THE COUNTRY LIFE PRESSGARDEN CITY, N. Y.
FOOTNOTES:[1]The words of Shakespeare used in this Masque, are quoted from the Tudor Edition of Shakespeare’s Works, edited by Neilson and Thorndike (Macmillan). The stage directions and cuts, however, are not taken from any edition, but have been made by me for purposes of the Inner Scenes.[2]In this book these Inner Scenes are printed in black-faced type.[3]This is the motive of Mr. Robert Edmond Jones’ cover design for this volume.[4]An outline of suggestions on this subject I published in a volume, “The Civic Theatre, in Relation to the Redemption of Leisure” [1912]. Further ideas and their applications are contained in the prefaces and dramatic texts of my Bird Masque “Sanctuary,” “Saint Louis: A Civic Masque,” and “The New Citizenship,” a Civic Ritual.[5]The outgoing cost of the Saint Louis production was $122,000; the income $139,000. The balance of $17,000 has been devoted to a fund for civic art. The cost of producing a single play by Sophocles at Athens was $500,000.[6]Page 71, on Constructive Leisure (Mitchell Kennerley, 1912).[7]New York, 1915, Macmillan.[8]See Appendix, page 154.[9]The Masque Proper consists of the Prologue and Three Acts, without the Inner Scenes and the Epilogue and Interludes.[10]Visualized by a Super-puppet.[11]Visualized by an idol.[12]See Appendix: Pages 207-216.[13]The more detailed description of this Interlude is given in the Appendix,pages 162 to 183.[14]“The barge she sat in, like a burnish’d throne,Burn’d on the water: the poop was beaten gold;Purple the sails, and so perfumed thatThe winds were love-sick with them. The oars were silver,Which to the tune of flutes kept stroke.... For her own person,It beggar’d all description: she did lieIn her pavilion—cloth-of-gold of tissue—O’er-picturing that Venus where we seeThe fancy out-work nature. On each side herStood pretty dimpled boys, like smiling Cupids,With diverse-color’d fans, whose wind did seemTo glow the delicate cheeks which they did cool....Her gentlewomen, like the Nereides,So many mermaids, tended her i’ the eyes,And made their bends adornings. At the helmA seeming mermaid steers; the silken tackleSwell with the touches of those flower-soft hands,That yarely frame the office. From the bargeA strange invisible perfume hits the senseOf the adjacent wharfs.”—[Antony and Cleopatra: II, 2. Shakespeare.]The charm and splendor of this description applies here only to the beauty of the barge and those it bears: otherwise Cleopatra and her attendants are, in their appearance, distraught and fearful, and the barge shows signs of recent perilous escape from the scene of Antony’s sea-battle with Octavius Cæsar.Being here conceived as a plastic vision in the mind of Prospero, this Inner Scene—an excerpt from Act III, Scene XI, of Shakespeare’s play—has, by dramatic license appropriate to this masque, been laid in a scene suggested by the above description of the barge.[15]During this scene, Caliban—watching intently—slides from the steps of the throne and crawls slowly forward on his stomach to the centre, where he lies prone, with head lifted—his body pointed toward the Inner stage—kicking at times his lower legs [from the knees] in the air.[16]For fuller description of this Interlude,see Appendix, pages 184-194.[17]From Shakespeare’s “King Henry the Eighth,” Act I, Scene 1.[18]From Shakespeare’s “King Henry the Eighth,” Act I, Scene 1.[19]See Appendix, pages 196-204, for more detailed description.[20]For details of these Epilogue groups,see Appendix, pages 205-216.[21]The plan for this India episode is based on a ritual scene of the ancient Hindu drama “Shakuntala,” by Kalidasa, translated by Garnet Holme and Arthur W. Ryder, and recently produced by the authors in California. The translation is published by University of California Press, Berkeley, 1914. Those communities that may desire to include this Action in their local festivals should communicate with Mr. Garnet Holme, care of The Shakespeare Celebration, 10 East 43rd Street, New York City.[22]The revolving of the disk, of course, is apparent only, not real. Actually, the disk remains motionless; it appears to revolve because of the motion of the Priests around it.[23]See “Kings and Gods of Egypt,” Alexandre Moret; pp. 69-108.[24]Similarly before each of the Actions of each Interlude, Prospero makes a brief explanatory comment to Ariel (and thus to the audience).[25]The Choregus was the Producer, usually a man of great wealth.[26]In one hand Pantomimus carries a wand resembling a caduceus, but differing from that of Mercury in that the heads of the twining snakes are carved as little masks of comedy, and the tip of the wand, to which the flying wings are affixed, is the shining disk of a mirror, into which at times Pantomimus peers quaintly at his reflection.[27]The Pantomime is adapted from a Roman Interlude by the author in his drama “Sappho and Phaon.”[28]This Theme inheres in an excerpt from Shakespeare’s “King Henry VIII,” Act I, Scene I, quoted by Ariel as Prologue to the Sixth Inner Scene of the Masque, for which the actual dialogue of no Shakespeare Scene dealing with France appears so appropriate for the Masque’s uses as a pantomime based on this excerpt from Henry VIII.[29]The wordsWinterandSpringrefer to the respective Groups.[30]The water is represented by the blue ground, beyond the verge of the Yellow Sands.[31]Here the play-actors enact a scene from the old play of “Noah’s Flood.”[32]The Action here described, like that of all the preceding Interludes, is simply a preliminary outline, subject to modification and development at rehearsals.[33]With this number several hundred of the Interlude participants and Masque figurants are to be correlated in the final ensemble.
