Clarion & Tabard

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THE

CLARION AND TABARD

BY

PHILIP PASKERT


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[Forward: This essays intent is to inform the U.S. theatre community about the

origin of the Clarion and Tabard, its recognized collective symbol. The

Clarion and Tabard, form the collective symbol of the theatre of the United

States according to public law proclaiming National Theatre Week, which was

first adopted in 1982 by the Congress and President of the United States.1 That

historic document is the first commemorative legislation unanimously passed by

Congress recognizing the theatres impact on our nation, its people and our

history.

In the past, theatre has been virtually ignored or considered detrimental practice.

In 1778 Continental Congress theatre forbade any governmental figures such as

Members of Congress, law officers, military members, etc from becoming

actively involved with theatre. The resolution, approved narrowly by seven

colonies, states:

Resolved, That any person holding an office under the United

States, who shall act, promote, encourage or attend such play, shall

be deemed unworthy to hold such office, and shall accordingly

dismissed.2

In one respect theatre is an art of the present moment__once performed it is

gone, save in the memory of the audience. Yet new productions and

performances give it a kind of ever- renewed immortality. It can put us in touch

with culture, conditions, and viewpoints of many civilizations. Indeed theatre is

at once a reminder and an affirmation of continuity of civilizations and the


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fundamental unity of all mankind. That continuity is made manifest not only in

performances of plays of the, but also in the attempts of modern artists to give

voice to conditions of our own time. These efforts, in turn, will enrich the legacy

we will leave to future generations.3

After supplying the text for the public law, a grassroots effort was begun by the

Committee for National Theatre Week (CNTW), which sought the support of the

theatre community and Congress to implement National Theatre Weeks passage

and celebration. To assist with its ratification, CNTW devised, adopted, and

relied upon the Clarion and Tabard to serve as appropriate symbol to embody

theatres diverse elements,

The symbol of the Clarion and Tabard, a causative agent in the enactment of the

public law, has retained its inferred, inherent, and prescribed association with the

proclamations pre-amble which recognizes the future estate of the theatre

community, le tout ensemble. Therefore, the pre-amble makes it immune to the

restrictions reserved for the statute alone. In part, due to its intrinsic intendment

vested by license in the resolution, the Clarion and Tabard is exempt from such

interpretation because it coheres to a united heritage, bound in practice, from

ancient custom, use and now in the public domain.

Used to stimulate community involvement with the festive celebration, the

Clarion and Tabard was offered as an incentive to seven organizations or

individuals who actively participated with National Theatre Week (NTW), in

hopes of arousing public awareness of theatre via general diffusion of


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knowledge. Observance of NTW made it vital to the recognition of theatre and

theatres contribution to individual communities. Recipients of the Clarion and

Tabard include amateur and professional individuals, theatre and media

organizations, with one reserved (posthumously) for an individual who made a

monumental contribution to their theatre community.

This essay addresses the foundation of the Clarion and Tabard, its association

with NTW and its relevancy to theatre and the United States of America.

Furthermore, it validates the claim that the Clarion and Tabard is the collective

symbol of this nations theatre community.

Edwin Booth stated: We owe something to God and those we mourn for.4 They

expect us to make them some better return for their dear love than mere moans.

This essay is dedicated to Mugsey, my heart herald: Sunka wayatanin!


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CLARION & TABARD

Fiat Voluntas Tua Sicut

- Motto of the Committee for National Theatre Week (CNTW).

Initially, the quest for an appropriate design relevant to NTW and this countrys

theatre community was met with more than its share of frustration. A variety of

patriotic designs and ideas were examined and used initially but either

insufficient or did not bear the significance desired for a fixed symbol, i.e.,

containing unity, diversity and timelessness. Further research in American

History revealed a glimmer of the symbol CNTW sought for NTW. John Quincy

Adams tells us: Think of your forefathers! Think of your posterity.5 As a multi-

ethnic and cultural nation, the only reasonable solution was to look at the

nations native beginning, the founding fathers and the ladies and gentlemen of

the enlightenment whos legacy guide us to this day. Patrick Henry, a founding

father, once remarked, I know of no way of judging the future but by the past.6

Therefore, our quest continued to find an inspirational emblem, perhaps from the

preservation and continuance. CNTWs search finally culminated with the

spotlight falling upon the actor. Research on George Washington reveal his

championing theatre while serving as commander-in-chief of the Continental

Army during the American Revolution and later as President. In a letter written

at Valley Forge to his sister, Colonel William Bradford includes, the Theatre is


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opened Last Monday Cato was performed His Excellency & Ladywere part

of the assembly.7

President Washington was an avid theatregoer. Ten days after his first Inaugural

Address he attended the theatre with the Vice President.8 In fact, during his first

year as President he held a box at the John Street Theatre in New York City9

where Philip Phile led the theatre orchestra in his compliment of The Presidents

March.10 Thereafter, a march of some kind became a regular honor used for

all future U.S. Presidents.

