  CONTENTS OF APPENDIX
The actors of a Community Masque being members of the community, it becomes the function of the Masque-director to reverse the traditional order of theatrical procedure and—so far as possible—to take the public, as participants, into the confidence of “behind the scenes” beforehand. If this were a play only [in the Broadway sense], I should gather together my staff and company for a preliminary reading, assign parts, devise plans of rehearsal, and get personally in touch with the comparatively few persons involved in its production. Being, however, a new kind of drama, involving some thousands of persons as actors, and some scores of leaders as a projected staff, it becomes practically necessary to print and publish, before production, not only the foregoing spoken and sung Masque-Proper, but the sketched-in outlines of the nonspeaking Interludes which follow. In the nature of the case, these outlines are preliminary and [though necessarily printed here] are still plastic and susceptible to various modifications. Thus publication at the moment in New York is To this is also added the need for making its text and stage-directions available to communities outside of New York, which have already expressed their desire to organize for its production after next May. An interesting American phase of the New York production is the problem of carrying its community meaning to the still polyglot population, so that steps have been taken for the immediate translation of the Masque into Italian, German, and Yiddish. By referring to the chart inner structure, the reader will see that it offers a technical solution for the participation of about a dozen national and civic groups within the time limits of the festival, without disintegrating the organic unity of the plot and action of the drama, with which the actions of the various groups are fused and synthesized. This form of technique [the result of some years of thought and experiment in this field] contributes a basis for the future development of the outdoor community art of the theatre, on a scale adapted to modern cities. The Masque thus becomes, so to speak, a Masque of Masques. For example, the seven-minute Don Giovanni pantomime scene-plot of the Spanish and Italian Action in Interlude II [of which Mr. Ernest Peixotto is the community group-chairman] is being enlarged, under Mr. Peixotto’s direction, into the spring festival of the MacDowell Club, performed locally at its clubhouse, lasting an hour and a half, for the Prologue of which the author has written the dialogue. So each of the other Interlude Actions, necessarily brief in time-limit, is itself a potential Masque or festival, capable of being developed locally into larger proportions. And this is being done in New York in the case of several other of the Interlude Actions. At the present date, among those who are actively interested in the production side of the Interludes, are the Misses Lewisohn, and their associates of the Neighborhood Playhouse, for interpreting the Egyptian; Mr. Franklin Sargent of the American Academy of Dramatic Arts, in association with members of the Greek Colony, for the Greek; Mr. Arturo Giovannitti [who, as poet, is also translating the Masque into Italian] and members of the Italian colony, for the Roman; Mr. Otto J. Merkel, and members of the German University League, for the German; Mr. Charles A. Donner and members of the Alliance Francaise, As indicated in the Inner Structure Chart, an Action of ancient India
In the following descriptions of the Interlude Actions, the numbers of community actors are based on an arbitrary computation [at this date] of a total of 1,500, at least double which number will require to be enlisted to make sure of sufficient persons for the five New York performances. The numbers here printed, however, are purely tentative and are subject to modification. Of the terms used for community actors, the term Participants means those who take part in the Interludes only; Figurants those who also take part in groups of the Masque Proper; Specials those who take part only in the special group, or groups, designated. In the projected tour of the Masque outside of New York, a modified performance of the Masque, on a smaller scale, when acted without the Interludes, will require, in local community actors, only the Figurants. It will be evident, I think, to the reader, that the organization of a community for a Masque performance on so large a scale is a special technique, only recently in process of development. As a contribution to this technique, the appended Community Organization Chart has been drawn up by my sister, Hazel MacKaye, who has brought to it her experience, of several years, in organizing and directing community pageants and masques, some of them of her own authorship. Space and time do not permit of further comment in this Foreword on many important social relationships and reactions involved in this new community art. The accompanying photograph, however, of a Community Masque audience—150,000 citizens of Saint Louis gathered in May, 1914, to witness the Pageant and Masque of Saint Louis, in which over 7,000 of their fellow-citizens took part—may be suggestive to the imagination of the reader. On the background may be seen, at centre, the thousand-foot stage, and, at left and right, the tents of the community actors, men and women. Space and time also do not permit of any adequate emphasis upon the enormous importance, and contribution to this growing art-form, of music in its community aspects. In this respect, the splendid pioneering work of Mr. Harry H. Barnhart in creating community choruses in Rochester and New York City is fundamentally significant. In the creative field of composition, rich in its manifold promise, Mr. Arthur Farwell, director of the New York Music School Settlement, and composer of the music of this Masque, has devoted probably more attention than any other American composer to this community type of musical art. A COMMUNITY MASQUE AUDIENCE 150,000 SPECTATORS OF THE PAGEANT AND MASQUE OF SAINT LOUIS, In his original and deeply based work of experiment, through channels of the People’s Institute and the School for Community Centre Workers, Mr. John Collier has shown fundamental leadership in a field all-important to the community purposes of this Masque: the modern economics and organization of coÖperative art. As this Foreword goes to press, Prof. Richard Ordynski has joined Mr. Urban in the work of the Masque’s New York production. To Mr. Everard Thompson, producers and committees alike are indebted for his unfailing, friendly resourcefulness. As references to the reader curious to study the art of the theatre in the eras touched upon in these Interludes, a lengthy Bibliography might well be submitted. For this Foreword, it may suffice to refer to three very useful works, in several volumes, viz: “The Drama,” Editor Alfred Bates, Historical Publishing Company [a dozen volumes]; “The Art of the Theatre,” Karl Manzius, Scribners, [5 volumes]; “The Theatre, Its Development in France and England, and a History of Its Greek and Latin Origins,” Charles Hastings, London, Duckworth, 1902 [and Lippincott]. The beneficial possibilities of community festival art and organization are, of course, commensurate with the time and opportunity afforded for their development. As mentioned in the Preface, the time for the New York production has, by unavoidable circumstance, become far too brief to accomplish, between the present date and the 23rd of May the deep social reactions potential in this festival. A year, instead, for the work of preparation would be none too much. It is hoped, however, that the production of this Masque may at least help to establish the festival movement in New York on a sound and perennial community basis. New York, March 26, 1916. OF THE TEN INNER SCENES [Enacted by the Spirits of Ariel.]