[1]The words of Shakespeare used in this Masque, are quoted from the Tudor Edition of Shakespeare’s Works, edited by Neilson and Thorndike (Macmillan). The stage directions and cuts, however, are not taken from any edition, but have been made by me for purposes of the Inner Scenes.
[1]The words of Shakespeare used in this Masque, are quoted from the Tudor Edition of Shakespeare’s Works, edited by Neilson and Thorndike (Macmillan). The stage directions and cuts, however, are not taken from any edition, but have been made by me for purposes of the Inner Scenes.
[2]In this book these Inner Scenes are printed in black-faced type.
[2]In this book these Inner Scenes are printed in black-faced type.
[3]This is the motive of Mr. Robert Edmond Jones’ cover design for this volume.
[3]This is the motive of Mr. Robert Edmond Jones’ cover design for this volume.
[4]An outline of suggestions on this subject I published in a volume, “The Civic Theatre, in Relation to the Redemption of Leisure” [1912]. Further ideas and their applications are contained in the prefaces and dramatic texts of my Bird Masque “Sanctuary,” “Saint Louis: A Civic Masque,” and “The New Citizenship,” a Civic Ritual.
[4]An outline of suggestions on this subject I published in a volume, “The Civic Theatre, in Relation to the Redemption of Leisure” [1912]. Further ideas and their applications are contained in the prefaces and dramatic texts of my Bird Masque “Sanctuary,” “Saint Louis: A Civic Masque,” and “The New Citizenship,” a Civic Ritual.
[5]The outgoing cost of the Saint Louis production was $122,000; the income $139,000. The balance of $17,000 has been devoted to a fund for civic art. The cost of producing a single play by Sophocles at Athens was $500,000.
[5]The outgoing cost of the Saint Louis production was $122,000; the income $139,000. The balance of $17,000 has been devoted to a fund for civic art. The cost of producing a single play by Sophocles at Athens was $500,000.
[6]Page 71, on Constructive Leisure (Mitchell Kennerley, 1912).
[6]Page 71, on Constructive Leisure (Mitchell Kennerley, 1912).
[7]New York, 1915, Macmillan.
[7]New York, 1915, Macmillan.
[8]See Appendix, page 154.
[8]See Appendix, page 154.
[9]The Masque Proper consists of the Prologue and Three Acts, without the Inner Scenes and the Epilogue and Interludes.
[9]The Masque Proper consists of the Prologue and Three Acts, without the Inner Scenes and the Epilogue and Interludes.
[10]Visualized by a Super-puppet.
[10]Visualized by a Super-puppet.
[11]Visualized by an idol.
[11]Visualized by an idol.
[12]See Appendix: Pages 207-216.
[12]See Appendix: Pages 207-216.
[13]The more detailed description of this Interlude is given in the Appendix,pages 162 to 183.
[13]The more detailed description of this Interlude is given in the Appendix,pages 162 to 183.
[14]“The barge she sat in, like a burnish’d throne,Burn’d on the water: the poop was beaten gold;Purple the sails, and so perfumed thatThe winds were love-sick with them. The oars were silver,Which to the tune of flutes kept stroke.... For her own person,It beggar’d all description: she did lieIn her pavilion—cloth-of-gold of tissue—O’er-picturing that Venus where we seeThe fancy out-work nature. On each side herStood pretty dimpled boys, like smiling Cupids,With diverse-color’d fans, whose wind did seemTo glow the delicate cheeks which they did cool....Her gentlewomen, like the Nereides,So many mermaids, tended her i’ the eyes,And made their bends adornings. At the helmA seeming mermaid steers; the silken tackleSwell with the touches of those flower-soft hands,That yarely frame the office. From the bargeA strange invisible perfume hits the senseOf the adjacent wharfs.”—[Antony and Cleopatra: II, 2. Shakespeare.]The charm and splendor of this description applies here only to the beauty of the barge and those it bears: otherwise Cleopatra and her attendants are, in their appearance, distraught and fearful, and the barge shows signs of recent perilous escape from the scene of Antony’s sea-battle with Octavius Cæsar.Being here conceived as a plastic vision in the mind of Prospero, this Inner Scene—an excerpt from Act III, Scene XI, of Shakespeare’s play—has, by dramatic license appropriate to this masque, been laid in a scene suggested by the above description of the barge.
