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I've been doing theatre since I was 5 years old.

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Lines in Defence of the Stage

Good people of high and low degree,
I pray ye all be advised by me,
And don't believe what the clergy doth say,
That by going to the theatre you will be led astray.

No, in the theatre we see vice punished and virtue rewarded,
The villain either hanged or shot, and his career retarded;
Therefore the theatre is useful in every way,
And has no inducement to lead the people astray.

Because therein we see the end of the bad men,
Which must appall the audience - deny it who can
Which will help to retard them from going astray,
While witnessing in a theatre a moral play.

The theatre ought to be encouraged in every respect,
Because example is better than precept,
And is bound to have a greater effect
On the minds of theatre-goers in every respect.

Sometimes in theatres, guilty creatures there have been
Struck to the soul by the cunning of the scene;
By witnessing a play wherein murder is enacted,
They were proven to be murderers, they felt so distracted,

And left the theatre, they felt so much fear,
Such has been the case, so says Shakespeare.
And such is my opinion, I will venture to say,
That murderers will quake with fear on seeing murder in a play.

Hamlet discovered his father's murderer by a play
That he composed for the purpose, without dismay,
And the king, his uncle, couldn't endure to see that play,
And he withdrew from the scene without delay.

And by that play the murder was found out,
And clearly proven, without any doubt;
Therefore, stage representation has a greater effect
On the minds of the people than religious precept.

We see in Shakespeare's tragedy of Othello, which is sublime,
Cassio losing his lieutenancy through drinking wine;
And, in delirium and grief, he exclaims -
"Oh, that men should put an enemy in their mouths to steal away their brains!"

A young man in London went to the theatre one night
To see the play of George Barnwell, and he got a great fright;
He saw George Barnwell murder his uncle in the play,
And he had resolved to murder his uncle, but was stricken with dismay.

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Theatre Of The Absurd

(ian hunter)
My tea turned seven shades darker
As I sit n write these words
And londons gettin paler
In my theatre of the absurd.
You figured for an evening
And you made it all worthwile.
Its seldom people have a job
And even rarer that I smile.
Play me some, play me some,
Play me brixton power.
Teach your children to be them
And never ever ours.
Play me some, play me some,
Play me brixton power.
Someone took the park away
But they left a lonely flower.
And if your songs be classics,
Throw them to the hurd.
Truth is where they came from
And not this theatre of the absurd.
Some say you wanted to play for me
But its only what youve heard
That made you want to capture me
In your theatre of the absurd.
It was not me, I said myself
And you must do so, too.
I hope you have the strength to stay
When Ill be watchin you.
So baby,
Play me some, play me some,
Play me brixton power.
Teach your children to be them
And never ever ours.
Play me some, play me some,
Play me brixton power.
Someone took the park away
But they left a lonely flower.
Oh when I got here back home tonight
Something within me stirred.
Oh it must have been a different kind of play
That touched my theatre of the absurd.
Now Ill be on my way alone
But an interesting thing occurred
See nobody ever shared too much
In my theatre of the absurd.
And there I was back in london,
Thought about history.
It was just like being in school again
But I felt something movin in me.

[...] Read more

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The Interpretation of Nature and

I.

MAN, being the servant and interpreter of Nature, can do and understand so much and so much only as he has observed in fact or in thought of the course of nature: beyond this he neither knows anything nor can do anything.


II.

Neither the naked hand nor the understanding left to itself can effect much. It is by instruments and helps that the work is done, which are as much wanted for the understanding as for the hand. And as the instruments of the hand either give motion or guide it, so the instruments of the mind supply either suggestions for the understanding or cautions.

III.

Human knowledge and human power meet in one; for where the cause is not known the effect cannot be produced. Nature to be commanded must be obeyed; and that which in contemplation is as the cause is in operation as the rule.

IV.

Towards the effecting of works, all that man can do is to put together or put asunder natural bodies. The rest is done by nature working within.

V.

The study of nature with a view to works is engaged in by the mechanic, the mathematician, the physician, the alchemist, and the magician; but by all (as things now are) with slight endeavour and scanty success.

VI.

It would be an unsound fancy and self-contradictory to expect that things which have never yet been done can be done except by means which have never yet been tried.