INTERLUDE I FIRST ACTION: EGYPTIAN COMMUNITY ACTORS [148] Comprise
THEME Egyptian Worshippers of the god Osiris, B. C. 1000, celebrate his resurrection from death by a dramatic ritual, symbolizing how the seven portions of his rended body unite again at his rebirth. ACTION At the deep pealing of gongs, from each of the three entrances to the ground-circle, two diverging Processions issue forth, a seventh issuing from the cell of Caliban. All are dressed in robes and concealing masks of black. Slowly, to the rhythmic beat of Egyptian drums [borne by the last five in each procession], by seven separate routes, they move out upon the Yellow Sands, and so converge toward the altar at the centre. Within about a rod of the altar they pause, while their seven Priest-Leaders move forward—each bearing a fire urn—to the altar, on which an immense circular disk lies. On the disk, a prone Shape lies concealed beneath a black cloth. Bowing before the altar, the seven Priests then rise and, mounting the steps, extend their arms to touch the rim of the disk. Thus—their black masks turned skyward—they raise their shrill voices in a mournful Egyptian chant. Moving then backward to the ground, they drop incense within their seven urns, from which rise seven pillars of smoke, lighted by the glow of fire beneath. In this increasing glow, the black Shape on the disk stirs, slowly rises beneath its dark cloth, and extends upward its hidden arms. During this, the drums beat from a low muffled cadence increasingly to a loud rolling rhythm, to which now—at a shrill choral cry from all the worshippers—the black cloth on the central Shape sloughs to its feet, revealing—in a burst of radiant splendor—the flame-bright form of the god Osiris. In tall shining mitre, he raises his ox-herd’s whip and shepherd’s crook. With these, to the joyous cries of his Worshippers, he bestows with archaic gesture a seven-fold sign of benediction. Once more then mounting the altar steps, the Priests step forth from their black robes and masks in their own garments of yellow gold. Thus, touching again the rim of the disk, they begin to revolve it—at first slowly. And now at its first motion, Osiris begins to dance. In this dance he expresses the former beneficence of his life, the sufferings of his death, the rending of his body into seven parts and finally the joy of his resurrection. In rhythm to the primitive music, the Priests revolve the disk to the dancing movement of the god. In this revolving movement his Worshippers below join in a dance on the ground (expressive of the blending of the seven parts of his body), where one by one successively the seven Processions encircle the altar and the dancing Osiris. As they do so, they slough off their dark garments, weaving thus a whirling movement in which the proportion of black ever diminishes while the golden yellow increases, until finally—in a blaze only of gold-yellow radiance—the Priests raise aloft on its pedestal the disk, still spinning, while the flame-red god, still dancing, is borne away in procession by his joyous Worshippers, shouting aloud their shrill cries of “Osiris!” When all have disappeared through the south gate of the circle, Prospero on his throne speaks to Ariel, INTERLUDE I SECOND ACTION: GREEK COMMUNITY ACTORS [175] Comprise
THEME Sophocles rehearses the Second Chorus of his drama “Antigone” in the Theatre of Dionysus, at Athens, B. C. 440. ACTION At the sounding of Interlude trumpets, the light passes to the great gates of the ground-circle, from which simultaneously two main groups enter. From the right enter Athenian Citizens, accompanying Pericles and Aspasia. These move forward to the north portion of the Yellow Sands [between the centre of stage B and the altar] and there form the semicircle of an antique audience, which faces the altar and the modern audience. Among these, two seats are placed for Aspasia and Pericles. From the left gate, meanwhile, has entered the Choregus [producer of the play], in conversation with Sophocles, followed closely by a group of twenty friends, among whom are Socrates, Aristophanes, Anaxagoras, Enter, then [left], the Actor of the part of Antigone, followed by a group of Actors comprising the impersonators of Ismene, Creon, Haemon, Eurydice, Teiresias, a Watchman, and two Messengers. With these, who carry their classic masks in their hands, the Choregus confers in pantomime, directs them to join Sophocles at the altar, and then calls aloud: “Choreutai!” Thereupon enter the Choreutai [Members of the Chorus], sixty in number, in four bands, fifteen in each band. Preceded by the Choryphaios [Stage Chorus Leader] and four Flute-players [one for each band], escorted by two Parastatai [Assistant Leaders], the Chorus march in military order first south [each band in three ranks of five men] till they are opposite the altar, then east [each band in five files of three men], till they halt near the altar. Here, after Sophocles has greeted Pericles and Aspasia nearby in the impromptu audience [which his group of friends have now joined], after After giving directions to Antigone and Ismene, who rehearse in pantomime a snatch of their first scene together, and after a few instructions to Haemon, Euripides, and Teiresias, Sophocles now bids the Choregus direct the last few passages between Creon and the Messenger, just before the Second Chorus in the play. They do so in pantomime; Creon, with final threatening gesture to the Messenger, makes his exit, and the Messenger—thanking the gods for his escape from Creon’s anger—also departs. And now, by direction of Sophocles, the Chorus Master and the Master of Dance make signal to the Chorus and the Flute-players; Sophocles steps back near Pericles and his other friends: the Flutists begin playing and, under leadership of the two masters of choral song and of dance, the Chorus—with vigorous, rhythmic cadence of their athletic bodies—perform an austere dance about the altar, raising to its measure their choral song: CHORUS The words of this chorus are translated here by the author from the Second Chorus of Sophocles’ play “Antigone.” Many are the wonders of time, but the mightiest wonder is man; Man! for he maketh his path with the south wind, over the surges Down where the storm-white billows Loom to devour him: Yea, And Earth, the immortal, the oldest of gods, The untoilsome, he tameth with toiling horses Dark where his turning ploughshare Plougheth from age unto age. Birds, O the wild-hearted birds, and the breeds of the savage wood Deep in his woven nets he hath snared, and the broods of the bright sea Leadeth he likewise captive— Master of masters, Man! And high on the hills he hath tracked to her wild The shaggy-maned horse and yoked her in harness; Tireless, too, hath his spirit Tamed the wild mountain bull. Words, and the wind of great thought, and the mood that mouldeth a state, These hath he mastered, and knoweth to parry the white frost arrow’s Pitiless barb, and the pouring Arrows of purple rain. All, all hath he mastered, and all that may come He meeteth with cunning and power; but only Death hath he failed to master: Death is the master of man. As they conclude, a runner comes hastening from the right gate, calling “Pericles!” Pericles rises, receives in pantomime the message of the runner, and indicates to Sophocles that he must return to the city. He and Aspasia and their followers depart [right gate]. With a gesture, then, to the Choregus, Sophocles dismisses the rehearsal; he and his friends follow the others; the Chorus forms again in files and ranks, moving off with the playing Flute-players to the right Interlude gate, where all disappear. INTERLUDE I THIRD ACTION: ROMAN COMMUNITY ACTORS [150] Comprise