[14]
“The barge she sat in, like a burnish’d throne,Burn’d on the water: the poop was beaten gold;Purple the sails, and so perfumed thatThe winds were love-sick with them. The oars were silver,Which to the tune of flutes kept stroke.... For her own person,It beggar’d all description: she did lieIn her pavilion—cloth-of-gold of tissue—O’er-picturing that Venus where we seeThe fancy out-work nature. On each side herStood pretty dimpled boys, like smiling Cupids,With diverse-color’d fans, whose wind did seemTo glow the delicate cheeks which they did cool....Her gentlewomen, like the Nereides,So many mermaids, tended her i’ the eyes,And made their bends adornings. At the helmA seeming mermaid steers; the silken tackleSwell with the touches of those flower-soft hands,That yarely frame the office. From the bargeA strange invisible perfume hits the senseOf the adjacent wharfs.”—[Antony and Cleopatra: II, 2. Shakespeare.]
“The barge she sat in, like a burnish’d throne,Burn’d on the water: the poop was beaten gold;Purple the sails, and so perfumed thatThe winds were love-sick with them. The oars were silver,Which to the tune of flutes kept stroke.... For her own person,It beggar’d all description: she did lieIn her pavilion—cloth-of-gold of tissue—O’er-picturing that Venus where we seeThe fancy out-work nature. On each side herStood pretty dimpled boys, like smiling Cupids,With diverse-color’d fans, whose wind did seemTo glow the delicate cheeks which they did cool....Her gentlewomen, like the Nereides,So many mermaids, tended her i’ the eyes,And made their bends adornings. At the helmA seeming mermaid steers; the silken tackleSwell with the touches of those flower-soft hands,That yarely frame the office. From the bargeA strange invisible perfume hits the senseOf the adjacent wharfs.”—[Antony and Cleopatra: II, 2. Shakespeare.]
“The barge she sat in, like a burnish’d throne,Burn’d on the water: the poop was beaten gold;Purple the sails, and so perfumed thatThe winds were love-sick with them. The oars were silver,Which to the tune of flutes kept stroke.... For her own person,It beggar’d all description: she did lieIn her pavilion—cloth-of-gold of tissue—O’er-picturing that Venus where we seeThe fancy out-work nature. On each side herStood pretty dimpled boys, like smiling Cupids,With diverse-color’d fans, whose wind did seemTo glow the delicate cheeks which they did cool....Her gentlewomen, like the Nereides,So many mermaids, tended her i’ the eyes,And made their bends adornings. At the helmA seeming mermaid steers; the silken tackleSwell with the touches of those flower-soft hands,That yarely frame the office. From the bargeA strange invisible perfume hits the senseOf the adjacent wharfs.”—[Antony and Cleopatra: II, 2. Shakespeare.]
The charm and splendor of this description applies here only to the beauty of the barge and those it bears: otherwise Cleopatra and her attendants are, in their appearance, distraught and fearful, and the barge shows signs of recent perilous escape from the scene of Antony’s sea-battle with Octavius Cæsar.
Being here conceived as a plastic vision in the mind of Prospero, this Inner Scene—an excerpt from Act III, Scene XI, of Shakespeare’s play—has, by dramatic license appropriate to this masque, been laid in a scene suggested by the above description of the barge.
[15]During this scene, Caliban—watching intently—slides from the steps of the throne and crawls slowly forward on his stomach to the centre, where he lies prone, with head lifted—his body pointed toward the Inner stage—kicking at times his lower legs [from the knees] in the air.
[15]During this scene, Caliban—watching intently—slides from the steps of the throne and crawls slowly forward on his stomach to the centre, where he lies prone, with head lifted—his body pointed toward the Inner stage—kicking at times his lower legs [from the knees] in the air.
[16]For fuller description of this Interlude,see Appendix, pages 184-194.
[16]For fuller description of this Interlude,see Appendix, pages 184-194.
[17]From Shakespeare’s “King Henry the Eighth,” Act I, Scene 1.
[17]From Shakespeare’s “King Henry the Eighth,” Act I, Scene 1.
[18]From Shakespeare’s “King Henry the Eighth,” Act I, Scene 1.
[18]From Shakespeare’s “King Henry the Eighth,” Act I, Scene 1.
[19]See Appendix, pages 196-204, for more detailed description.
[19]See Appendix, pages 196-204, for more detailed description.
[20]For details of these Epilogue groups,see Appendix, pages 205-216.
