellow: he who shows a heart even\nif he have none — is a brilliant without\never having been a rough diamond —\nunderstands human nature — is a\nwalking Montaigne, Voltaire. and\nChopin, rolled all in one — is a\nHercules of strength — a Machiavelli"}, {"page_pdf": 60, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.60", "texte": "of cunning — loses his head — his\ntemper — is \" human \" — and above\nall, is not real enough to spoil the fun.\nWallace's policemen are cold vivid\nrealistic portraits — one cannot see the\nman for the likeness.\nBut \" The Lone House Mystery,\"\nbound in nice blue cloth, is well worth\nthe 3/6 Messrs Collins ask for it —\nand ask in these words, saying on the\nwrapper \" This is a thriller which\ngives us all we have learnt to expect of\nEdgar Wallace — Murder, Mystery, De-\ntection, Excitement, and a little Love.\"\n\nEIGHTEENTH CENTURYCOM-\nMEDY.\nLESSER ENGLISH COMEDIES\nOF THE 18th CENTURY.\nNos.292 and 321 of the World's\nClassics. Oxford University Press. Price\n2j- each.\nI HE paper used in the second of\n** these two volumes would win me\nto read the five lesser Comedies before\nthe five greater ones, which can hardly\nbe ever surpassed while 44 She Stoops\nto Conquer \" is one of the latter.\nThen there is that thing called\n\" Beggars' Opera \" which is surely one\nof the great ones.\nAllardyce Nicoll gives an introduc-\ntion to the lesser five, and so for me,\nat any rate, the lesser becomes consi-\nderably larger.\nTen plays, all good, for 4/-.\nThe world is coming to an end —\nthat old expensive world when authors\nof plays wreck everything by deman-\nding so much money there's none left\nover on which to do things nicely.\n\nMODES AND MANNERS: OR-\nNAMENTS. Translated from the Ger-\nman of Max con Boehn. j. M. Dent\n& Sons. Price 15/- net.\nENGLISH COSTUME OF THE\nNINETEENTH CENTURY drawn\nby Iris Brooke. Described by fame8\nLaver. A& C Black. Price 6!- net.\nNO introduction is needed for Herr\nMax von Boehn, whose earlier\nworks in this delightful 44 Modes and\nManners\" series are already known\nto 44 The Mask's \" readers. It is enough\nto say that this volume, with its 16\nillustrations in colour and 241 in\nmonochrome, familiarising us with im-\nportant trifles such as fans, gloves,\ngems, laces, and all kinds of lovely\nand intimate articles of adornment or\nuse, down through the ages, will give\npleasure to whoever secures a copy,\nand that a copy should certainly be\nsecured by anyone who cares anything\nfor that fascinating and serious subject,\nthe History of Costume.\nThe \" English Costume in the\nNineteenth Century \" concentrates, as\nthe title indicates, upon the development\nof the dress of men, women and children\nin England, from the beginning to the\nend of the last century. Miss Brooke\nhas done her work well, and Mr James\nLaver's descriptive text is excellent.\nIt is a nice book at a small price;\nentertaining, and of practical value, as\nthe publishers justifiably announce, \" for\nactors, artists, writers, and everyone\nneeding reliable information on nine-\nteenth-century costume.\n\nTHE COMMEDIA DELL ARTE\nby Pierre Louis Duchartre, translated\nby R. T. V/eaver. 219 Illustrations,\nHarrap & Co, Price 42j-,\nj\\ jl AY I implore the English actors to\npurchase this book on their old\ncraft — on the Commedia dell'Arte\n(professional comedy) and read it and\nthen do something. May I beg Mr.\nLaughton to be the first to get it and\nto bring it to the notice of his fellow\nactors. May I entreat Mr. Parsons,\nMr. Swaffer and Mr. Darlington, the\nbrilliant dramatic critics of the \" Daily\nMail the \"Express\" and the \"Daily\nTelegraph \" to draw the attention of\nall actors to this work and to go on\ndrawing their attention to it until they\nlisten and get the book.