VII.

The productions of the mind and hand seem very numerous in books and manufactures. But all this variety lies in an exquisite subtlety and derivations from a few things already known; not in the number of axioms.

VIII.

Moreover the works already known are due to chance and experiment rather than to sciences; for the sciences we now possess are merely systems for the nice ordering and setting forth of things already invented; not methods of invention or directions for new works.

IX.

The cause and root of nearly all evils in the sciences is this -- that while we falsely admire and extol the powers of the human mind we neglect to seek for its true helps.

X.

The subtlety of nature is greater many times over than the subtlety of the senses and understanding; so that all those specious meditations, speculations, and glosses in which men indulge are quite from the purpose, only there is no one by to observe it.

XI.

As the sciences which we now have do not help us in finding out new works, so neither does the logic which we now have help us in finding out new sciences.

XII.

The logic now in use serves rather to fix and give stability to the errors which have their foundation in commonly received notions than to help the search after truth. So it does more harm than good.

XIII.

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II. Half-Rome

What, you, Sir, come too? (Just the man I'd meet.)
Be ruled by me and have a care o' the crowd:
This way, while fresh folk go and get their gaze:
I'll tell you like a book and save your shins.
Fie, what a roaring day we've had! Whose fault?
Lorenzo in Lucina,—here's a church
To hold a crowd at need, accommodate
All comers from the Corso! If this crush
Make not its priests ashamed of what they show
For temple-room, don't prick them to draw purse
And down with bricks and mortar, eke us out
The beggarly transept with its bit of apse
Into a decent space for Christian ease,
Why, to-day's lucky pearl is cast to swine.
Listen and estimate the luck they've had!
(The right man, and I hold him.)

Sir, do you see,
They laid both bodies in the church, this morn
The first thing, on the chancel two steps up,
Behind the little marble balustrade;
Disposed them, Pietro the old murdered fool
To the right of the altar, and his wretched wife
On the other side. In trying to count stabs,
People supposed Violante showed the most,
Till somebody explained us that mistake;
His wounds had been dealt out indifferent where,
But she took all her stabbings in the face,
Since punished thus solely for honour's sake,
Honoris causâ, that's the proper term.
A delicacy there is, our gallants hold,
When you avenge your honour and only then,
That you disfigure the subject, fray the face,
Not just take life and end, in clownish guise.
It was Violante gave the first offence,
Got therefore the conspicuous punishment:
While Pietro, who helped merely, his mere death
Answered the purpose, so his face went free.
We fancied even, free as you please, that face
Showed itself still intolerably wronged;
Was wrinkled over with resentment yet,
Nor calm at all, as murdered faces use,
Once the worst ended: an indignant air
O' the head there was—'t is said the body turned
Round and away, rolled from Violante's side
Where they had laid it loving-husband-like.
If so, if corpses can be sensitive,
Why did not he roll right down altar-step,
Roll on through nave, roll fairly out of church,
Deprive Lorenzo of the spectacle,

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VII. Pompilia

I am just seventeen years and five months old,
And, if I lived one day more, three full weeks;
'T is writ so in the church's register,
Lorenzo in Lucina, all my names
At length, so many names for one poor child,
—Francesca Camilla Vittoria Angela
Pompilia Comparini,—laughable!
Also 't is writ that I was married there
Four years ago: and they will add, I hope,
When they insert my death, a word or two,—
Omitting all about the mode of death,—
This, in its place, this which one cares to know,
That I had been a mother of a son
Exactly two weeks. It will be through grace
O' the Curate, not through any claim I have;
Because the boy was born at, so baptized
Close to, the Villa, in the proper church:
A pretty church, I say no word against,
Yet stranger-like,—while this Lorenzo seems
My own particular place, I always say.
I used to wonder, when I stood scarce high
As the bed here, what the marble lion meant,
With half his body rushing from the wall,
Eating the figure of a prostrate man—
(To the right, it is, of entry by the door)
An ominous sign to one baptized like me,
Married, and to be buried there, I hope.
And they should add, to have my life complete,
He is a boy and Gaetan by name—
Gaetano, for a reason,—if the friar
Don Celestine will ask this grace for me
Of Curate Ottoboni: he it was
Baptized me: he remembers my whole life
As I do his grey hair.

