the look of the place. But they are interested to hear that gold is
being found; and while Lamendin at last sets sail, the Donogoo-Tonka
Central Bar and the London & Donogoo-Tonka’s Splendid Hotel are going
up; it is obviously the intention of the earlier arrivals to mulct the
later.
And then, of course, gold really is found in the river bed and the
price of all provisions goes up fifty per cent.
Regrettably, _en voyage_, Lamendin tells his pioneers that Donogoo
does not exist. On his arrival at Rio de Janeiro he receives a cable
from the Professor, demanding immediate results; and as he turns in
despair he reads the announcement by Agence Meyer-Kohn, of the next
caravan to the gold fields of Donogoo-Tonka. He arrives; he takes
possession; he founds an empire, in which the religion of Scientific
Error is established. Trouhadec, still living, is deified; he becomes
Trouhadec, Father of his Country. The utility of geography is one of
the prescribed subjects for public lectures.
That is a slightly more intelligent plot than most of the adventure
things one sees in the movies. It is in the detail and in the
presentation of an _idea_, the idea of scientific error, that M Romains
has pressed beyond the professional technique of the moving picture
without once exceeding its natural limitations. For instance in the
waiting room where Lamendin sits with the other would-be suicides:
“Absurdity, given off by so many brains, becomes palpable. One begins
to distinguish a sort of very subtle exhalation which disengages itself
from the human bodies and little by little charges the atmosphere.”
The settings in this scene are very much in the manner of _Caligari_.
Or there is the debate in the soul of Professor Trouhadec who knows
that he will profit by a fraud. From the beginning the spectator must
realize that the debate is only on the surface; that in his heart
Trouhadec is going to accept; the spectator is to see him thinking of
truth with a capital T and, much deeper down, of himself as a member
of the Institute. Just as in the exploitation of Donogoo-Tonka we
see a man coming up the steps of a subway station with the words
Donogoo-Tonka written on every step; until, as he emerges, his skull
ceases to be opaque, and we see the twelve little letters dancing in
his brain. M Romains has even carried the thing over into Keystone
farce, so sure is he of his medium. During one of the lectures “his
eloquence is so persuasive, his thought opens such penetrating channels
into human nature that, little by little, little by little, a soft down
begins to sprout on the bald head” of a man in the audience. _Ça c’est
du Cinema_, as M Cendrars says.
M Romains has also a complete understanding of projection. He protests,
in a preface, against the monotonous speeding-up of pictures and
urges that this one be taken and shown in the rhythm of ordinary
life, with a shading toward slow, especially in the scenes “where the
only events which pass before us are the thoughts of the characters”
(required reading for Mr Griffith and Mr de Mille for one year is in
those words). In the scenes which exploit the shares in Donogoo-Tonka
we enter into the minds of individuals, of groups, of crowds; at the
end the very framework of a building succumbs to the madness of the
idea. And then, with a technical mastery not yet put into practise,
M Romains directs that the various scenes just projected be shown
again, side by side, with a gradually accelerated rhythm. In the scenes
of the adventurers we get glimpses at Marseilles, London, Naples,
Porto, Singapore, San Francisco; then we see the groups starting out;
the lines of their voyage converge. These scenes are projected first
in succession and then _simultaneously_. Each time we see them we
recognize some of the individuals we have seen before. “And when by
chance the faces are turned towards us, we have a feeling that they,
too, recognize us.” The cinema has not yet accomplished that; chiefly,
I fancy, because it never has been asked to.
M Romains is the prophet of _unanisme_, and it would be remarkable
if he did not use the moving picture to push his point. The end of
Donogoo-Tonka is pure poetry.
The horizon has receded before the Palace and the chief figures look
out into a light which has its own laws. Paris appears deep in the
background. “But so close, perhaps, that we are troubled to see it and
would like to fall back a step.
“As if, yielding to friendly pressure, the world has renounced for one
evening its concept of space and all its habits.”
ACKNOWLEDGMENTS
I owe so much to others in connexion with this book that if I were to
set down the names and the reasons it would appear, quite properly,
that I have done little except collect and theorize about material
presented to me; it might also appear that I wish to make others
responsible. Virtually everyone I know has contributed something--and
in many cases they did so before I had thought of writing this book.