\nMay I beseech other critics who\ncare for our English stage to recognize\nthe value of this study and to urge\nactors to really study it.\nMay I request all publishers, editors,\nthose who care to see all the arts\nrevive, to first revive the dramatic art\nby telling actors to buy, read, study,\nand digest this book. May I invite all\nthese who lecture on the Theatre to\ntake this book round England and\nlecture on what this book contains.\nMay I supplicate these lecturers to\nrealize that in this book can be found\none of the great secrets England is\nanxious to discover.\nM. Ducharire, the author, has done\nwell to get Mr. Harrap the publisher\nto issue this volume in English and\nMr. Weaver has translated it well.\nIt is a book about the Theatre when\nDrama was made by the Theatre, in\nthe Theatre and for the Theatre and not\nby outsiders, outside the playhouse and\nto impoverish the playhouse.\nThis history of the true and only\nProfessional Comedy is the history of\nour house doing its own work.\nIn 1906, 1907 and 1908 one theatre\nalone paid £134,000 to three outsiders\nbecause the managers pretended tha*\nthe insiders ...the actors ...couldn t do\ntheir own work.\nIf the Cinema and the Talkies are\ndeveloping at our Theatre's expense\nit is because actors will not wake up\nand stop dreaming.\nThis book proves it. It shows us a\npowerful Theatre with over a hundred\nfirst-rate men of talent supporting that\ntheatre by their genius. May I suggest\nthat the Theatre can do that and become\nthat again without outside assistance.\nBut some of you actors must stop\nbeing so witless as to be found giving\nharbour in your own house to men who\nWrite plays ...when you don't need them\nand you do need the £ 1 34,000 that\nthree of them at your special invitation\nrobbed you of between 1906 and 1908.\n\nTHE STUDIO. OCTOBER 1929.\nAnd Some other ie Studio \" Publica-\ntions. The Studio Press, London.\nONE of the freshest series of paint-\nings and drawings by Canaletto\nappeared in the 4 4 Studio \" this last\nOctober, and most of these were En-\nglish subjects. Canaletto paintings of\nWarwick Castle, of Walton Bridge —\na bridge made, one would guess, for\nsome Chinese painter to record yet\ndone deliciously by the Italian; of\nWestminster Bridge 1747 when nearly\nready; of Westminster Bridge 1749\nwhen quite ready ,..what a beauty\nthat is.... and of Westminster Abbey;\nthese are marvels of fine painting.\nAnd Mr. Osbert Sitwell writes\nperfectly about him, giving us all we\nneed to know and telling us some\nthings we now know after reading him,\nThe Sitwells are a gifted family\nand are never happier than when wri-\nting of Italian art and artists.\nI read an article by Miss Sitwell\nrecently on English artists in general\nwhich revealed the strongest sense of\nsympathy, which taught me something\nI needed to learn,\nHaving learnt it I hope some day\nto come to a consideration of the art\nof this family of writers, for in a pre-\nvious article upon them I consider I\nwas exceedingly unjust. (0\n(1) \"The Mask Vol. XIII pp. 118-\n121.\n\nAmong 44 Special Numbers \" re-\ncently issued by the Studio are 44 The\nGardens of Japan 44 Caricature of\nToday 44 Art for Children \" and\n44 Modern Architecture, \"... all valuable\nadditions to the Studio's long series of\ndelightful picture books."}, {"page_pdf": 61, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.61", "texte": "EDITORIAL NOTES\nOCTOBER: NOVEMBER: DECEMBER\n\nTHE PLAYS OF TCHEKOV.\n'\"J\"1 CHEKOV'S Plays are now being\nperformed at the Fortune Theatre\nPlayhouse London.\nAre the plays of Tchekov trage-\ndies, comedies or what are they ?