THEME The Emperor Caligula witnesses a farcical comedy in pantomime, enacted in a street of Rome, A. D. 40. ACTION As the last of the Greeks disappear right, the Interlude trumpets sound at the left gate. There immediately resounds a great shout and clamor of voices, crying aloud: “Caligula! Salve, Imperator!” The gate is thrown open, and the Roman populace throng in, accompanying—in varied groups of squalor and poverty—the gorgeous Patricians that escort the Emperor Caligula, borne in a chariot, behind which follow a troupe of Roman Pantomime Actors and Mimes who carry a light platform with curtain, which they set up [centre, north], facing the altar. The curtain is painted to represent the street exterior of a house, in the Pompeian-Roman style. In the centre, set in a lintel frame, is With the Pantomimists come a group of Musicians, consisting of players on flutes, shields and cymbals, citherns and lyres, and two who wear fastened to their ankles pairs of scabilla, a kind of cymbal for the feet. The Populace and Patricians meantime cross to right of centre [further southwest]. In the chariot beside Caligula rides Naevoleia, a female Mime, whom Caligula—with amorous playfulness—kisses and crowns with gold laurel as she alights. Alighting with her, he himself helps to attire her in the garments worn in her part of the nymph Omphale in the stage pantomime to follow. Doing so, he thrusts aside—with a glance and gesture of jealous anger—the Chief Actor, who [in the part of Hercules] approaches to assist. Caligula then escorts her to the improvised stage where she teasingly parts with him to play her rÔle in the Comedy. Caligula returns to his chariot. And now the Comedy is announced by the appearance [through the curtain door] of Pantomimus, a particolored figure, garbed antiquely as a harlequin, wreathed and masked. Behind Pantomimus, enter [on either side of him] two little Pantomimi, half his height, exactly resembling him in every particular. These, as with skipping step and motion Pantomimus makes his introduction, imitate his every movement of wand and gesture. By his action, which is accompanied by flute, cymbal, and scabilla players, Pantomimus describes very briefly the plot of the comedy which is to follow, viz: THE SPHINX AND HERCULES Hercules, lured by the nymph Omphale to live with her a woman’s way of life, becomes terribly bored, rebels, and vows to a statue of the Sphinx to resume his manly exploits. By the help of the satyr Silenus, however, who makes Hercules drunk, Omphale—in guise of the Sphinx—wins Hercules back and marries him. ACTION As Pantomimus concludes this dumb-show exposition, he signs to his two Assistants, who run out and bring back two stage properties, which they place on either side: the right-hand one represents a squat pillar, on the top of which is the sitting figure of a bronze Sphinx; the left-hand—a set-piece of foliage and shrubbery. All three then make their exit. Enter, then, on the ground plane, from behind the stage platform, Servus, a house-slave, masked as such. He places on the platform a low seat and, beside it, a heap of wool and spinning materials. Then he prostrates himself toward the left ground entrance, as enter there—dancing to cymbal music—a group of young girl-mimes [without masks], dressed as Nymphs and carrying distaffs. In the midst of these—preceded by most of them—enter Hercules, in grotesque mask, which depicts a comic-dejected expression. He is wadded after the manner of the comic histrionic vase-figures of antiquity, and walks downcast. Instead of his legendary lion’s skin, there hangs from his shoulder the wooly pelt of a sheep; in place of his knotted club, his hand holds a huge distaff; and for the rest he is dressed like a Greek woman. He is accompanied by Omphale, masked as a beautiful and amorous nymph. Over her shoulders she wears his lion’s skin; in one hand she holds his massive club; with the other she caresses him. With coquetting wiles, the Nymphs in their dancing draw the two toward the centre, where they sit beside the wool—Hercules, with heavy sighs, beginning to spin, while Omphale, posing in the lion’s skin, approves his labor. Here the Nymphs, reclined about them on the platform and the ground, execute a rhythmic dance with their arms and distaffs, singing to their movement: Angustam amice pauperiem pati robustus acri militia puer condiscat et Parthos feroces vexet eques metuendus hasta vitamque sub divo et trepides agat in rebus ilium ex moenibus hosticis matrona bellanti tyranni prospiciens et adulta virgo suspiret, eheu, ne rudis agminum sponsus lacessat regius asperum tactu leonem, quem cruenta per medias rapit ira caedes. At the culmination of this, Hercules, who has been repelling the Flinging down the sheep’s pelt and setting his foot upon it, he breaks his distaff in pieces and, threatening Omphale, drives the Nymphs off the scene, left. [During this excitement, Servus—who has been standing aside—seizes the heap of wool, and exit with it in flight.] Turning then to the image of the Sphinx, Hercules expresses in dumb-show how, lured by the riddle of the Sphinx, he aspires to fight and conquer the world for her sake. Laying his club and lion’s skin devoutly at the foot of the column, he kneels, embraces it, and raises then his arms in supplication to the Sphinx. Thus kneeling, he is watched furtively at a distance by Omphale, who, at his outburst, has run to the edge of the foliage, right. Hercules, rising, puts on his lion’s skin, and brandishing his club heroically for the benefit of the immovable Sphinx, goes off, left. Immediately Omphale seizes from amid the foliage a sylvan pipe, and blows on it a brief, appealing ditty. At this, from behind the foliage, run out boy-mimes, in the guise of Fauns; she gesticulates to them beseechingly. They run back and presently return, advancing to Omphale greets him joyfully and helps him down from the goat. She then describes to him in pantomime the late outburst of Hercules—his breaking the spindle, his enamoration for the Sphinx, etc., and prays his aid and advice. Silenus pauses an instant in philosophical absorption, then gives a leap and skip. Omphale, seeing that he has hit on some plan, expresses her pleasure and inquires what his plan may be. Silenus bids her call a slave. Omphale claps her hands toward the left entrance. Servus enters. Silenus signs to him. Servus goes back and returns immediately, rolling in a wine-cask, from which he fills an antique beaker. From this Silenus sips and approves. He then points to the Sphinx and asks if be that of which Hercules is enamored. Omphale assents. Silenus then directs Servus to lift the Sphinx down from the pillar. Servus does so, revealing its hollow interior as he carries it. Silenus, drawing Omphale’s attention to this fact of its hollowness, opens the door in the curtain, and commands Servus to bear the Sphinx within. Servus does so. Silenus, then, pointing to the window above the door, whispers in the ear of Omphale, who, delighted, enters the door after Servus. Silenus closes the door as Hercules reËnters, left. The hero has discarded his woman’s garb, and comes forward now dressed as a man, with lion’s skin and club—his mask changed to one of an exultant and martial expression. Silenus greets him with obsequious and cunning servility and offers him wine. Hercules, with good-natured hauteur, condescends to accept the cup which he offers. While he is drinking, the window above in the curtain opens, and Omphale thrusts her head out, revealing [within] beside her own, the Sphinx’s head. Silenus secretively motions her to be cautious. Seeing his gesture, Hercules looks up, but not swiftly enough to detect Omphale, who withdraws. Again looking forth, as he turns to drink again, Omphale mocks Hercules below, dropping wisps of wool on his head, the source of which, however, Hercules fails to detect. Silenus explains that the wool is really feathers, which fell from a bird flying overhead. Hercules now, under the sly persuasions of the old Satyr, grows more pleased with the wine, and becomes drunk—as he becomes so, expressing to Silenus, with increasing familiarity and descriptive force, all the mighty exploits he intends to accomplish in the service of the incomparable Sphinx, whose living prototype he declares he will immediately set forth in search of. Starting now, humorously drunk, to depart [right] he is detained by Silenus, who points upward to the window, where now the blank, immovable face of the Sphinx looks forth at the sky. Hercules, bewildered, asks Silenus if it is really the Sphinx herself and alive? Silenus assents and proves his assertion by pointing to the deserted pedestal. At this, Hercules addresses the Sphinx, with impassioned gestures. The Sphinx remains immovable. Hercules becomes discouraged. Silenus then puts a pipe in his hand, and tells him to play it. He does so, and is rewarded by a slow, preternatural look from the Sphinx. At this he plays more vociferously and, surrounded by the little piping Fauns, performs a serenade beneath the casement, while Silenus, looking on from a distance, rubs his hands with sly delight. The serenade ends by Hercules, on his knees, imploring the Sphinx to come down. The Sphinx at length consents and the casement closes. Silenus calls his Fauns away to the edge of the foliage, and Hercules goes to the door. For a moment nothing happens and Hercules knocks on the steps impatiently with his club. Then the door opens and enter the Sphinx—dressed below in the Greek garments of Omphale, but from the waist upward consisting of the sitting image of the Sphinx, beneath The Sphinx, its tail swinging behind, descends the steps, reticent and impassive, attended by Hercules, drunk and enamored. Then at the foot of the steps, to the accompaniment from the foliage of the piping Fauns, who play softly a variation of the serenade theme, Hercules woos the Sphinx, who, at the proper moment, succumbs to his entreaties. After embracing him amorously, she extends her hand to him. He seizes it to kiss; she withdraws it and signifies that he must put a ring on the ring-finger. Hercules hunts about him in vain for the ring. Calling then to Silenus and the Fauns, he explains to them the situation. Silenus, producing a ring, hands it to Hercules, who puts it on the finger of the Sphinx. Instantly a clash of cymbals is heard from the left, and a clapping of palms from the right, and re-enter the dancing Nymphs, who encircle the scene just as Servus removes from the bride the great mask of the Sphinx, thereby revealing her to the astounded Hercules—as Omphale, who embraces him, exulting in her ring. Just as she is embracing and kissing him, the scene is interrupted by a cry of jealous rage from Caligula who springs from his chariot, calling: “Hercules!” At his gesture slaves run before him, seize Hercules, and hale him toward Caligula, who bids them whip him. Frightened, for an instant, Omphale [the Mime Naevoleia] then hastens as if to intercede, but, seeing Caligula’s expression, taunts him with toying bravado, and finally as he kisses her makes him burst with her into laughter, as Hercules is dragged off through the hooting crowd, flogged by Caligula’s slaves. [During the latter part of this Roman Action, LUST has appeared at the mouth of Caliban’s cell and looked on. His voice now joins the loud laughter of Caligula.] Dispersing in confusion, the Pantomime Actors remove their curtain and platform [right] into the darkness, which now envelops also Caligula and the Roman populace. END OF INTERLUDE I INTERLUDE II FIRST ACTION: GERMANIC COMMUNITY ACTORS [150] Comprise
THEME On a street of NÜremberg, in their Shrovetide festival, a band of Apprentices enact, on a wheeled stage, a pantomime scene from an early version of “Doctor Faustus.” Time: Sixteenth century. ACTION At Prospero’s final words in Act I, the playing of pipes is heard at the right Interlude Gates, where enter a band of Apprentices, accompanying a wheeled street-stage, drawn by donkeys with bells and set with a three-fold scene of Earth, Heaven, and Hell. Some of the Apprentices are masked, some disguised as fools. They enter, singing an old German folk song, and march to the centre of the ground-circle (between the altar and the south entrance), where the stage pauses. Before them has hastened a forerunner (Einschreier), blowing a horn and shouting: “Schauspieler! Doctor Faustus!” Along with them, Pipers accompany their singing. Behind them follow folk of NÜremberg, gaping peasants and merry-making young people. From the left gate, meanwhile [in obscurer light], enters a graver group, clad symbolically as Doctors of Learning, Priests, and Artists, accompanying another wheeled vehicle, the stage of which is wholly curtained from view. These stop at some distance from the former group, and look on from a place of shadow. And now, where the first stage has paused in a place of brighter glow, the Actors appear and begin their pantomime. Doctor Faustus appears on the Middle Stage, Earth. There, amid his astronomical instruments, he greets the gaping crowd and points a telescope toward the place of Heaven. Suddenly a comet flashes above the stage. An Apprentice inquires the reason. Doctor Faustus explains it by revealing its two fathers—the Sun and the Moon, which now appear shining simultaneously in Heaven. At this sorcery, Lucifer comes from Hell, signifies to Faustus that his hour has come, and that he must follow him. Faustus begs a last wish, which Lucifer reluctantly grants. He begs to see once more his beloved Helena of Troy. Then in Heaven appears Helena, who comes to Faustus on Earth and embraces him. But now Lucifer—summoning two tailed devils with pitch-forks—bids them drag Faustus from the arms of Helena, who flees back to Heaven, disappearing there, as Faustus is prodded and haled to the up-bursting flames of Hell, amid the exultant laughter of Lucifer. At this finale, the stage and its audience moves off through the left gate, while the graver Symbolic Group—crossing right in deep shadow—pauses at the centre. There, for a moment, the curtains of their pageant stage are drawn, revealing—in mystic light—a dim-glowing tableau of Albrecht DÜrer’s Melancholia. As this pales into darkness, the Group with its curtained stage moves vaguely off, and vanishes through the right gate of the Interlude. INTERLUDE II SECOND ACTION: FRENCH COMMUNITY ACTORS [150] Comprise