I can therefore make only specific acknowledgments. Above all to two
managing editors, John Peale Bishop and Edmund Wilson, Jr., of _Vanity
Fair_ and to their editor, Frank Crowninshield; they published several
essays which later served as the raw material for chapters here,
published portions of other chapters written expressly for this book,
and otherwise encouraged and prospered me--to such an extent that I owe
to them and to my fellow-editors of the _Dial_ the holiday which made
it possible for me to write at all. Except as otherwise acknowledged,
the illustrations are reproduced with the permission of the artists;
in addition, I have to thank the editors of the two journals mentioned
for joining their permission in the case of work they originally
reproduced, the firm of Albert and Charles Boni for the liberal use
of Frueh’s Stage Folk, and H. T. Parker of the Boston _Transcript_
for letting me reprint _A Conversation in Old Athens_. For technical
information and exceptionally painstaking criticism I am indebted
to Sara and Gerald Murphy, Martin Brown, Alexander Steinert, Deems
Taylor, Lewis Galantière, H. K. Moderwell, and Dorothy Butler; for the
material in the appendix to Charles Chaplin, Irving Berlin, Bushnell
Dimond, Walter Hoban, and Sophie Wittenberg. My indebtedness to those
whom I do not know--those I have written about--is too apparent to need
emphasis, and too great to be adequately acknowledged.
FOOTNOTES
[1] Except that supplied by the professional journals--often excellent.
[2] But there is more to say; a little of it occurs on page 41.
[3] Scenario by the adroit Anita Loos.
[4] Seven years ago, when this imaginary conversation was published, I
wanted to be fair to Mr Eaton and to persuade Mr Griffith to do Helen
of Troy. I succeeded in neither, and the document has only historical
interest. I do not know Mr Eaton’s present stand on the movies, and
I apologize to him for retaining his name here. What I do know is Mr
Griffith’s position. It will be entertaining to compare it with the
imaginary future outlined for him above. See page 323.
G. S.
[5] See Appendix.
[6] It appeared in _The New Republic_ and will probably be found in
_The Flower in Drama_ (Scribners).
[7] See page 92.
[8] My indebtedness, and, I suppose, the indebtedness of everyone who
cares at all for negro music, is apparent--to Afro-American Folksongs,
by Henry Edward Krehbiel (Schirmer).
[9] It has been clairvoyantly pointed out to me by another composer
that Berlin’s preëminence in ragtime and jazz may be traced to his
solitary devotion to melody and rhythm; in the jazz sense there remains
something always pure in his work. This supports the suggestion made in
the next paragraph.
[10] Internal, off-beat rhyme occurred as long ago as _Waiting for
the Robert E. Lee_. Bud de Sylva has used it intelligently, but
not expertly enough in _Where is the Man of My Dreams?_ and Brian
Hooker and William Le Baron make it a great factor in their highly
sophisticated lyrics. So also Cole Porter.
[11] In “The Spice of Variety,” which he conducts for _Saucy Stories_.
[12] Since writing this I am informed that the Winter Garden has
changed, at least structurally. But even if the type of show at
that house also changes, _The Passing Show_ as a type will be seen
elsewhere, so I leave what I have written. In 1913 or 1914 Mr H. K.
Moderwell wrote of the worst show in years, “They call it _The Passing
Show_. Let it pass.” Apparently they did.
[13] This review appeared in _Vanity Fair_ sometime in the summer of
1922. I allow it to stand with nothing more than verbal corrections
in spite of my dislike of books which collect articles expressly
written for magazine publication, because I feel that the negro show
is extraordinarily transient and that a transient criticism of it is
adequate. The permanent qualities are touched on elsewhere; especially
in the essay entitled “Toujours Jazz.” Since this was written there
have been other negro shows, and I have heard that one was better than
_Shuffle Along_. What has interested me more is the report that there
is a “nigger show by white men” which is standing them up every night.
This verifies a prediction made below--that the negro show would have
an effect on the white man’s. I am not at all sure that there will
not continue to be negro shows for a long time--why in Heaven’s name
shouldn’t there be? They have their qualities and their great virtues.
It is only in relation to the sophisticated Broadway piece that I find
them lacking; and have perhaps not been fair enough to them.
[14] For da Ponte’s share in the work, cf. Edgar Istel: Das Libretto,
which analyzes the changes made in Beaumarchais’ play.
[15] All this was written before Bert Savoy died. I haven’t changed the
verbs to the past tense. “How well could we have spared for him....”
[16] R. C. Benchley has written a just and sympathetic account of
Jackson. It appeared in a magazine and is not, so far as I know,
available in book form.