\nJ They cannot be tragedies if the\nmean, the little, way in which they\nare handled by all producers is the\nright way. Tchekov would seem to\nhave created some ordinary men and\nwomen, mostly dishonest, or good\nlittle fellows in parts, living in the\nworld we recognize as the most usual\nexpressionless of all worlds — that\nwhere experience has failed to open\nany doors. It is a cooped-in world :\nnothing tragic can enter it because\ntragedy can only come in if the\nheroic is admitted.\nStrindberg often creates a figure of\nthis stature: he may surround his\nfigure with petty ones; it does not\nmatter ; the whole play assumes heroic\nproportions because of the central\nfigure. It therefore becomes tragic or\ncomic, but nothing betwixt or between.\nNot so Tchekov, who seems not\nto write tragedies or comedies but\nsomething in between ; — delicate he\nis, — a kindly doctor not willing to\nscare his patient: he seems to create\nthings like prescriptions to be left in\nthe bottle or taken solemnly in the\nbelief that in any case it is bound to\ndo us good. And like every good\nprescription it does us no harm. His\ndoses prefer to do their level least\nrather than to attempt anything more.\nWe think we prefer this to quack reme-\ndies roaringly prescribed by one of the\nShavian school of medicine.\nAnd so we suppose after all that the\nstage producers who prepare the dose,\neven as the chemist makes up the\ndraught, are doing quite the right thing\nin bottling it with modesty — quiet\nlabel and all, with \" a teaspoonful\nafter meals three times daily \". No-\nthing tragic could result from this —\nand nothing comic either unless one is\ngiven to giggling — when it would be\n*s well to consult Dr. Sheridan and\nget done with the business.\nThat English actors can play\nTchekov as well as do the usual run\nof Russian actors is probable: but\nwhat is not probable is that they can\nplay it perfectly as did M. Stani-\nslavsky's troupe in 1900 and thereabouts.\nIf they could do so, wherein would\nlie the value of Stanislavsky, Moquin,\nKatchaloff, Dancheno, Knipper and\nLilina ? and their theatre in the Ka-\nmergersky Pereulok?\n\nA NATIONAL THEATRE.\n\\Y7HAT is to be said about the\n** recent absurd attempt to saddle\nEngland with a manufactured National\nTheatre ?\nThe best way to make a real\nNational Theatre (like that of Moliere\nin France, for example,) is to wait\nuntil the nation can single out the\nbest Theatre in London from the\nthirty worst, to discover if possible a\ngreat artist at work there, and then to\nmake the thing national by law — and\ndo it quietly.\nFirst get the man, the place and\nthe twenty plays — a reality, — a\nworking theatre (as was Moliere's\nshow) and then make that National.\nBut to set about it as it is now being\ndone —- and through the poor little\nDrama League, is ridiculous.\nBut really!!!....? Is it not ridiculous }\nWe don't think very much of the\nOld Vic, and we think poorly of\nDrury Lane Theatre as it is run\nnowadays, but we would a dozen times\nsooner see either institution given\n£ 400,000 and dubbed \" National \"\nthan this soapbubble which is being\nblown by the Drama League.\nOrganization is all very well espe-\ncially when there is something which\nneeds controlling — wrhen something\nreally exists to control. But to orga-\nnize so as to puff a bubble of soap\nis a bit thin.\nMr. Whitworth the Secretary of the\nDrama League has a real talent for\norganizing and we have always wished\nhim well. It is because Mr. Whit-\nworth was at work with the Drama\nLeague that we controlled ourselves and\ndidn't laugh loudly at the silly affair.\nBut now things have gone too far.\nMr. Whitworth has been overwhelm-\ned by the preposterous idea of the\nCommittee, (if there really be a Com-\nmittee), and the British Drama League\nhas developed a pomposity which can\nonly be equalled by the fanatics in\nIndia who think they know how to\ngovern their ungovernable selves.