All these few things
I know are true,—will you remember them?
Because time flies. The surgeon cared for me,
To count my wounds,—twenty-two dagger-wounds,
Five deadly, but I do not suffer much—
Or too much pain,—and am to die to-night.

Oh how good God is that my babe was born,
—Better than born, baptized and hid away
Before this happened, safe from being hurt!
That had been sin God could not well forgive:
He was too young to smile and save himself.
When they took two days after he was born,
My babe away from me to be baptized
And hidden awhile, for fear his foe should find,—

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Theatre Of The Soul

On a cold night in a hotel in new orleans
Came the final blow
And somehow somewhere we lost sight
In our search for that pot of gold
And all that happened I dont understand
Could somebody here, somebody please explain to me
Cause Im feeling so damn deceived
And I cant run, cant hide, cant get nothing right lately
Theatre of my soul....play on child
Ashes to ashes...light the good lord lays us down
Dust to dust, oh, no
The time has come to lay to rest the years
All the years it took this heart to trust
Maybe too much too soon, I couldnt get my head on straight
All that worry, just wasted time
And now its much too late to save it
Long forgotten midnight dancer
Plays her final role
The curtain falls and Im still standing
Theatre of my soul you left in vain
Could someone please explain, and I said
Solo
I know that nothings the same
Riding blind on the winds of change
But in my head that scene just keeps on playing
Long forgotten midnight dancer
Plays her final role, oh, yes she does
Cant run, cant hide, cant get nothing right lately
The curtain falls and Im still standing
In the theatre of my soul
Cant run, cant hide, cant get nothing right lately
When time it just keeps on passing,
I got to let it go, let it roll, let it roll, let it roll
Cant run, cant hide, cant get nothing right lately
I keep searching for those long lost answers
In the theatre of my soul
Theatre of my soul

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Prince Hohenstiel-Schwangau, Saviour of Society

Epigraph

Υδραν φονεύσας, μυρίων τ᾽ ἄλλων πόνων
διῆλθον ἀγέλας . . .
τὸ λοίσθιον δὲ τόνδ᾽ ἔτλην τάλας πόνον,
. . . δῶμα θριγκῶσαι κακοῖς.

I slew the Hydra, and from labour pass'd
To labour — tribes of labours! Till, at last,
Attempting one more labour, in a trice,
Alack, with ills I crowned the edifice.

You have seen better days, dear? So have I
And worse too, for they brought no such bud-mouth
As yours to lisp "You wish you knew me!" Well,
Wise men, 't is said, have sometimes wished the same,
And wished and had their trouble for their pains.
Suppose my Œdipus should lurk at last
Under a pork-pie hat and crinoline,
And, latish, pounce on Sphynx in Leicester Square?
Or likelier, what if Sphynx in wise old age,
Grown sick of snapping foolish people's heads,
And jealous for her riddle's proper rede, —
Jealous that the good trick which served the turn
Have justice rendered it, nor class one day
With friend Home's stilts and tongs and medium-ware,—
What if the once redoubted Sphynx, I say,
(Because night draws on, and the sands increase,
And desert-whispers grow a prophecy)
Tell all to Corinth of her own accord.
Bright Corinth, not dull Thebes, for Lais' sake,
Who finds me hardly grey, and likes my nose,
And thinks a man of sixty at the prime?
Good! It shall be! Revealment of myself!
But listen, for we must co-operate;
I don't drink tea: permit me the cigar!
First, how to make the matter plain, of course —
What was the law by which I lived. Let 's see:
Ay, we must take one instant of my life
Spent sitting by your side in this neat room:
Watch well the way I use it, and don't laugh!
Here's paper on the table, pen and ink:
Give me the soiled bit — not the pretty rose!
See! having sat an hour, I'm rested now,
Therefore want work: and spy no better work
For eye and hand and mind that guides them both,
During this instant, than to draw my pen
From blot One — thus — up, up to blot Two — thus —
Which I at last reach, thus, and here's my line
Five inches long and tolerably straight:

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Book Seventh [Residence in London]