[17] A number of comic-strip artists, on achieving fame, stop drawing,
leaving that work to copyists of exceptional skill. I do not know
whether this is the case in the _Happy Hooligan_ strip.
[18] I must hasten to correct an erroneous impression which may have
caused pain to many of Krazy’s admirers. The three children, Milton,
Marshall, and Irving, are of Ignatz, not, as Mr Stark Young says, of
Krazy. Krazy is not an unmarried mother. For the sake of the record I
may as well note here the names of the other principals: Offisa Bull
Pupp; Mrs Ignatz Mice; Kristofer Kamel; Joe Bark the moon hater; Don
Kiyoti, that inconsequential heterodox; Joe Stork, alias Jose Cigueno;
Mock Duck; Kolin Kelly the brick merchant; Walter Cephus Austridge; and
the Kat Klan: Aunt Tabby, Uncle Tom, Krazy Katbird, Osker Wildcat, Alec
Kat, and the Krazy Katfish.
[19] See Appendix.
[20] Heywood Broun has discovered that everybody in vaudeville is an
“artist” except the trained seal.
[21] I do not know enough of Carl Hyson and Dorothy Dickson or of the
Astaires to judge their place.
[22] For example: “Ours is a sincere doubt as to whether the question
‘And what did _you_ do during the Great War?’ might not embarrass,
among others, God.”
[23] He said of Firpo that when he came up after the sixth or seventh
knock-down, his face looked like a slateful of wrong answers.
[24] A footnote to a footnote is preposterous. Perhaps the very excess
of its obscurity will give it prominence and render faint justice to
the old New York _Hippodrome_. It is a fine example of handling of
material, and of adjustment, spoiled occasionally by too much very loud
singing and a bit of art. It is part of New York’s small-townness; but
it is so vast in its proportions that it can never acquire the personal
following of a small one-ring circus like the Medrano in Paris. I adore
the _Hippodrome_ when it is a succession of acts: the trained crow
and Ferry who plays music on a fence and the amazing mechanical and
electrical effects. Joe Jackson, one of the greatest of clowns, played
there, too, and had ample scope. I like also the complete annihilation
of personality in the chorus. When you see three hundred girls doing
the same thing it becomes a problem in mass--I recall one instance when
it was a mass of white backs with black lines indicating the probable
existence of clothes--the whole thing was quite unhuman. And one great
scene in which, I believe, the whole of the personnel participated:
there were, it seemed, hundreds of tumblers and scores of clowns, and
a whole toy shop in excited action. Oddly enough, one finds that the
weakness of the _Hip_ is in its humour; there is plenty of it, but it
is not concentrated, and there is no specific _Hippodrome_ “style.”
What it will become under the new Keith régime remains to be seen.
[25] I have seen them since in another entrance, the most brilliant of
all. See Appendix.
[26] They nevertheless played exquisitely, I am told, in the
Cocteau-Milhaud _Bœuf sur le Toit_.
[27] _Quanto più, un’ arte porta seco fatica di corpo, tanto più è
vile!_ Pater, who quotes this of Leonardo, calls it “princely.”
[28] It is not too late for you to film Mr D. Taylor’s _Should a
Brother-in-Law Give a Damn?_
[29] I haven’t seen _The Covered Wagon_. Its theme returns to the
legendary history of America. There is no reason why it should not have
been highly imaginative. But I wonder whether the thousands of prairie
schooners one hears about are the film or the image. In the latter case
there is no objection.
[30] They have done so. See “The Cinema Novel.”
[31] I wrote once, and was properly rapped over the knuckles for
writing, that it wasn’t to escape Bach, but to escape Puccini, that
one played Berlin. Mr Haviland, whom I have quoted frequently, replied
that those who really cared for jazz cared for it, not as an escape
from any other art. I had not intended to write an apology; only,
since I was replying to the usual attack on the jazz arts, I wanted to
indicate that in addition to their primary virtues they have this great
secondary one, that when we are too fed up with bad drawing, bad music,
bad acting, and second-rate sentiment, we can be sure of consolation in
the lively arts.