\nThe Drama League is a joke — but\nthe National Theatre isn't a joke at\nall. It will cost over a million, say\nwhat you will — more likely two\nmillions. If it doesn't it will become\na kind of after joke — when we laugh\nno more. There is the Channel Tunnel\nwhich will be asking for funds sooner\nor later and to which all the National\nTheatre funds could be given.\nThe British Drama Leaguers might\nall drop fooling with Theatres and\nlend a hand at burrowing under the\nChannel : — give them something to\ndo anyhow — fill in their spare time.\nDecidedly anyone in power and in\nhis senses who is taken in by the\nsolemn but not serious folk cf the British\nDrama League deserves to lose his\nplace ... for it's a fatuous idea, fan-\ntastically thought out, fanatically pursued\nand not worth a fig,\n\nSMOKING IN THE THE A TRE.\nA very excellent thing prevails (may\nbe it increases too) in the English\nTheatre. Smoking is permitted in some\ntheatres. The Official 1 heatre Guide\ngiving a list of forty-four London Thea-\ntres tells us that in seventeen of these\nsmoking is permitted.\nIt used to be allowed in Italian\nTheatres —in nearly all: but the Fa-\nscist! have done away with the custom.\nOne can suppose that for the Ita-\nlian Theatre this is a good thing: but\nwe are pleased to see that seventeen\nout of forty-four London Theatres en-\ncourage the custom.\nThe central London Theatres in\nwhich you make smoke are:\nThe Adelphi Pavilion\nCarlton Maskelynes\nDominion Palace\nDuke of York's Palladium\nGaiety Piccadilly\nHippodrome Prince of Wales\nKingsway Shaftesbury\nWinter Garden,\nand the two outlying theatres, one at\nGolders Green, one atLewisham, follow\nfollow the custom.\nWe would see smoking permitted\nat all the theatres where Shakespeare\nis played. Smoking is not an idle habit\nwith most men — as a rule it accom-\npanies them in their more seriours hours\n— it settles them.\nActors want men to feel settled at\na performance of a Shakespeare play."}, {"page_pdf": 62, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.62", "texte": "LAST WORDS.\n\nPLAY DOWN\nREMEMBER QUINCTILIANI\nJ. B.\n\" Care should be takers not thai the: reader\nmay understand if he will, but that he must\nunderstand, whether he will or not.\nQuinctilian.\nHP HE most interesting thing, to me, about the\ngreat Hatry sensation, is that I was not\nable to understand one word of what it was\nabout, from the great London journals which\nwere sent to me. I grant you that 1 only re-\nceived one, hut it was one of the widest-cir-\nculated, and has a continental edition, and is\na journal I am always very pleased with.\n!s it possible that the great master minds of\njournalism have a blind spot in them ?\nIs it possible that they can suppose that all\ntheir readers understand every reference to finan-\ncial things as easily as ABC ?\nPerhaps this is so.\nThe excellent paper to which I refer had its\nfront pages for three days almost packed full\nof news about Hatry and what he had done,\nand it forgot to tell us the most elemental\nfacts about the affair. It forgot to explain what\nthe Stock Exchange is, what its action might\nbe, who its Committee is, why it has a Com-\nmittee, what shares are, and how it is that\none town can be involved and suffer through\na Mr. Hatry, and how it is that such a di-\nsaster is possible, on this same Stock Exchange\nand how possible for four people, Hairy* Da-\nniels, Tabor, Dixon, to conspire.