SIX changeful years have vanished since I first
Poured out (saluted by that quickening breeze
Which met me issuing from the City's walls)
A glad preamble to this Verse: I sang
Aloud, with fervour irresistible
Of short-lived transport, like a torrent bursting,
From a black thunder-cloud, down Scafell's side
To rush and disappear. But soon broke forth
(So willed the Muse) a less impetuous stream,
That flowed awhile with unabating strength,
Then stopped for years; not audible again
Before last primrose-time. Beloved Friend!
The assurance which then cheered some heavy thoughts
On thy departure to a foreign land
Has failed; too slowly moves the promised work.
Through the whole summer have I been at rest,
Partly from voluntary holiday,
And part through outward hindrance. But I heard,
After the hour of sunset yester-even,
Sitting within doors between light and dark,
A choir of redbreasts gathered somewhere near
My threshold,--minstrels from the distant woods
Sent in on Winter's service, to announce,
With preparation artful and benign,
That the rough lord had left the surly North
On his accustomed journey. The delight,
Due to this timely notice, unawares
Smote me, and, listening, I in whispers said,
'Ye heartsome Choristers, ye and I will be
Associates, and, unscared by blustering winds,
Will chant together.' Thereafter, as the shades
Of twilight deepened, going forth, I spied
A glow-worm underneath a dusky plume
Or canopy of yet unwithered fern,
Clear-shining, like a hermit's taper seen
Through a thick forest. Silence touched me here
No less than sound had done before; the child
Of Summer, lingering, shining, by herself,
The voiceless worm on the unfrequented hills,
Seemed sent on the same errand with the choir
Of Winter that had warbled at my door,
And the whole year breathed tenderness and love.

The last night's genial feeling overflowed
Upon this morning, and my favourite grove,
Tossing in sunshine its dark boughs aloft,
As if to make the strong wind visible,
Wakes in me agitations like its own,
A spirit friendly to the Poet's task,
Which we will now resume with lively hope,

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Five Years

Pushing thru the market square, so many mothers sighing
News had just come over, we had five years left to cry in
News guy wept and told us, earth was really dying
Cried so much his face was wet, then I knew he was not lying
I heard telephones, opera house, favourite melodies
I saw boys, toys electric irons and t.v.s
My brain hurt like a warehouse, it had no room to spare
I had to cram so many things to store everything in there
And all the fat-skinny people, and all the tall-short people
And all the nobody people, and all the somebody people
I never thought Id need so many people
A girl my age went off her head, hit some tiny children
If the black hadnt a-pulled her off, I think she would have killed them
A soldier with a broken arm, fixed his stare to the wheels of a cadillac
A cop knelt and kissed the feet of a priest, and a queer threw up at the sight of that
I think I saw you in an ice-cream parlour, drinking milk shakes cold and long
Smiling and waving and looking so fine, dont think
You knew you were in this song
And it was cold and it rained so I felt like an actor
And I thought of ma and I wanted to get back there
Your face, your race, the way that you talk
I kiss you, youre beautiful, I want you to walk
Weve got five years, stuck on my eyes
Five years, what a surprise
Weve got five years, my brain hurts a lot
Five years, thats all weve got
Weve got five years, what a surprise
Five years, stuck on my eyes
Weve got five years, my brain hurts a lot
Five years, thats all weve got
Weve got five years, stuck on my eyes
Five years, what a surprise
Weve got five years, my brain hurts a lot
Five years, thats all weve got
Weve got five years, what a surprise
Weve got five years, stuck on my eyes
Weve got five years, my brain hurts a lot
Five years, thats all weve got
Five years
Five years
Five years
Five years

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The four Monarchyes, the Assyrian being the first, beginning under Nimrod, 131. Years after the Floo