_Index of Principal Names_
INDEX OF PRINCIPAL NAMES
(_Numerals enclosed in =equals signs= indicate the chief references_)
Adams, F. P., 120, =279–282=
Ade, George, 119, 120, 166
Aiken, Spottiswood, 329
Alder, Else, 170
Anderson, John Murray, 131, 134, =143–145=, 153, 371
Anderson, Sherwood, 123, 341
Arbuckle, Fatty, 12, 18, 19
Astaires, The, 272 f
Bach, Johann Sebastian, 310, 350
Baer, Arthur “Bugs,” 278, =285–287=
Baker, Belle, 196, 256
Balieff, Nikita, =260–262=
Bara, Theda, 338
Barnes, Helen, 186
Barton, Jimmy, 172, 206, 207
Barrymore, John, 330
Bayes, Nora, 172
Beggar’s Opera, 169, 173, 188
Bell, Clive, 104, 108, 150
Benchley, R. C., 208, 316
Berlin, Irving, =57–66=, =69–80=, =83–108=, 131, 139, 141–143, 145,
170, =186–188=, 216, 242, 273, 318, 348, 353, =369–371=
Bernard, Sam, 142
Bernie, Barney, 100
Bierce, Ambrose, 120
Bitzer, George, 333
Blake, Sissle and, 94, 96, =149–158=
Bolton, Guy, 165, 166
Braham, Philip, 74
Brian, Donald, 172, 272
Briants, The Two, 251, 257
Brice, Fanny, 135, 145, =191–200=, =208=, 251, 252, 309
Briggs, Clare, 216, =218–220=
Brisbane, Arthur, 234
Brooks, Shelton, 156
Brooks, Van Wyck, 111
Broun, Heywood, 113, 129, 136, 250 f, 281, 283, =284–285=
Brown Brothers, The Six, 251, 256
Brown, Jessica, 272
Busch, Wilhelm, 215
Cabinet of Dr Caligari, The, 8, 325, 331, 335, 339
Cæsar, Irving, 371
Cantor, Eddie, 129, 139, =178–180=, 184, 196, 304
Carpenter, John Alden, 144, 217, 236, =240–242=, 377–379
Carter, Frank, 146
Carter, Nick, 328
Caryll, Ivan, 65, 165, 170
Castle, Irene, 186, 309, 318
Castle, Vernon and Irene, 156, =273–274=
Cendrars, Blaise, =384–386=
Chaliapin, Feodor, 204, 313
Chalif, Louis H., 318
Chaplin, Charlie, =3–24=, =41–54=, 144, 213, 232, 238, 241, 259, 301,
309, 319, 334, 347, 348, 352, 353, =361–366=
Cimarosa, Domenico, 164
Claire, Ina, 146, 185
Clark, Bobby, 134, 207
Cocteau, Jean, 304
Cohan, George M., 70, 78, =137–139=, 154, 171, 260, 271
Collier, Willie, 138, 142
Confrey, Zez, 84, 90, 92
Conklin, Chester, 12, 17
Conrad, Joseph, 327, 337
Cook, Clyde, 18
Cook, Joe, 178, 251, =258–260=
Coogan, Jackie, 50
Crawford, Clifton, 172
Creamer and Layton, 94, 96, =149–158=
Crowley, Aleister, =374–376=
D’Annunzio, Gabriele, 325
DeBeck, Billy, 224, 225
De Mille, Cecil, 6, 309, 338
Deslys, Gaby, 185, 186, 187, =209–210=
Dickson, Dorothy, 272 f
Dillingham, Charles B., 145–146, 169, 170
Dimond, Bushnell, 9
Dixon, Harland, 169, 186, 187, 273
Donahue, Jack, 256
Donaldson, Walter, 84, 91
Doner, Kitty, 179
Dooley, Johnny, 172, 241, 251, 255, 256, 271
Dooley, Mr (Martin), =111–126=, 309
Dooley, Ray, 178, 241
Doyle and Dixon, 186, 187, =273=
Drew, Sidney, Mr & Mrs, 19–20
Dryden, Helen, 145, 172, 186
Duffy and Sweeney, 251, 257
Duncan, Isadora, 317
Eaton, Walter Pritchard, =27–38=
Eliot, T. S., 104, 106, 361
Ellis, Havelock, 345
Emerson, John, 339
Errol, Leon, 146, =206=, 260, 271
Europe, Jim, 100, 103, =156–158=
Fairbanks, Douglas, 20
Fall, Leo, 64, 65
Fazenda, Louise, 12
Ferry, 294
Fisher, Bud, 216
Fisher, Fred, 84, 91
Fortunello and Cirillino, 144, 209, 294, 297
Forty-niners, =260–261=, 316
Fox, Fontaine, 225
Fox, Harry, 186, 187
Fox, William, 334