\nNow if it had been anything about thea-\ntres, or anything about painting, sculpture, ar-\nchitecture, and, to go further than this, about\nfood, about religion, about tailoring, about\ncosmetics — anything you like — the great journal\nwould have been careful to sink its intelligence\nthe level of babies and to explain every term\nthat it used. Had it been writing about thea-\ntres, and something had happened at the great\nComedie Francaise, which is the most im-\nportant theatre in Europe, it would have ex-\nplained what the Comedie was, when founded,\nwhen built, whst its functions were, what the\nchances were of success and failure in such a\nplace; and it would have left no possible loop-\nhole for anyone to misunderstand. But owing\nto this blind spot in the modern mind of the\ngreat editors of to-day, since they buy and\nsell, presumably, in this place called the Stock\nExchange, they imagine that everybody must\nunderstand what an Exchange is, what stock\nis, what this place's Committee is, and so\nforth.\nThe journal I refer to gave a list of enor-\nmous sums of money, the capitals of a dozen\nor so big business affairs — £ 68,000,000\nschemes \". it said in its headline — but\nit did not explain what a scheme was, or\nhow £ 68,000.000 could be put in to a\n44 scheme \", by a fool or a rogue and the rest\nof the people back up that scneme and ap-\nplaud the putting in of <£ 68,000,000.\nTo a fairly poor man what was printed ap-\npeared like a farcical talk or a nightmare —\nwhat must the million readers down in Dorset\nor up in Cumberland have thought as they\nread this abracadabra ? These big journals, are\nthey perhaps becoming just a trifle high-brow ?\n— are they not a little above our heads ?\nWe who adore our Edgar Wallace and\nhis perfect lucidity, we do not deserve to be\ndazzled — teazed by the subtlety of our\nmorning paper.\nI was reading Edgar Wallace only today...\nhis 44 The Ringer '. What a masterpiece it is.\nEnter Detective to Villain. 44 I am a detective\n— you have a villainous face — I suspect\nyou —- good morning *\\ Villain says as the\nDetective goes away 44 I almost believe that\nman suspects something Telegram arrives\nnext moment for Villain: 44 I said so he\ndoes suspect something — he suspects me \".\nDetective by now on the way to station;\n4 There's a thing that puzzles me and it's\nthis... that villain, though it would be hard\nto make anyone believe me, I suspect him of\nbeing the villain of this piece \".\nI recall seeing Edgar Wallace's successful\nplay 44 The Flying Squad 44 — it ran on and\non and on — a wonderful success. I sat a-\nmazed at the author's astounding capacity to\nguage the intelligence of his vast audience —\nnever for a moment did he over-estimate their\nunderstanding, their desire for originality, their\nwish for a thrill, their capacity to follow him.\nIt seemed to me as I watched that Edgar\nWallace had said to himself '4 The public is\na very great fool indeed — but indeed a very\ngreat fool. Don t be a greater one and give\n'em anything new, witty, human, touching,\nheroic, grand or melodramatic, for if you do\nit will be all thrown away on them. Just\nbring on characters known since the first play\nwas written, but be careful to bring forward\ninto prominence those overlooked supers of the\nthird row of the chorus — the featureless\nexpressionless, forlorn people who never had\na chance: centre these: tell them to be na-\ntural and never to over-do it: thus our dearly\nloved audience of 3000 dullards will see a per-\nfect reflection of themselves; they deserve that\n— it's not their fault they are dull but it\nwould be mine if I didn4t play right down to\nthem \".\nWell, ; I feel like Edgar Wallace. I feel\nit is that \"great newspaper's fault that it didn't\nplay down to my intelligence when it reported\nall about the Hatry affair and told me nothing.\n\nMISS ANGNA ENTERS\nD. P.\n| have never seen this lady perform, but\neveryone seems to speak well of her... 1 hate\nto discover that I have said what someone in\nThe School for Scandal \" says of Joseph\nSurface. There is some critical use in the\nline, when applied to any celebrated success-\nful performer: the performer must have stooped\nrather, bent a little, been of a coming-on dispo-\nsition for every one to find the performer\nwonderful. What a ridiculous creature the\nspectators form themselves into — that mon-\nstrous thing called an audience; fancy being\ndisposed to stoop to it.