In his book, The Age of Washington, George Washingtons Presidency 1789-

1797, George Nordham said, Washingtons objective was to unite citizens to

common goals.11 Washington, who refused to be King, himself states, In this

sense it is, that your Union ought to be considered as a main prop of your liberty,

and that the love of the one ought to endear you to the preservation of the

other.12 However, it is his Farewell Address in which he gives an injunction that

is so inspirational that CNTW included it among its Bylaws: Promote then as an

object of primary importance, Institutions for the great diffusion of knowledge.13

Known as a citizen first in war, first in peace, first in the hearts of his

countrymen,14 it was, as Washington said, the first wish of my heart that the

enlightened policy of the present age may diffuse to all men those blessings to

which they are entitled, and lay the foundation of happiness for future

generations.15


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Washington, who simultaneously gave us independence and unity, is recognized

by many as a symbol of this nation. The word sym-bol itself means two things

put together.16 Recognition comes from putting the ring together, the completed

circleit is the merging of the one life with a large life that is of two, where the

two are one. The ring indicates that we are in one circle together.17 The symbol

CNTW finally agreed upon is directly descended from the American Revolution

and Washingtons Headquarters Flag depicted in Charles Wilson Peales,

Washington at the Battle of Princeton, c.1778-1780, indicating thirteen stars in

a circle. This flag is sometimes referred to as the Stars and Stripes, but some

ascribe this title to Francis Hopkinsons version.

A design identical Peales was submitted by William Barton, a Philadelphian

lawyer who was asked by Congressional committee to create a device for the

Great Seal.18 Selected for his artistry and heraldic knowledge, Barton depicted a

blue canton with thirteen stars in a circle.19 His notes describe the flag as. the

proper Standard of the United States. The stars represent a new Constellation.

Their Disposition, in the form of a Circle, denotes the Perpetuity of its

Continuance, the Ring being the Symbol of Eternity.20 Also following the

circular pattern is the diploma designed for a group of former Continental Army

officers called the Society of the Cincinnati. The diploma depicts an allegorical

figure, drawn by French Major Pierre Charles LEnfant, holding a sword in his

right hand and a flag in his left. Inference to the diplomas design, adopted on


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June 10, 1783, and the Headquarters Flag is obvious since Washington was the

organizations first President General.21

The perpetuity of continuance, Barton spoke of, is addressed by Washington in a

1785 letter to James Madison: We are either a United people, or we are not. If

the former, let us, in all matters of general concern act as a nation, which have

national objects to promote, and a national character to support. If we are not,

let us no longer act a farce by pretending to it.22

Besides the above, investigation finds many fascinating articles, letters, and notes

written by the founding fathers which refer to theatre, including a 1787 piece by

Benjamin Rush, signer of the Declaration of Independence and carver of two

wooden statues which embellished the front of Philadelphias New Theatre in

Chestnut Street:War is over, but this is far from being the case with the

American Revolution. On the contrary, nothing but the first act of the great

drama is closed.23

Since theatre plays a part in that revolution, CNTW purchased the

Headquarters flag and altered it by reducing the red and white stripes to the

cardinal 7 in the form of a swallow-tail, partially alluding to, a rite of passage;

being swallowed, i.e. Death followed by rebirth.24 Joseph Campbell speaking of

the Egyptian Goddess Nut: The idea is that she swallows the sun in the west and

gives birth to the sun in the east, and it passes through her body at night.25 The

seven stripes, additionally, refer to: the days of NTW, Articles of the U.S.


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Constitution, the American Indians seven rites of passage and our seventh

generation, vices and virtues, charkas, seventh heaven, Shakespeares seven

ages, artes liberalis, Buddhas seven steps, etc. The number seven, it so happens,

is a complete entity; the microcosm blending with the macrocosm.26

The colors red, white and blue (azure) carry special significance in heraldry.

