11. Reigen
2
0
00
55
box 18/1
7#e Aen
Ge
Gh
LIFE, LETTERS, AND THE ARTS
He also says, I am astonished that
THE NEW DICKENS
neither I nor any other commentator
Punen keeps a sharp eye upon the
or editor of the poet — not even Pro¬
provincial press, with the laudable pur¬
fessor de Sélincourt — should have
pose of collecting any blunders that
thought of it before.
may help to make the British Isles a
more cheerful place. Punch usually
succeeds. This is one of the most recent
4 IN THE GERMAN THEATRE
bits of treasure-trove:
From a cinema advertisement:
Arrnovon a gulf separates the Ger¬
Mas. Wiccs or rnz Caßßade Paren.
man stage of 1914 from that of to-day,
A Great Screen Version of Charles Dickens
the effects of the war, which are as
Famous Story. — Scots Paper.
plainlg discernible in the theatre as in
To be followed, we presume, by a film of
any other department of life, have not
Martin Chuzzlewit, the well-known Amer¬
been altogether disastrous. Some of
ican novel by Alice Hegan Rice.
the older writers seem to have changed
little, but a new spirit is abroad among
*
many of the younger dramatists and
poets. The natural reaction from
AN UNCGHRECTED MISPRINT IN KFATS
militarism has pröduced a horror of
A CORRESPONDENT of the London
brute force — a change of which symp¬
Times poin#r but a probable misprint
toms existed before 1914, but which is
which has gone uncorrected in all the
in the main due to the horrors of four
editions of Keats that he has been able
years of conflict.
to examine. The error occurs in line 75
Dramatists, producers, actors, all
of the poem Teignmouth, an epistle to
show the differences that the war has
John Hamilton Reynolds:
made; but in some, respects these dif¬
High reason, and the love of good and ill.
ferences actually favor artistic develop¬
ment. The financial stringency that
The suggested reading is 'lore' for
affects all Germany has forced the
love. Keats probably never saw the
lirectors of most theatres to seek for
poem in print, and although usually his
beauty through a severe simplicity of
handwriting is extraordinarily clear,
staging rather than in lavish costuming
such a printer’s blunder is very prob¬
and elaborate scenery; and the diffi¬
able. The proposed emendation has in
culties under which the artists work
its favor Keat’s well-known partiality
have — as is common enough in any
for the word lore.
branch of artistic endeavor — become
Sir Sidney Colvin, undoubtedly the
spurs to success with new methods that
most eminent living autherity upon
might otherwise never have been tried.
Keats, says that the new reading is
This is particularly true of the de¬
not only sense in itself, but corresponds
signing of stage settings, in which
Strictlyto Keats’s usage inanother place,
Emil Pirchan, one of the younger men,
iz., Lamia, Part I, lines 189 and 190:
stand, as the representative of the
A virgin purest lipp’d, yet in the lore
newest ideas, in contrast with the
deep learned to the red heart’s core
2
0
00
55
box 18/1
7#e Aen
Ge
Gh
LIFE, LETTERS, AND THE ARTS
He also says, I am astonished that
THE NEW DICKENS
neither I nor any other commentator
Punen keeps a sharp eye upon the
or editor of the poet — not even Pro¬
provincial press, with the laudable pur¬
fessor de Sélincourt — should have
pose of collecting any blunders that
thought of it before.
may help to make the British Isles a
more cheerful place. Punch usually
succeeds. This is one of the most recent
4 IN THE GERMAN THEATRE
bits of treasure-trove:
From a cinema advertisement:
Arrnovon a gulf separates the Ger¬
Mas. Wiccs or rnz Caßßade Paren.
man stage of 1914 from that of to-day,
A Great Screen Version of Charles Dickens
the effects of the war, which are as
Famous Story. — Scots Paper.
plainlg discernible in the theatre as in
To be followed, we presume, by a film of
any other department of life, have not
Martin Chuzzlewit, the well-known Amer¬
been altogether disastrous. Some of
ican novel by Alice Hegan Rice.
the older writers seem to have changed
little, but a new spirit is abroad among
*
many of the younger dramatists and
poets. The natural reaction from
AN UNCGHRECTED MISPRINT IN KFATS
militarism has pröduced a horror of
A CORRESPONDENT of the London
brute force — a change of which symp¬
Times poin#r but a probable misprint
toms existed before 1914, but which is
which has gone uncorrected in all the
in the main due to the horrors of four
editions of Keats that he has been able
years of conflict.
to examine. The error occurs in line 75
Dramatists, producers, actors, all
of the poem Teignmouth, an epistle to
show the differences that the war has
John Hamilton Reynolds:
made; but in some, respects these dif¬
High reason, and the love of good and ill.
ferences actually favor artistic develop¬
ment. The financial stringency that
The suggested reading is 'lore' for
affects all Germany has forced the
love. Keats probably never saw the
lirectors of most theatres to seek for
poem in print, and although usually his
beauty through a severe simplicity of
handwriting is extraordinarily clear,
staging rather than in lavish costuming
such a printer’s blunder is very prob¬
and elaborate scenery; and the diffi¬
able. The proposed emendation has in
culties under which the artists work
its favor Keat’s well-known partiality
have — as is common enough in any
for the word lore.
branch of artistic endeavor — become
Sir Sidney Colvin, undoubtedly the
spurs to success with new methods that
most eminent living autherity upon
might otherwise never have been tried.
Keats, says that the new reading is
This is particularly true of the de¬
not only sense in itself, but corresponds
signing of stage settings, in which
Strictlyto Keats’s usage inanother place,
Emil Pirchan, one of the younger men,
iz., Lamia, Part I, lines 189 and 190:
stand, as the representative of the
A virgin purest lipp’d, yet in the lore
newest ideas, in contrast with the
deep learned to the red heart’s core