\nI always like a conquering actor better\nthan a winning actress, for the reason that he\ncomes at them — he doesn't bend to them :\nand indeed, for all 1 know, Miss Enters may\nbe like Mrs Siddons and do just that; I would\neven be prepared to believe that she ignores\nthem entirely — that she is so concerned with\nher art of composition that she never gives\nthem a thought. If so, she will he certainly\none of the unique persons of the stage.\n1 very much wish that those who write\nabout performers would cease to talk of them\nas artists, would invent a new name for them,\nif they are not content with the word 44 per-\nformer, \" and would refer to what they do\nby using any other word except that of 44 art. \"\nMiss Enters seems to be a dancer, and, so far\nas I can gather, her dance is more like that\nof Emma Hamilton, and much less like that\nof La Taglione. I can almost suppose that\nwhat she does is rather more acting than dan-\ncing. She seems also to dress up a great deal:\nshe likes to look each part and she has a\nnumber of them. We are told that 44 She has\na gift of expression \" and that had\nshe employed the most perfect speaking voice\nin the world, she would not have added one\niota to the effectiveness of her presentation. \"\nAH critics praise her to the skies ; but it is a\nlittle bit embarrassing to find one of them\nsaying It is not dance, it is not drama, it\nis divination. \" That won't do, and that is\nwhy I want to see her to discover what it is.\n\nREVIEW COPIES OF BOOKS.\nJ. S.\nIt was with a copy of Monsieur Duchar-\ntre's The Italian Comedy \" that we received\nfrom Messrs Harrap a printed letter in which\nthese publishers make a special and reasonable\nrequest: and we think that it is to the interest\nof authors, public, publishers, and indeed, eve-\nryone else, to reprint that \" request \" — be-\ncause it is quite likely that very few other\njournals or magazines will reprint it:-\nA SPECIAL REQUEST.\nThe practice of selling review copies\nof books at less than the published price ap-\npears to be on the increase, and is a source\nof much trouble and misunderstanding to\npublishers and booksellers. Cases have been\nknown in which such books have been sold\nto booksellers at a low rate before publication.\nWhile recognizing that it is impossible\nto prevent the sale of review copies publishers\nearnestly request editors and reviewers to use\ntheir influence to prevent such sales, at any\nrate until one month after publication.\"\n44 The Mask \" has for years now issued\nstrict injunctions that no reyiew copies what-\never are to be sold, at least within two years\nafter publication. We know that reviewers\nlook on the copies of the books they are obliged\nto review as perquisites, but we don't like\nthat notion at all. Of course, if they did not\nsell these copies, and fairly cheaply, a section\nof the public could not obtain them from the\nsecond-hand bookseller for the very few shil-\nlings it is willing to pay. But then nobody\nshould be able to buy a 30 /- book for 12/-\nthe same year in which the book is issued, the\nsame month — the same week : and we think\nthat some law might be passed to prevent any\nunder-selling of a book within a given time.\nWe suppose the Society of Authors has long ago\nlooked into the matter, but if so we should like\nto know what results have been achieved -—\nfor it must be a pretty bad state of affairs\nwhen Messrs Harrap are obliged to send round\nthis special but reasonable request.\nTHE END\nO F\nVOLU M E XV.\n\nAll Rights reserved. December 1929.\nDirettore-r esponsabile Antonio Mar aim.