When time was young, & World in Infancy,
Man did not proudly strive for Soveraignty:
But each one thought his petty Rule was high,
If of his house he held the Monarchy.
This was the golden Age, but after came
The boisterous son of Chus, Grand-Child to Ham,
That mighty Hunter, who in his strong toyles
Both Beasts and Men subjected to his spoyles:
The strong foundation of proud Babel laid,
Erech, Accad, and Culneh also made.
These were his first, all stood in Shinar land,
From thence he went Assyria to command,
And mighty Niniveh, he there begun,
Not finished till he his race had run.
Resen, Caleh, and Rehoboth likewise
By him to Cities eminent did rise.
Of Saturn, he was the Original,
Whom the succeeding times a God did call,
When thus with rule, he had been dignifi'd,
One hundred fourteen years he after dy'd.
Belus.
Great Nimrod dead, Belus the next his Son
Confirms the rule, his Father had begun;
Whose acts and power is not for certainty
Left to the world, by any History.
But yet this blot for ever on him lies,
He taught the people first to Idolize:
Titles Divine he to himself did take,
Alive and dead, a God they did him make.
This is that Bel the Chaldees worshiped,
Whose Priests in Stories oft are mentioned;
This is that Baal to whom the Israelites
So oft profanely offered sacred Rites:
This is Beelzebub God of Ekronites,
Likewise Baalpeor of the Mohabites,
His reign was short, for as I calculate,
At twenty five ended his Regal date.
Ninus.
His Father dead, Ninus begins his reign,
Transfers his seat to the Assyrian plain;
And mighty Nineveh more mighty made,
Whose Foundation was by his Grand-sire laid:
Four hundred forty Furlongs wall'd about,
On which stood fifteen hundred Towers stout.
The walls one hundred sixty foot upright,
So broad three Chariots run abrest there might.
Upon the pleasant banks of Tygris floud
This stately Seat of warlike Ninus stood:
This Ninus for a God his Father canonized,
To whom the sottish people sacrificed.

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King Solomon And The Queen Of Sheba

(A Poem Game.)

“And when the Queen of Sheba heard of the fame of Solomon, . . .
she came to prove him with hard questions.”


[The men’s leader rises as he sees the Queen unveiling
and approaching a position that gives her half of the stage.]

Men’s Leader: The Queen of Sheba came to see King Solomon.
[He bows three times.]
I was King Solomon,
I was King Solomon,
I was King Solomon.

[She bows three times.]
Women’s Leader: I was the Queen,
I was the Queen,
I was the Queen.

Both Leaders: We will be king and queen,
[They stand together stretching their hands over the land.]
Reigning on mountains green,
Happy and free
For ten thousand years.

[They stagger forward as though carrying a yoke together.]
Both Leaders: King Solomon he had four hundred oxen.

Congregation: We were the oxen.

[Here King and Queen pause at the footlights.]
Both Leaders: You shall feel goads no more.
[They walk backward, throwing off the yoke and rejoicing.]
Walk dreadful roads no more,
Free from your loads
For ten thousand years.

[The men’s leader goes forward, the women’s leader dances round him.]
Both Leaders: King Solomon he had four hundred sweethearts.

[Here he pauses at the footlights.]
Congregation: We were the sweethearts.

[He walks backward. Both clap their hands to the measure.]
Both Leaders: You shall dance round again,
You shall dance round again,
Cymbals shall sound again,
Cymbals shall sound again,
[The Queen appears to gather wildflowers.]

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The Booker Washington Trilogy

I. A NEGRO SERMON:—SIMON LEGREE

(To be read in your own variety of negro dialect.)


Legree's big house was white and green.
His cotton-fields were the best to be seen.
He had strong horses and opulent cattle,
And bloodhounds bold, with chains that would rattle.
His garret was full of curious things:
Books of magic, bags of gold,
And rabbits' feet on long twine strings.
But he went down to the Devil.

Legree he sported a brass-buttoned coat,
A snake-skin necktie, a blood-red shirt.
Legree he had a beard like a goat,
And a thick hairy neck, and eyes like dirt.
His puffed-out cheeks were fish-belly white,
He had great long teeth, and an appetite.
He ate raw meat, 'most every meal,
And rolled his eyes till the cat would squeal.

His fist was an enormous size
To mash poor niggers that told him lies:
He was surely a witch-man in disguise.
But he went down to the Devil.

He wore hip-boots, and would wade all day
To capture his slaves that had fled away.
But he went down to the Devil.

He beat poor Uncle Tom to death
Who prayed for Legree with his last breath.
Then Uncle Tom to Eva flew,
To the high sanctoriums bright and new;
And Simon Legree stared up beneath,
And cracked his heels, and ground his teeth:
And went down to the Devil.