THEME To celebrate Peace between their nations, after long war, Francis I of France and Henry VIII of England meet on the Field of the Cloth of Gold [A. D. 1520], and hold a tournament. ACTION After the mystic tableau of the Melancholia has departed, a peal of trumpets from the Interlude gates [right and left] ushers in a pageant of contrasted splendor. In the left gateway appear the Heralds of the French, in the right, of the English. Then [to music of the unseen orchestra, above, playing the instrumental music only of the Chorus “Glory and Serenity,” which later is sung by voices in Act II], enter, on horseback, the two Kings, Francis I and Henry VIII, accompanied by their Nobles and Servants. All are clad in golds and yellows. On the banners of the English is depicted St. George and the Dragon; on the banners of the French—the lilies of France. The servants set up at centre [just south of Caliban’s cell] a gorgeous canopy with two thrones, in which the two Kings, dismounting, take their seats, the French followers grouped on the left, the English on the right. Then to the royal presence, a Herald summons, by trumpet call, two Tourney-riders [French and English], who come riding in armor, from the south gate, on horses caparisoned with their national colors and symbols. Taking their places, at signal again of the Herald, to shouts of the spectators, they ride at each other with set lances, in a mock battle—which comprises two actions. In the first action, the French rider is unhorsed, in the second, the English rider. During both actions, the English cry “St. George for England!” the French “Vive la France!” Between the two actions, the French King rises and toasts the English King, to acclamations of the French. After the second action, King Henry compliments King Francis, to acclamations of the English. Then, as the two Kings clasp hands, both sides shout aloud: “God save the King!” and “Vive le Roi!” raising aloft their banners and emblems. At the climax of this demonstration, the invisible orchestra resumes the march of “Glory and Serenity,” to which the Kings, remounting their horses, ride off side by side, followed by their English and French suites, now commingled, disappearing through the south gateway. INTERLUDE II THIRD ACTION: SPANISH-ITALIAN COMMUNITY ACTORS [150] Comprise
THEME On the plaza of St. Marks in Venice [A. D., about 1630], a troop of Improvised Comedy Actors [of the Commedia dell’ Arte] enact before ACTION When the last of the gold-clad French and English have departed through the South Gate, a chiming of church-bells from the gates of the north [right and left] gives signal for the entrance there of an Italian Festa. From the right, enters the Doge with his Venetian nobles, accompanied by the Italian populace; from the left, the Spanish Ambassador and his Suite, accompanied by a troop of Improvised Comedy Actors, who set up a platform on wooden horses before the Doge and the Ambassador where they meet and greet each other, at right of centre [north]. Here six Actors mount the platform, at the back of which is a curtain, divided in the middle. These are Il Capitano [the Captain], Arlecchino [Harlequin], Il Commandatore [the Commander], Pantalone [Pantaloon], Brighella, and Columbina [Columbine]. They all pass behind the curtain, through the folds in the middle. After a moment’s prelude of stringed instruments, then, the Pantomime begins. First, in semi-darkness, Harlequin appears, carrying a lighted lantern on the end of a sword. At a noise of laughter from behind the curtain he stops and trembles. The laughter sounds again, deep and harsh; Harlequin trembles so violently that the lantern falls and goes out. In the dimness, enter Il Capitano in the part of Don Giovanni, muffled in an immense cloak. Harlequin falls on his back, feigning death, but keeping his sword pointing upward. Stumbling against him, Don Giovanni draws his sword and strikes the sword of Harlequin, who leaps up. They begin a duel, in the midst of which they suddenly recognize each other as friends and embrace. Enter now [bringing lanterns, which illumine the stage more brightly] Pantaloon and Brighella. Both are wrapped in cloaks. Greeting Don Giovanni, who returns the greeting, Pantaloon explains that he has a rendezvous with a beautiful young lady [the head of Columbine having peered momentarily through the curtain]; that he will make a certain sign to call her; that he must be cautious, as she has a fierce and suspicious father. Don Giovanni becomes very interested, and confides that he, too, must attend a rendezvous, for which he needs a disguise. For this, he persuades Pantaloon to change cloaks with him. They do so, their servants also exchanging cloaks. Exeunt then Pantaloon and Brighella. Don Giovanni now, approaching the curtain, makes the aforesaid sign described by Pantaloon. At this, enter Columbine, who mistakes him for Pantaloon and approaches him lovingly. He allows her to do so, but soon—opening his cloak—he terrifies her by his wrong identity. However, he is handsomer than Pantaloon, and quickly wins her for himself. In this Harlequin delightedly assists him. Finally, just as Columbine succumbs and goes to his arms, her father, The Commander, enters. Seeing her in Don Giovanni’s arms, he bursts into terrible anger, draws his sword, and attacks the lover. Harlequin tries to prevent him but fails. Putting the frightened Columbine behind him, Don Giovanni returns the attack with his sword, fights and suddenly kills the Commander, who falls motionless. In terror, Columbine and Harlequin scream and run out [through the curtain], leaving Don Giovanni standing with one foot and his sword-point prodding the dead body. To screams and shudderings also from the horrified onlookers of the populace, darkness falls on the stage. Then, as suddenly—in a burst of light—the Actors come trooping forth all together in laughter, make faces and comic gestures at the people, remove their curtain and stage, and run off [right], to merry twanging of instruments, followed by the Doge, Ambassador, and populace. END OF INTERLUDE II INTERLUDE III In the New York production in May, 1916, the performance of this Interlude will be arranged by members of the New York City Centre of the U. S. A. Branch of the English Folk Dance Society, under the personal direction of Mr. Cecil J. Sharp, who has devised the Action of this Interlude, and has worded the description of it—in conference with the author—as here printed. ELIZABETHAN ENGLAND Action Continuous, in 8 Successive Episodes COMMUNITY ACTORS [about 400] Comprise
THEME Celebration of an Elizabethan May Day Festival on the outskirts of an English town. ACTION 1: CONTEST BETWEEN SPRING AND WINTER A group of 25 young men, representing Winter, all dressed in close-fitting black garments, enter from Caliban’s cell. They carry a ball and, commanded by one of their number—Frost—advance slowly and dejectedly and lie down near the centre of the ground guarding the ball. A group of 25 young men, dressed in tight-fitting green garments, representing Spring, enter through the right Interlude Gate. Headed by one of their number—Sun—they come forward running and shouting. Winter 2: PROCESSIONAL DANCE THROUGH VILLAGE While Winter is being driven off the arena, a procession of Villagers, comprising 50 couples [i. e., partners], enter through South Interlude Gate and dance the Tideswell Processional Morris. The dancers include men, women, and children of all classes and are dressed in their holiday clothes, plentifully bedecked with flowers and ribbons. Each carries two handkerchiefs, one in each hand, or, if preferred, boughs of May blossom. They dance round the arena in a spiral until the front couple reach the centre; whereupon, all raise their arms and shout on the last chord of the tune. Spring and all the actors already on the ground join in the procession at the rear, or wherever they can squeeze in. 3: REVELS AND AMUSEMENTS Upon the completion of the dance, the dancers disperse noisily all over the ground. The children play Singing Games, e. g., “Oats and Beans,” “Here We Come Gathering Nuts (i. e. Knots) in May,” “Old Sir Roger,” etc., in different parts of the ground—not too close together. Booths and stalls are brought in, a rustic stage 4: MAY POLE PROCESSION The following procession enters from South Interlude Gate.