\nTipograjia L. Franceschini - Firenze."}, {"page_pdf": 63, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.63", "texte": "1 THE MASK if\nel is\nA \" A UNIQUE PRODUCTION \"\nJ \"REMARKABLE AND MOST INTERESTING\" |\nfjf LIVERPOOL POST I Tl\n(S \" BRILLIANT AND INFORMATIVE \" I W\nTHE MORNING POST I\njKtt \" A CONSTANT SOURCE OF PLEASURE H$)\nTO ALL SERIOUS STUDENTS OF r$V\nTHE DRAMA Wft\nk THE SPORTING & DRAMATIC NEWS fjj\n• ; * * > .. * '\"V- kb tm\n9"}, {"page_pdf": 64, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192910-01.1.64", "texte": "IUJB!MI.IYUFIBAMBMUMYMWG»GBBB^«—S««MWGSG |Y |, ,|| 11 I JTL IFFIFFFY TWWTFFR\" F R*TIM\n■\n'SOME BOOKSELLERS\n| WHO WILL QUICKLY SUPPLY YOU WITH \" THE MASK \".\nI LONDON LIVERPOOL. COPENHAGEN\n1 nnr AA/IO TOT TIT ni\\irc c r* a Messrs M. Grant & Son. Bluhmes Boghandel\nBREAMS BUR.DINGS. E. C. 4 g 9 The Arcade Lor(J g Kobmagergade 38\nMessrs W. Dawson & Sons. ; . L J\nCannon House. MANCHESTER f®\",\ni CHARING CROSS ROAD. Mi Charles H Barbe, F,.d«,,bb.,88 15.\n| Messrs Danielson, No. 64. 5si A»„ S,7ee, AMERICA.\nMr F. Henderson, No. 76. , MET AY/ WAT? \\Y\ni Mr. C. W. Beaumont, No. 75. OXFORD D - , I e\nML F R N»nmpv»r M_ 7fi _ m i ii Brentano s. J West 47th St.\nMr. t. t5. Neumeyer, No. 7U. Basil Blackwell. r., oty, R . M .\nI CHARLES ST. HAYMARKET. 50 ». 51 Broad Street. 5? w„, ?7,5 ?'\nJ Messrs Bickers & Son. w , • * „ , ,\nEBURY ST. S. W. I R F I AND Washington Square Bookshop.\nc.rt()o, . I i I\\ H, l_i r\\ IN LJ 27 West 8th St.\nFINS BURY. DUBLIN Drama Book Shop. 23 West 47th St.\nMr E. Nelles. Messer Hodges & Figgis J* B. Neumann. 9 East 57th St.\n14 South St F C ? 20 Nassau St. American Laboratory Theatre\nPATERNOSTER ROW. ~ ~T \" ~—„ Book ShoP * 222 East 54th St* I\nMessrs Hunter & Longhurst. No. 9. Ill LJ 1V U I XL BALTIMORE.\nMessrs Simpkin, Marshall. fTT ORFNFF Peabody Bookshop.\nH , 5P'?C^D,'LPY- 4„ Seeber. 21 Via T«,„,'b„o„t. »'3 *\nHatchards, 187, Piccadilly. BOSTON\nPORTUGAL STREET. MILANO. Smith * McCan'ce.\nI Messrs W. H. Smith & Son. Treyes 64 Galleria yitl Eman 5 A8hbUrton Place.\nQUEEN STREET. CHICAGO.\nMessrs Jones & Evans. i M • „ IV/I 1 • • •• Brentano s, Wabash near Adams.\nTRAFALGAR SQUARE. Tk° B°°k sh°P-\nMessrs Stevens & Brown. No. 4. T- C 'A* P\\ C ] Michigan Avenue North;\nWIGMOREST. Treves, Galleria di Piazza Colonna. & 301 Plymouth Court.\nMessrs Glaishers. ' Libreria Liberma. 37 Via Ludovisi. CLEVELAND, OHIO. I\nBIRMINGHAM. PARIS. RichardLaukhuff. 40 Taylor Arcade.\nCornish Bros. 39 New St. Brentano's. PHILADELPHIA. I\nDDICTAI Avenue de l*Op6ra. Centaur Book Shop.\noKlo 1UL Galignani's. 224 Rue de Rivoli. 1234 Chanceller St.\nMessrs James Fawn & Son. Shakespeare & Company. t AQ AWF*FI FQ\n42 Queens Road. i? R,1P Je L*Od<£on /-viNv^r^L.LLo.\nj Messrs J. Baker & Son. Rue de L McManus & Morgan.\n§ .. The Mall. Clifton. BERLIN. 7,2 Heliotrope Drive. I\nI F1 A 1V/IRR F Gropius'sche Buchhandlung. SAN FRANCISCO.\nft* n . n 90 Wilhelmstr. W. 66. Paul Elder & Co. 239 Post. St.\nMessrs Bowes & Bowes. J. B. Neumann. Graphisches THDriMTH /^axiai^Y\nEDINBURGH Kabinett. Luetzowstr 32. TL9PPN].0D (CANADA).\nI LLiUNDUnun. TheT. Eaton Co. Book Department.\nRobert Grant & Son. 126 PrincesSt. MUNCHEN. 1 A P A M\nGLASGOW. J- B< Neumann. Graphisches J *\nMessrs John Smith & Son Ltd. Kabinett. Bnennerstrasse 46. TOKYO.\n57 & 61 Vincent St. A MQTFRPl AM , VT„ Co' ,\nAiVio 1 JtsKL/AM. 5 Nihonbashi, Ton-Nichome.\nHASTINGS. Scheltema & Holkema. yCYim\nBrooker & Savile. 16 Robertson St. Rokin 74-76.\n— - 1 Misrachi Agencia\nHULL. HAARLEM. Avenida Juvarez 10\nPoetry Book Shop. 48 Pry me St. J. H. De Bois. Kruisweg 68. Mexico, D. F.\nLONDON REPRESENTATIVE FOR ADVERTISEMENTS & ORDERS.\nI MR. T. JOHN GLOVER. 61 CHANCERY LANE. LONDON.\n] TEL. NO. HOLBORN 1 705\nS THE MASK PUBLISHERS, BOX 444, FLORENCE, ITALY."}]}