He crossed the yard in the storm and gloom;
He went into his grand front room.
He said, "I killed him, and I don't care."
He kicked a hound, he gave a swear;
He tightened his belt, he took a lamp,
Went down cellar to the webs and damp.
There in the middle of the mouldy floor
He heaved up a slab, he found a door —
And went down to the Devil.

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Recollections

I.

Years upon years, as a course of clouds that thicken
Thronging the ways of the wind that shifts and veers,
Pass, and the flames of remembered fires requicken
Years upon years.

Surely the thought in a man's heart hopes or fears
Now that forgetfulness needs must here have stricken
Anguish, and sweetened the sealed-up springs of tears.

Ah, but the strength of regrets that strain and sicken,
Yearning for love that the veil of death endears,
Slackens not wing for the wings of years that quicken -
Years upon years.

II.

Years upon years, and the flame of love's high altar
Trembles and sinks, and the sense of listening ears
Heeds not the sound that it heard of love's blithe psalter
Years upon years.

Only the sense of a heart that hearkens hears,
Louder than dreams that assail and doubts that palter,
Sorrow that slept and that wakes ere sundawn peers.

Wakes, that the heart may behold, and yet not falter,
Faces of children as stars unknown of, spheres
Seen but of love, that endures though all things alter,
Years upon years.

III.

Years upon years, as a watch by night that passes,
Pass, and the light of their eyes is fire that sears
Slowly the hopes of the fruit that life amasses
Years upon years.

Pale as the glimmer of stars on moorland meres
Lighten the shadows reverberate from the glasses
Held in their hands as they pass among their peers.

Lights that are shadows, as ghosts on graveyard grasses,
Moving on paths that the moon of memory cheers,
Shew but as mists over cloudy mountain passes
Years upon years.

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Christopher Eccleston

Theatre is expensive to go to. I certainly felt when I was growing up that theatre wasn't for us. Theatre still has that stigma to it. A lot of people feel intimidated and underrepresented in theatre.

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I've done a lot of costume drama and theatre - the National Theatre and In fact, most of my work at the theatre, at the National Theatre anyway, was period.

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The Cranes Of Ibycus

Once to the song and chariot-fight,
Where all the tribes of Greece unite
On Corinth's isthmus joyously,
The god-loved Ibycus drew nigh.
On him Apollo had bestowed
The gift of song and strains inspired;
So, with light staff, he took his road
From Rhegium, by the godhead fired.

Acrocorinth, on mountain high,
Now burns upon the wanderer's eye,
And he begins, with pious dread,
Poseidon's grove of firs to tread.
Naught moves around him, save a swarm
Of cranes, who guide him on his way;
Who from far southern regions warm
Have hither come in squadron gray.

"Thou friendly band, all hail to thee!
Who led'st me safely o'er the sea!
I deem thee as a favoring sign,--
My destiny resembles thine.
Both come from a far distant coast,
Both pray for some kind sheltering place;--
Propitious toward us be the host
Who from the stranger wards disgrace!"

And on he hastes, in joyous wood,
And reaches soon the middle wood
When, on a narrow bridge, by force
Two murderers sudden bar his course.
He must prepare him for the fray,
But soon his wearied hand sinks low;
Inured the gentle lyre to play,
It ne'er has strung the deadly bow.

On gods and men for aid he cries,--
No savior to his prayer replies;
However far his voice he sends,
Naught living to his cry attends.
"And must I in a foreign land,
Unwept, deserted, perish here,
Falling beneath a murderous hand,
Where no avenger can appear?"

Deep-wounded, down he sinks at last,
When, lo! the cranes' wings rustle past.
He hears,--though he no more can see,--
Their voices screaming fearfully.
"By you, ye cranes, that soar on high,

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Great Conductors

Hans Richter Parsifal did not conduct,
and to the National Gallery he never paid
a visit, but he showed Franz Strauss who never sucked
just how the horn in Meistersinger should be played.

Franz Strauss refused to play a second time
for Hans von Bülow Meistersinger’s second act;
Hans begged his pardon when Franz told him: “I’m
retiring, since you for the hornist show no tact.”