When the wagon reaches the May-pit, the procession halts. The tree is ceremonially removed, ivy, laurels, and other greenery wound round it spirally, a large bunch of flowers placed at the top, and then, in dead silence, solemnly raised to position. Directly this is accomplished, the spectators raise a great shout and repeat it three times: “The Pole is up.” 5: ELECTION OF MAY QUEEN, AND MAY POLE DANCE The men disperse in groups and, after some discussion and altercation, proceed in a body to the woman of their choice, present her with a wreath of May blossom, with ribbon streamers and rosettes for her dress, and escort her to a raised mound of grass where every one may see her. She is kissed “under the green” by the men, amid much laughter and merriment. The woman chosen is a regular “man’s girl,” jolly and of a romping kind, quite different from the conventional May Queen. A large group is formed round the May pole in a ring, alternately men and women, and all take hands. The May pole dance is then performed—“Sellenger’s Round” and “Gathering Peascods.” 6: HOBBY HORSE AND PADSTOW MAY SONG The hobby horse is made in the following way: A wooden hoop, about 3 feet in diameter, is covered with black canvas with a hole in the centre, about the size of a man’s head. The canvas is edged with red and white ribbon round the circumference, and depends from the edges about 4 feet like a curtain. The hoop is then placed on a man’s shoulders, his head, hidden in a tall conical mask of many colors, passing through a hole in the centre of the canvas, the curtain hiding his body and legs. In the front of the hoop is a long, slender horse’s head, made of wood, and at the back of the hoop is attached a curly horse’s tail about 18 inches long. The horse is accompanied by the “Club-man” who is dressed in black, covered with rosettes and bows of colored ribbon, and wears a grotesque mask similar to that of the hobby horse. Throughout the proceedings, he faces the Horse and dances backward, holding in his right hand a stout, nobbed club, about 18 to 24 inches in length, colored like the mask. The hobby horse enters from the left Interlude Gate, escorted by six or eight couples of men, gaily dressed and decorated with flowers, singing 7: MORRIS DANCERS The dancers, all of them men, are 16 in number and are accompanied by a King and Queen, Witch and Fool, and Hobby horses. The Witch and Fool head the procession, the former with his broom, and the latter with his stick, fox’s tail, and bladder clearing the way. The King and Queen march at the head of the Morris dancers, the King beating time with For the dresses of the dancers see photographs in The Morris Book [parts II and III]. The Witch is a man dressed in bedraggled woman’s clothes, with face blackened, and carries a short besom. The Fool has a pork-pie hat covered with flowers and feathers, tunic, to the hips, of bright multi-colored stuff edged with silver fringe, buckskin breeches, stockings of odd colors, and bells round the ankles. He carries a stick with a fox’s tail at one end and a bladder at the other. Sometimes he has a dinner-bell attached to the middle of his back. The King and Queen are serious characters, the latter being represented by a man dressed in woman’s clothes. The King carries a sword and should be dressed in the military dress of the period: the Queen is grandly dressed, with a touch of comic extravagance, in the garb of a court lady of the period. The Hobby horses—say half a dozen in number—are of the “tournament” variety, and carry sticks and bladders. 8: COUNTRY DANCES AND RECESSIONAL When the Morris dance is finished, the company disperses and amuses itself for a while until the pipe-and-taborers make their appearance. This is a signal for every one to find a partner for a country dance. Groups are formed all over the ground and “The Black Nag” is performed, followed by a Longways dance, e. g., “Row well, ye mariners.” On the conclusion of the latter, the dancers, who are already in processional formation, dance off the ground to the “Helston Ferry Processional Dance,” disappearing in different groups through the several exits. EPILOGUE ACTION: INTERNATIONAL AND SYMBOLIC THEME In three main, symbolic groups—Theatres, Actors, Dramatists—The Spirit of Time summons the creative forces of the art of the theatre, to defeat the destructive influences of War, Lust, and Death, and prophetically to survive them. ACTION First, from the two gates [right and left] of the ground-circle, the Pageant of Theatres enters in two processions, which group themselves [right and left of Caliban’s cell] on the flight of steps and ramps leading to Stage B. Secondly, through the mouth-entrances of the Masks of Comedy and of Tragedy, the Comic Actors [through the former] and the Tragic Actors [through the latter] enter upon stage B, cross before Prospero Thirdly, the Dramatists, of Comedy and Tragedy, do likewise. In this procession of the Dramatists, occurs the pantomime and stage business of the meeting between Prospero and Shakespeare. After the procession of Dramatists, all three main groups are enveloped by darkness, in which—after the final choir of Ariel’s spirits—they disperse, unseen. EPILOGUE COMMUNITY ACTORS [300] Comprise