France, Anatole, 118, 231
Fratellini, The Three, 209, =297–305=, =380–382=
Friml, Rudolf, 165
Frisco, 271
Frueh, Alfred, 217, =227–228=
Geddes, Norman-Bel, 172, 313
George, Yvonne, 144, 145, 197, 198
Gershwin, George, 73, 74, 75, 89, 91, =92–93=, 195
Gibbs, A. Harrington, =94–95=
Gilbert and Sullivan, 161, 162, 163, 164
Glass, Montague, 119, 120, 121
Glyn, Elinor, 324
Goldberg, Rube, 224, 227
Gourmont, Remy de, 203
Granville, Bernard, 181
Greenwich Village Follies, =143–145=
Greenwood, Charlotte, 272
Grey, Gilda, 95, 135, 141, 154, 209
Griffith, D. W., 4, 6, 13, 23, =27–38=, 323, 325, 327, 329, =331–335=
Grock, 294, 297
Guilbert, Yvette, 197
Ham & Bud, 22, 352
Hammond, Percy, 249
Handy, 97
Harris, Charles K., 58
Haviland, Walter, 100–102, 255, 353
Hazzard, John, 144, 372
Held, Anna, 135
held, j., 226
Herbert, Victor, 135, =171–172=, 199
Herriman, George, 50, 144, 214, 217, 228, =231–245=, 309, 377, 379
Hershfield, 218, =224–225=
Hirsch, Louis, 66, 72, 89–90, 171
Hitchcock, Raymond, 178
Hoban, Walter, 144, 220, =225=
Hooker, Brian, 89, 172
Houdini, Harry, 256
Howard, Eugene and Willie, 208
Hughes, Rupert, 324
Hyson, Carl, 272 f
Ince, Thomas H., 4, 6, 13, 334
Irwin, Wallace, 119, 120
Jackson, Joe, =208–209=, 294 f
James, Henry, 310, 314
Janis, Elsie, =185–186=
Johnston, Justine, 186, 187
Jolson, Al, 62, 74, 91, 139, 177, 178, 179, 184, =191–200=, 309, 347
Joyce, James, 104, 106, 117
Kalman, Emmerich, 65
Katterjohn, Monte, 339
Keaton, Buster, 6, 17, 18
Keith, B. F., Vaudeville, =249–263=, =294=
Kelly, Harry, 145, 207
Kern, Jerome, 66, 72–73, 92, 161, =165–170=, 273, 348
Ketten, M., 221
Keystone Comedy, =3–24=
Knight, Percival, 172
Kraus, Werner, 331
Krehbiel, H. E., 86–88
Kreisler, Fritz, 170
Lardner, Ring, =111–126=, 135, 309
Layton, Creamer and, 94, 96, =149–158=
LeBaron, William, 170
Lehar, Franz, 65, 161, 163, 164
Leonard, Baird, 279, =282=
Leonardo da Vinci, 319
Levey, Ethel, =254–255=, 258
Lewis, Ada, 169, 209
Lloyd, Harold, 6, 15, 49
Loos, Anita, 20 f, 339
Lopez, Vincent, 100, =102–103=
Lorraine, Lillian, 135, 146
Lubitsch, E., 13, 335
MacNamara, Tom, 222
McIntyre and Heath, 152
McQuinn, Robert, 145, 186
Mann, Hank, 12, 15
Mansfield, Richard, 249
Marceline, 294
Marquis, Don, =282–283=
Marsh, Mae, 329, 330, 331, 333
Marx Brothers, The Four, 251, 256
Maurice, 169, =273=
Mencken, H. L., 278
Merrill, Blanche, 197
Milhaud, Darius, 85, 100, 304 f
Mills, Florence, 62, 99, =154–155=
Milton, Robert, 165
Mistinguett, 185
Moderwell, H. K., 131 f
Moeller, Helen, 318
Molnar, Ferencz, 314, 315, 337
Monckton, L., 65, 165
Monroe, George, 205
Moore, Florence, 142, 209
Moran, Polly, 12
Moret, Neil, 62
Morgan, Marion, 318
Morley, Christopher, =283=
Moss and Frye, 252
Mozart, W. A., 161, 163, 164
Muck, Karl, 157
Music Box Revue, =141–143=
Nathan, George Jean, 60, 129
Nijinsky, Waslaw, 318, 353
Normand, Mabel, 11, 19
Norris, Frank, =331=
Parker, Sir Gilbert, 324
Pater, Walter, Title page, 108, 203, 319
Pennington, Ann, 272
Phillips, H. I., =277–278=
Picasso, Pablo, 104, 107, 310, =345–347=
Pilcer, Harry, 187
Piquer, Conchita, 140
Porter, Cole, 73, =92–94=
Powers, T. E., 226
Preston, Keith, 284