There is an incident reported about the premiere of Die Meistersinger von Nuremberg. The first version: during a rehearsal Strauss complained about the terrible demanding horn part, but Hans Richter, Wagner's secretary & former first horn at the Viennese Kaerntnerthor Theatre (Beethoven's Sonata op.17 had been premiered there; forerunner theatre of the Imperial Opera House) , was present & asked Strauss to lend him his horn & played the passage from the endings of the second act flawless, but giving the horn back with the comment With your B-flat-horn you will have difficulties always; the F-horn sounds much better.
I do not believe this anecdote to be true. Even an already warmed up horn player of excellent qualities might have difficulties with the Pruegelszene How can a conducter to be (Richter became the first world famous conductor; he led the first Ring in Bayreuth 1876) , who had not played his horn for a while, play this passage flawless without any warm-up. A myth only! Richter used this complain about B-flat horn also, when he conducted in Bayreuth. He recommended the use of the single F horn always. No wonder. He came from Vienna.
The second incident happened after the end of the dress rehearsal of Mastersingers. Hans von Bülow wanted to repeat the ending of the 2nd Act again, but Strauss refused to do so, telling von Bülow that he could not do it again, as being exhausted already. If you cant do it again, so you must better ask for retirement! , replied von Buelow to Strauss. But Strauss left the pit and asked the opera's administration for immediate retirement. So Hans von Bülow had to come to Strauss house at the Pschorr Estate, ask for pardon, which was granted, - so the premiere of Mastersingers was saved.
There is an incident reported about the premiere of Die Meistersinger von Nuremberg. The first version: during a rehearsal Strauss complained about the terrible demanding horn part, but Hans Richter, Wagner's secretary & former first horn at the Viennese Kaerntnerthor Theatre (Beethoven's Sonata op.17 had been premiered there; forerunner theatre of the Imperial Opera House) , was present & asked Strauss to lend him his horn & played the passage from the endings of the second act flawless, but giving the horn back with the comment With your B-flat-horn you will have difficulties always; the F-horn sounds much better.
I do not believe this anecdote to be true. Even an already warmed up horn player of excellent qualities might have difficulties with the Pruegelszene. How can a conductor to be (Richter became the first world famous conductor; he led the first Ring in Bayreuth 1876) , who had not played his horn for a while, play this passage flawless without any warm-up. A myth only! Richter used this complain about B-flat horn also, when he conducted in Bayreuth. He recommended the use of the single F horn always. No wonder. He came from Vienna.
The second incident happened after the end of the dress rehearsal of Mastersinger. Hans von Bülow wanted to repeat the ending of the 2nd Act again, but Strauss refused to do so, telling von Bülow that he could not do it again, as being exhausted already. If you can’t do it again you had better ask for retiremen! replied von Bülow to Strauss. But Strauss left the pit and asked the opera's administration for immediate retirement. So Hans von Bülow had to come to Strauss house at the Pschorr Estate, ask for pardon, which was granted, - so the premiere of Mastersingers was saved.


8/25/08

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IV. Tertium Quid

True, Excellency—as his Highness says,
Though she's not dead yet, she's as good as stretched
Symmetrical beside the other two;
Though he's not judged yet, he's the same as judged,
So do the facts abound and superabound:
And nothing hinders that we lift the case
Out of the shade into the shine, allow
Qualified persons to pronounce at last,
Nay, edge in an authoritative word
Between this rabble's-brabble of dolts and fools
Who make up reasonless unreasoning Rome.
"Now for the Trial!" they roar: "the Trial to test
"The truth, weigh husband and weigh wife alike
"I' the scales of law, make one scale kick the beam!"
Law's a machine from which, to please the mob,
Truth the divinity must needs descend
And clear things at the play's fifth act—aha!
Hammer into their noddles who was who
And what was what. I tell the simpletons
"Could law be competent to such a feat
"'T were done already: what begins next week
"Is end o' the Trial, last link of a chain
"Whereof the first was forged three years ago
"When law addressed herself to set wrong right,
"And proved so slow in taking the first step
"That ever some new grievance,—tort, retort,
"On one or the other side,—o'ertook i' the game,
"Retarded sentence, till this deed of death
"Is thrown in, as it were, last bale to boat
"Crammed to the edge with cargo—or passengers?
"'Trecentos inseris: ohe, jam satis est!
"'Huc appelle!'—passengers, the word must be."
Long since, the boat was loaded to my eyes.
To hear the rabble and brabble, you'd call the case
Fused and confused past human finding out.
One calls the square round, t' other the round square—
And pardonably in that first surprise
O' the blood that fell and splashed the diagram:
But now we've used our eyes to the violent hue
Can't we look through the crimson and trace lines?
It makes a man despair of history,
Eusebius and the established fact—fig's end!
Oh, give the fools their Trial, rattle away
With the leash of lawyers, two on either side—
One barks, one bites,—Masters Arcangeli
And Spreti,—that's the husband's ultimate hope
Against the Fisc and the other kind of Fisc,
Bound to do barking for the wife: bow—wow!
Why, Excellency, we and his Highness here
Would settle the matter as sufficiently