THEATRES ANCIENT GREECE Theatre of Dionysus at Athens, Epidaurus, Ephesus, Sicyon. ANCIENT ROME Theatre of Pompey, Scarrus, Balbus Cornelius, Marcellus. Provincial Theatres Antioch, Lyons, Herculaneum, Orange. CONSTANTINOPLE Hippodrome, of Emperor Septimius Severus. ITALY
PORTUGAL Lisbon San Carlos FRANCE Hotel du Burgoyne, Comedie Francaise, Palais Royal, Odeon, Porte St. Martin, Antoine. AUSTRIA Vienna Burgtheater GERMANY Weimar, Deutsches, Lessing. RUSSIA Art Theatre, Warsaw; Kremlin, Moscow. AMERICA New York Booth’s, Bowery, Wallack’s, Daly’s. Boston Federal Street, Boston Theatre, Boston Museum. Philadelphia Arch Street, Walnut Street, Chestnut Street. Chicago McVicker’s. San Francisco California. Washington Ford’s. New Orleans St. Charles. ENGLAND Globe, Bankside, Bear Garden, Hope, Swan, Drury Lane, Haymarket, Covent Garden. Dublin Smock Alley. ACTORS GREECE Thespis, Polus [of Aegina], Aristodemus, Neoptolemus, Thessalus, Athenodorus, Cleander, Mynniscus [of Chalcis], Callipides, Timotheus. ROME Esopus, Roscius, C. Publilius, Ambivius Turpio, Haitilius Praenestinus, Bathyllus, Pylades, Publilius Syrus. ITALY [Actors] Domenico Biancolelli, Luigi Riccoboni, Nicola Barbieri, Francesco Andreini, Fiorelli, Tommasino, Salvini, Madena, Rossi. [Actresses] Sedowsky, Isabella Andreini, Ristori. SPAIN [Actors] Lope de Rueda, Navarro of Toledo, Alonso de Olmedo, Sebastian de Prado, Isidoro Maiquez, JosÉ Valero, JuliÁn Romea, Rafael Calvo, Antonio Vico. [Actresses] La Baltasara, La Calderona, La Pacheca, La Tirana, Rita Luna, Matilde Diez. FRANCE [Actors] Jodelet, Harduin, Rodogune, Talma, Got, LeKain, MolÉ, FrÉville, Baron, Montfleury, Lemaitre, Coquelin, Mounet Sulley. [Actresses] Dangville, Rachel, George, Mars, Des Oeillets, Bejart, ChampmeslÉ, Lecouvreur, Dumesnil, Clairon, David. HOLLAND [Actors] Louis Bouwmeister, Willem Haverkorn, Johannes Haverkamp, Andries Snoek. [Actresses] Mme. Wattier. GERMANY [Actors] Possart, Bamay, Kainz, Iffland, Konrad, Ekkof, Dawison, Lewinsky, DÖhring, Ackerman, Carl Bonn, Dalberg, L. Dessoit, Anschutz, Hasse, Beckmann, Gabillon. [Actresses] Sonnenthal, Devrient, SchrÖder, Carolina Neuber, Charlotte Wolter, Julie Rettich, Julie LÖwe, Carolina Bauer, Geistinger, Zitt, Raabe, Buske, Fleck, Brockmann, Matkowsky, Dingelstedt, Borchers. [SCANDINAVIA] DENMARK [Actors] Ludwig Phister, Christen N. Rosenkilde, Nicolai Nielsen, Emil Poulsen, Michael Wieke, Michael Rosing. [Actresses] Johanne Louise Heiberg, Anna Neilsen, Julie SÖdring. SWEDEN [Actors] Fredrik Deland, Ebba Hwasser, Pierre Deland, Karl Georg Dahlquist. NORWAY [Actors] Johannes Brun, Henrik Klausen. [Actresses] Laura Gundersen, Lucie Wolf, Sophie Pavelius. RUSSIA [Actors] V. Samoilov, N. Samoilov, Nikitin, Ershov, Lenski, Karatygina (family), M. S. Shchepkin, Krapivnitzki. [Actresses] Fedotava, Vyera Samortova, Savina, Karatygina (family), Kommissaryhevskaya, E. P. Struyskaya. AMERICA [Actors] Junius Brutus Booth, Jas. Wallack, Edwin Forrest, Edwin Booth, Lester Wallack, Wm. Warren, John McCulloch, Lawrence Barrett, E. A. Sothern, Jos. Jefferson, Wm. Florence, James A. Hackett, John Gilbert, Edward L. Davenport, Wm. B. Wood, T. A. Cooper, Wilson Barrett, Rignold, Chas. Wheatley, MacKean, Buchanon, James Murdock, J. B. Roberts, Williamson, Whiffin, Tony Pastor, Hart, Harrigan, Stuart Robson, John T. Raymond, Denman Thompson, Maurice Barrymore, Richard Mansfield. [Actresses] Charlotte Cushman, Mrs. John Drew, Modjeska, Matilda Heron, Mme. Ponisi, Laura Keene, Fannie Davenport, Ada Rehan. GREAT BRITAIN [Actresses] Nance Oldfield, Mrs. Betterton, Mrs. Mountfort, Mrs. Bracegirdle, Nell Gwynne, Mrs. Siddons, Peg Woffington, Fanny Kemble, Hannah Pritchard, Mrs. Abington, Mrs. Jordan, George Anne Bellamy, Helen Barry, Helen Faucit, Katherine Clive, Mrs. Farren. DRAMATISTS GREECE [Tragedy] Aeschylus, Choerilus, Pratinas, Phrynichus, Sophocles, Euripides, Carcinus, Chaeremon. [Comedy] Phormis [of Maenalus], Epicharmus, Susarion, Chionides, Aristophanes, Eupolis, Magnes, Philemon, Menander, Rhinthon, Apollodorus, Diphilus, Posidippus. ROME [Tragedy] Livius Andronicus, Accius, Pacuvius, Asinius Pollis, Varius, Ovid, Seneca, Curiatius Maternus, J. CÆsar Strabo. [Comedy] Plautus, Terence, Ennius, Statius Caecilius, Lavinius, Naevius, Melissus, Afranius, Laberius, Pomponius, Atta. ITALY [Tragedy] Ariosto, Manzoni, Alfieri, Nicolini, Tasso. [Comedy] Metastasio, Martelli, Maffei, Gozzi, Pindemonti, Monti, Flavio, Goldoni. SPAIN AND PORTUGAL [Spain] Cervantes, Lope de Vega, Calderon, Alarcon, Gongora, Argensola, Moreto, de Hoz, Canizarez, Luzan, Huerta. [Portugal] Saa de Miranda, Gil Vincente, Ferreira, Garcao. FRANCE Etienne Jodelle, Garnier, Larivey, MontcrÉtien, Hardi, Viaud, ScudÉri, Corneille, Boisrobert, Chevreau, Scarron, de Bergerac, Quinault, MoliÈre, Boursault, Racine, Voltaire, l’Hermite, Rotrou, CrÉbillon, Le Sage, Beaumarchais, Longpierre, Fontenelli, La Motte, Legrand, Destouches, Marivaux, Sardou, Hugo, Dumas, Scribe, Zola, LegouvÉ, Augier, HalÉvy, Le Maitre, De Vigny. HOLLAND Hooft, Brederoo, Vondel, Vos, Goes, Pels, Asselijn, van Focquenbroch, Bilderdijk. GERMANY Hans Sachs, Gryphius, Gottshed, Klopstock, Wieland, Herder, Kozebue, Hafner, Goethe, Schiller, Lessing, Novalis, Arnim, Hoffmann, Hrotsvitha