Puccini, Giacomo, 312, 313, 345, 353
Purviance, Edna, 12
Randall, Carl, 270, 271
Rath Brothers, 140, 251, 257, 351–352
Ray, Charles, 16, 21
Ring, Blanche, 139, 208
Riq, 279
Rogers, Will, 129, 135
Romains, Jules, =386–390=
Rubens, Paul, 165
Ruth, George H. (Babe), 351
Sale, Chic, 257, 258
Sanderson, Julia, 172, 272
Santayana, George, 140, 249
Savoy, Bert, 134, 144, 145, =205–206=
Savoy Operetta, =161–173=
Schaeffer, Sylvester, 258
Semon, Larry, 18
Sennett, Mack, =4–24=, 42, 309
Shaw, Bernard, 314
Sissle and Blake, 94, 96, =149–158=
Sloane, A. Baldwin, 372
Smith, Edgar, 372
Smith, Syd, 221
St. John, Al, 17
Stone, Fred, =182–183=, 249
Stearns, Harold E., 214, 215
Straus, Oscar, 163, 164, 168
Strauss, Johann, 64
Strawinsky, Igor, 99, 104, 106, 346
Sullivan, C. Gardner, 14
Swain, Mack, 17
Sweet, Blanche, 329, 330
Swift, Jonathan, 111, 121, 123
Swinnerton, Jimmy, 215
Symons, Arthur, 250
Tad, 218, =220=, 227, 367
Tanguay, Eva, =374–376=
Taylor, Bert Leston, =278–279=
Taylor, Deems, 242, 328 f
Tempest, Marie, 154
Tempest and Sunshine, 186
Thomas, Augustus, 314
Tiller Girls, 270
Tinney, Frank, =180–182=, 196
Turpin, Ben, 11–12, 16–17, 44–45
Twain, Mark, 111, 112
Urban, Joseph, 130, 151, 170, 313, 334
Van Hoven, Frank, 257, 258, 259
Van and Schenck, 251, 256
Veidt, Conrad, 204, 331
Viennese Operetta, =161–173=
Wagner, Richard, 312, 313
Walthall, Henry, 329, 333
Ward, Artemas, 120
Warner, H. B., 331
Watson, Harry, Jr., 134, 251, 257
Wayburn, Ned, 151
Weaver, J. V. A., 124
Webster, H. T., 221
White, Pearl, 327, 328
Whiteman, Paul, 70, 89, 93, 99, 100, =103–104=, 106
Williams, Bert, 135, 146, 208
Williams, Herbert and Wolfus, 251, 257
Williams and Walker, 152
Wilson, Edmund, 136
Winninger, Charles, 138, 139, 208
Winter Garden, =139–141=
Withers, Charles, 257, 258
Wodehouse, P. G., =165–169=
Woollcott, Alexander, 181
Wynn, Ed, 181, =183–185=, 196
Young, Stark, 52, 53, 234 f, 235
Ziegfeld, Florenz, =129–146=, 151, 153, 170, 309
Transcriber’s Notes
Punctuation, hyphenation, and spelling were made consistent when a
predominant preference was found in the original book; otherwise they
were not changed.
Simple typographical errors were corrected; unbalanced quotation
marks were remedied when the change was obvious, and otherwise left
unbalanced.
Illustrations in this eBook have been positioned between paragraphs
and outside quotations. In versions of this eBook that support
hyperlinks, the page references in the List of Illustrations lead to
the corresponding illustrations.
Halftone patterns in some illustrations could not be entirely obscured.
Footnotes, originally at the bottoms of pages, have been collected,
renumbered, and placed just before the Index.
The index was not checked for proper alphabetization or correct page
references. It was not always possible to determine whether or not some
references were in boldface.
“Strawinsky” is spelled that way throughout this book.
Page 209: “surexcess” was printed that way.
Page 219: “gettings” was printed that way.
Page 379: “Indominatable” was printed that way.
Page 395: “Cæsar, Irving” was mispelled here, but spelled correctly on
the referenced page.