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John Dryden

Palamon And Arcite; Or The Knight's Tale. From Chaucer. In Three Books. Book II.

While Arcite lives in bliss, the story turns
Where hopeless Palamon in prison mourns.
For six long years immured, the captive knight
Had dragged his chains, and scarcely seen the light:
Lost liberty and love at once he bore;
His prison pained him much, his passion more:
Nor dares he hope his fetters to remove,
Nor ever wishes to be free from love.
But when the sixth revolving year was run,
And May within the Twins received the sun,
Were it by Chance, or forceful Destiny,
Which forms in causes first whate'er shall be,
Assisted by a friend one moonless night,
This Palamon from prison took his flight:
A pleasant beverage he prepared before
Of wine and honey mixed, with added store
Of opium; to his keeper this he brought,
Who swallowed unaware the sleepy draught,
And snored secure till morn, his senses bound
In slumber, and in long oblivion drowned.
Short was the night, and careful Palamon
Sought the next covert ere the rising sun.
A thick-spread forest near the city lay,
To this with lengthened strides he took his way,
(For far he could not fly, and feared the day.)

Safe from pursuit, he meant to shun the light,
Till the brown shadows of the friendly night
To Thebes might favour his intended flight.
When to his country come, his next design
Was all the Theban race in arms to join,
And war on Theseus, till he lost his life,
Or won the beauteous Emily to wife.
Thus while his thoughts the lingering day beguile,
To gentle Arcite let us turn our style;
Who little dreamt how nigh he was to care,
Till treacherous fortune caught him in the snare.
The morning-lark, the messenger of day,
Saluted in her song the morning gray;
And soon the sun arose with beams so bright,
That all the horizon laughed to see the joyous sight;
He with his tepid rays the rose renews,
And licks the dropping leaves, and dries the dews;
When Arcite left his bed, resolved to pay
Observance to the month of merry May,
Forth on his fiery steed betimes he rode,
That scarcely prints the turf on which he trod:
At ease he seemed, and prancing o'er the plains,
Turned only to the grove his horse's reins,
The grove I named before, and, lighting there,

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Sunday at Hampstead

I

(AN VERY IDLE IDYLL BY A VERY HUMBLE MEMBER OF THE GREAT AND NOBLE LONDON MOB.)

This is the Heath of Hampstead,
This is the Dome of Saint Paul’s;
Beneath, on the serried house-tops,
A chequered luster falls:

And the might city of London,
Under the clouds and the light,
Seems a low, wet beach, half shingle,
With a few sharp rocks upright.

Here we sit, my darling,
And dream an hour away:
The donkeys are hurried and worried,
But we are not donkeys to-day:

Through all the weary week, dear,
We toil in the murk down there,
Tied to a desk and a counter,
A patient, stupid pair!

But on Sunday we slip our thether,
And away from the smoke and the smirch;
Too grateful to God for His Sabbath
To shut its hours in a church.

Away to the green, green country,
Under the open sky;
Where the earth’s sweet breath is incense
And the lark sings psalms on high.

On Sunday we’re Lord and Lady,
With ten times the love and glee
Of those pale, languid rich ones
Who are always and never free.

The drawl and stare and simper,
So fine and cold and staid,
Like exquisite waxwork figures
That must be kept in the shade.

We can laugh out loud when merry,
We can romp at kiss-in-the-ring,
We can take our beer at a public,
We can loll on the grass and sing.

Would you grieve very much, my darling,

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