of Gandersheim, Kleist, Grillparzer, Schlegel, Freytag, Heyse, Gutzkow, Wagner, Werner, KÖrner, Klingemann, Uhland, Chamisso, Arndt, Heine, Grabbe, Immermann, Weise, Grinunelohausen, Klinger, Ludwig, Laube, Holm, Giebel, Wildenbruch, Angengruber, Nestroy, Raimund. SCANDINAVIA Holberg, OehlenschlÄger, J. L. Heiberg, Bjornson, Wessel, Ewald, Hauch, Hostrup, Hertz, Paludan-MÜller, Overskou, Ibsen, Lidner, Tegner, Runeberg, Blanche, Strindberg, Kielland, Lie. RUSSIA Sumarokoff, Catherine II, Von Viezin, Krilov, Astrovski, Pushkin, Gogol, Tolstoi, Tchekhof, Griboyedov. AMERICA Royal Tyler, John Howard Payne, Boker, Longfellow, Wm. Young, N. P. Willis, Dion Boucicault, John Brougham, Augustin Daly, Steele MacKaye, Bronson Howard, James A. Herne, Clyde Fitch, William Vaughn Moody. GREAT BRITAIN Beaumont, Fletcher, Jonson, Shirley, Greene, Peele, Webster, Ford, Massinger, Middleton, Heywood, Lyly, Marlowe, Shakespeare, Dekker, Marston:—Dryden, Wycherley, Congreve, Vanbrugh, Otway, Etheredge, d’Urfey, Farquhar, d’Avenant, Sedley, Lacy, Shadwell, Crowne, Steele, Addison, Rowe:—Goldsmith, Sheridan, Fielding, Shelley:—Knowles, Lytton, Robertson, Tennyson, Browning, Reade, Taylor, Wilde:—Phillips, Synge, Hankin, Davidson. ANNOUNCEMENTS Information for Communities, Clubs, Societies, and Drama Mr. PERCY MACKAYE’S SHAKESPEARE TERCENTENARY MASQUE Doubleday, Page & Company have pleasure in announcing Mr. MacKaye’s Masque, which in many respects has become the national tribute of the New York Shakespeare Celebration, the Shakespeare National Memorial Committee, and The Drama League of America for the anniversary of 1916. The publication of the Masque has been hurried as much as possible in order to give communities, societies, colleges, and Drama League centres throughout the country an opportunity to read the text and thus arrange their celebrations in harmony with the Masque. The first performances of the Masque will be given by the New York Shakespeare Celebration during the week of May 23d, when it will be Amateur performances of the Masque may also be given after June 1st, without the aid of the professional company, by making proper arrangements for securing permission. Full directions for amateur performances, or for public readings where seats are sold, may be had from Miss Alice Houston, National Headquarters, Drama League of America, Chicago, Ill. The Drama League of America strongly recommends to its centres the use of the Masque as the special League reading for April. The text will be The Drama League hopes to establish in the near future a Pageant Series, similar to the Play Series, of which “Caliban” by Mr. MacKaye would be the first volume. REMEMBER THESE POINTS “CALIBAN: BY THE YELLOW SANDS” By Percy MacKaye. A National tribute to Shakespeare for 1916. Endorsed by the Drama League of America. FIRST PERFORMANCE New York, May 23d, by citizens and notable group of professional actors. RELEASED FOR GENERAL USE June 1st. Acting rights may be secured as indicated below:— PERFORMANCES BY COMMUNITIES OR Full particulars may be had by addressing Miss Alice M. Houston, Chairman Circuit Committee, Drama League of America, 1426 Forest Ave., Evanston, Ill. ALL-AMATEUR PERFORMANCES Full particulars may be had by addressing Miss Clara Fitch, Chairman Shakespeare Tercentenary Committee, 736 Marquette Bldg., Chicago, Ill. PUBLIC READINGS WHERE SEATS ARE SOLD For particulars address Miss Houston (as above). THE PRINTED BOOK OF THE MASQUE Paper edition 50 cents. Cloth edition $1.25 net. For sale everywhere at book shops or by Doubleday, Page & Company, Garden City, New York. New York City Shakespeare Tercentenary Celebration CIVIC ORGANIZATION MISS MARY PORTER BEEGLE, Chairman MRS. AXEL O. IHLSENG, Executive Secretary
THE SHAKESPEARE CELEBRATION will present The Community Masque CALIBAN PRODUCTION STAFF Author and Director Composer and Director of Music Producers Designer of Inner Scenes Director of Interludes Director of Costumes Director of Dances Staff Assistant Office of the Director: 529 Marbridge Bldg. (34th St. & 6th Ave.); telephone, Greeley 1137. For particulars regarding Tickets, etc., communication should be made with the office of the Shakespeare Celebration, 10 East 43d St., New York. Telephones, Murray Hill 9745 and 4158. THE MAYOR’S HONORARY COMMITTEE For the New York Shakespeare Celebration OTTO H. KAHN, Chairman.
THE COUNTRY LIFE PRESS FOOTNOTES:“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 that The 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 lie In her pavilion—cloth-of-gold of tissue— O’er-picturing that Venus where we see The fancy out-work nature. On each side her Stood pretty dimpled boys, like smiling Cupids, With diverse-color’d fans, whose wind did seem To 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 helm A seeming mermaid steers; the silken tackle Swell with the touches of those flower-soft hands, That yarely frame the office. From the barge A strange invisible perfume hits the sense Of 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. 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. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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