[20]For details of these Epilogue groups,see Appendix, pages 205-216.
[21]The plan for this India episode is based on a ritual scene of the ancient Hindu drama “Shakuntala,” by Kalidasa, translated by Garnet Holme and Arthur W. Ryder, and recently produced by the authors in California. The translation is published by University of California Press, Berkeley, 1914. Those communities that may desire to include this Action in their local festivals should communicate with Mr. Garnet Holme, care of The Shakespeare Celebration, 10 East 43rd Street, New York City.
[21]The plan for this India episode is based on a ritual scene of the ancient Hindu drama “Shakuntala,” by Kalidasa, translated by Garnet Holme and Arthur W. Ryder, and recently produced by the authors in California. The translation is published by University of California Press, Berkeley, 1914. Those communities that may desire to include this Action in their local festivals should communicate with Mr. Garnet Holme, care of The Shakespeare Celebration, 10 East 43rd Street, New York City.
[22]The revolving of the disk, of course, is apparent only, not real. Actually, the disk remains motionless; it appears to revolve because of the motion of the Priests around it.
[22]The revolving of the disk, of course, is apparent only, not real. Actually, the disk remains motionless; it appears to revolve because of the motion of the Priests around it.
[23]See “Kings and Gods of Egypt,” Alexandre Moret; pp. 69-108.
[23]See “Kings and Gods of Egypt,” Alexandre Moret; pp. 69-108.
[24]Similarly before each of the Actions of each Interlude, Prospero makes a brief explanatory comment to Ariel (and thus to the audience).
[24]Similarly before each of the Actions of each Interlude, Prospero makes a brief explanatory comment to Ariel (and thus to the audience).
[25]The Choregus was the Producer, usually a man of great wealth.
[25]The Choregus was the Producer, usually a man of great wealth.
[26]In one hand Pantomimus carries a wand resembling a caduceus, but differing from that of Mercury in that the heads of the twining snakes are carved as little masks of comedy, and the tip of the wand, to which the flying wings are affixed, is the shining disk of a mirror, into which at times Pantomimus peers quaintly at his reflection.
[26]In one hand Pantomimus carries a wand resembling a caduceus, but differing from that of Mercury in that the heads of the twining snakes are carved as little masks of comedy, and the tip of the wand, to which the flying wings are affixed, is the shining disk of a mirror, into which at times Pantomimus peers quaintly at his reflection.
[27]The Pantomime is adapted from a Roman Interlude by the author in his drama “Sappho and Phaon.”
[27]The Pantomime is adapted from a Roman Interlude by the author in his drama “Sappho and Phaon.”
[28]This Theme inheres in an excerpt from Shakespeare’s “King Henry VIII,” Act I, Scene I, quoted by Ariel as Prologue to the Sixth Inner Scene of the Masque, for which the actual dialogue of no Shakespeare Scene dealing with France appears so appropriate for the Masque’s uses as a pantomime based on this excerpt from Henry VIII.
[28]This Theme inheres in an excerpt from Shakespeare’s “King Henry VIII,” Act I, Scene I, quoted by Ariel as Prologue to the Sixth Inner Scene of the Masque, for which the actual dialogue of no Shakespeare Scene dealing with France appears so appropriate for the Masque’s uses as a pantomime based on this excerpt from Henry VIII.
[29]The wordsWinterandSpringrefer to the respective Groups.
[29]The wordsWinterandSpringrefer to the respective Groups.
[30]The water is represented by the blue ground, beyond the verge of the Yellow Sands.
[30]The water is represented by the blue ground, beyond the verge of the Yellow Sands.
[31]Here the play-actors enact a scene from the old play of “Noah’s Flood.”
[31]Here the play-actors enact a scene from the old play of “Noah’s Flood.”
[32]The Action here described, like that of all the preceding Interludes, is simply a preliminary outline, subject to modification and development at rehearsals.
[32]The Action here described, like that of all the preceding Interludes, is simply a preliminary outline, subject to modification and development at rehearsals.
[33]With this number several hundred of the Interlude participants and Masque figurants are to be correlated in the final ensemble.
[33]With this number several hundred of the Interlude participants and Masque figurants are to be correlated in the final ensemble.
Transcriber’s Notes:The cover image is in the public domain.Uncertain or antiquated spellings or ancient words were not corrected.The illustrations have been moved so that they do not break up paragraphs and so that they are next to the text they illustrate.Typographical errors have been silently corrected but other variations in spelling and punctuation remain unaltered.
Transcriber’s Notes:
The cover image is in the public domain.
Uncertain or antiquated spellings or ancient words were not corrected.
The illustrations have been moved so that they do not break up paragraphs and so that they are next to the text they illustrate.
Typographical errors have been silently corrected but other variations in spelling and punctuation remain unaltered.