Monsieur Couderc, a Parisian tailor in the 1400s, describes them: Red

predominates; at some princely entries all the accoutrements were in red. White

comes next in popularity. Every combination of colors was allowed: Red with

blue, blue with violet.the relative rarity of bluethe special color of

lovesignified fidelity.27

Basically an invention from abroad, heraldry was undeniably a factor with

Bartons design, hence CNTWs, selection of color, design and interpretation.

Again, Washingtons indelible footprints assisted us: But I cannot forbear

intimating to you the expediency of giving effectual encouragement as well to the

introduction of new and useful inventions from abroad, as to the exertions of skill

and genius in producing them at home28

Chivalry, derived from the French cheval meaning a horse, dates to a treatise

written by an anonymous French poet prior to 1250 called Ordene de

Chevalerie. Heraldry, an essential part of chivalry, dates back to the mid-twelfth

century and became firmly established with the later development of the

tournament.29 Knights who attended these tournaments bore an insignia, coat


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of arms, which became synonymous with achievement30 and was displayed on

his pennant, flag or surcoat and shield or whenever the whenever the wearer

wished to be identified.31

Many people, including minstrel-performers, rendered services at the

tournament and therefore became acquainted with the knightly sport, its rules

and the participants coats of arms.32 Being dependent upon the charity of the

tournaments host, the minstrel- performer came to especially recognize the

many armorial bearings seen throughout their journeys by remembering those

hosts who paid well and those who didnt.

Documentary evidence from the latter thirteenth century mentions heralds

accompanying minstrels33 or being confused with them. Association, linking the

two, is re-enforced when mention is made of the King instituting his royal bard to

a herald.34 The bard, a tribal poet and minstrel who sang of heroic deeds, was

supposed to be endowed with creative and inspirational powers.35 Homer,

according to the tale, was a bard.36 It is said that Merlin, who exerted all of his

skill and influence to create the Round Table with its thirteen seats, was a bard.37

The Round Table, popular in France, England and Spain, was an occasion when

knights and ladies could impersonate, and even enact scenes from, Arthurian

romances.38 Blunted weapons as in jousting were used at these games but the

Round Table itself was not considered a form of tournament.


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Further twelfth century research uncovers heralds as tournament officers;

however, they were of no rank whatsoever.39 It was the herald who proclaimed,

conducted and presented the event, which, coincidentally, led to the marshalling

of pageants and ceremonies of state.40 Besides describing events, the herald

interpreted their symbolism and served as historian by providing a permanent

record of the event and its significance.41 Analogous to the herald as messenger

and interpreter of an event, Bettina Knapp points out: The messenger, who like

the Greek chorus, reveals unknown forces at work and acquaints spectators with

reigning symbols.42

Symbolically appropriate with the thirteen stars on Clarion and Tabard are the

thirteen officers currently with the College of Arms43 and the thirteenth century

when, from most accounts, all heraldic officers of the United Kingdom were

established.44 Incidentally, it was by closing thirteen productions that Actors

Equity Association came into existence,45 the same number denotative of

transformation and rebirth.46

Knight-errantry is transformed and reborn by bearing semblance to the essence

of the war-path followed by Native American Indians who set out for adventure

and glory. Every Indian was a warrior, as every nobleman was a knight.

However, like the knight, the Indian went out to fight from personal motives and

through the desire of great deeds. The war-path was most often the path of

individual adventure47


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The adventure for an effective and proper symbol, representative of the theatre,

seemed to reach its peak when the connection between theatre and heraldry was

established in the form of both garment and flag. Surprisingly, there is a

precedent for a garment flag in Persia, when Firdausi (939-1020) states that the

national banner was originally the leather apron of Kawe the Smith. The Arabs

Banner of the Prophet was supposedly made of Mohammeds tunic or cloak and

Clovis I (484-511) chose St. Martins blue coat as his banner.48

Next, the Clarion was selected due to its manifold association with theatre,

including eighteenth century United States, and traveling performers. In

Shakespeares time, a theatre flew its flag to inform the public of a performance

there that day and sounded a trumpet when it was about to begin.49 The

Germanic scop, French jongleur, and other minstrel-performers would use

trumpet fanfare to attract the passer-by to their upcoming performance of telling

tales, singing, acrobatics, etc50 The Castle of Perseverance, dated 1425, opens

with delivery of The Banns by two vexililators dressed as heralds and

accompanied by trumpeters who provide fanfare.51 The well-known play

Everyman opens in a call delivered by a messenger who is dressed as a herald

using a golden trumpet.52 The Call Joe Campbell says, Is the essence of

mythology.53 The Clarion may intimate, when viewed to a certain degree, a

short blunted lance used in jousting. The Grail King, injured by a lance, said:

The wound is the wound of my passion and the agony of my love for this

creature. The only one who can heal me is the one who delivered the blow.54


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The banner, due to the two cords which originally attached it to the Clarion,

resembled the protective livery worn by minstrel-performers, which indicated

their Lord, Baron, or King's arms and determined the territory or 'circuit' where

they could perform.55 Basically, livery is a badge or mantle, the latter

associated with a medieval knight's cloak worn over armor and bearing his

arms.56 Speaking with Bill Moyers, Joseph Campbell refers to dragon slaying, a

deed related to heroic knights: Psychologically, the dragon is one's own binding

of oneself to one's ego. We're captured in our own dragon cage...the ultimate

dragon (thou shalt) is within you.57

The achievement of deeds by one's ancestor is one means of obtaining arms by

prescription and dates back to 1418 with King Henry V issuing a writ below :

Whereas, as we are informed,

..willingly that each of our lieges aforesaid should be held and

considered as his rank demands charge you to cause to be publically

proclaimed on our behalf, in all places..., whereby our writ we have

lately commanded proclamations to be made for the holding of

musters, that no one, of whatsoever rank, degree or condition he may

be, shall assume such arms or coats of arms, unless he possesses or

ought to possess the same right of his ancestors, or by the gifts of some

person, having adequate power for that purpose.

-Witness the King at the city of New Sarum, 2 June58


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Provided a coat of arms have not been borne before, they are valid enough when

assumed by one's own authority.59 Arms are currently devised and borne by

public corporations60 and individuals including U.S. Presidents,61 many of whom

register with The College of American Heraldry. President Washington bore a

coat of arms, and in his first inaugural address reminds us of: ...the tribute that

is due to the talents, the rectitude, and the patriotism which adorn the characters

selected to devise and adopt them.62

The characters of Comedy and Tragedy united in profile on gold cloth, are

borne directly center in the circle of stars on the Tabard's front and back.

Epicurus believed: the self-conscious part is in the breast, as may be perceived

from joy and sadness.63 Apache Indian Chief Geronimo had a holy (medicine)

song that tells: ..as I sing, I go through the air... I change, becoming spirit only.

In an illustration drawn by him, his changed form is symbolized by a circle

surrounded by a mystic aureole.64 Another idea is that: The Grail was brought

down through the middle by the neutral angels. It represents that spiritual path

between pairs of opposites, between fear and desire, between good and evil.65

Joseph Campbell contends: Every act yields pairs of opposites.66

In his book, Indian Masks and Myths of the West, Joseph Wherry states:

...the masks were more than representative symbols of spirits and powers: they

were holy objects, and when wore, they had the power to transform the wearer

into the spirit or deity portrayed.67 Many Indians believe that the masks force or

power of good and evil was determined, in the end, by the user who became one


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with the mask. Further, they believe all things have nagi--soul and thus have

the power to speak to man in dream or vision. 68 ...a song is heard on the air,

then a form appears. This form is of a man, often dressed or painted in some

particular or strange way.69

Considered by some as peculiar, the Clarion and Tabard is suitable for outdoor

use when properly erected and balanced on a pole with caster swivel, thus

allowing it to rock and roll, swing, sway and even dance in the wind with a

rhythm of its own while simultaneously showing wind direction as a compass and

alluding to A Play of the Weather. Its costume, mask and gesture become both

weighty and weightless, active and inactive, formed yet formless.70 The

impression is reminiscent of: the shaman upon finding his flesh, wakes to his

garments flying towards him:71 so too, the wooden post used for riding on

horseback at the ring and quintain with a lance, still practiced in Maryland as

jousting is the state sport.72 A national jousting competition is held annually in

different locales throughout the nation. The Tabard's upright stance also

represents the Wachen und Reisen oath of vigilance that one had to swear to as

a member of several medieval guilds73 including the original seven arti

maggiori who flew their gonfaloni.74 William Jennings Bryan similarly points:

Our government conceived in freedom and purchased with blood can be

preserved only by constant vigilance.75

Outer garments containing inner meanings,76 is an interpretation CNTW

intended to personify with the Clarion and Tabard by, Evoking the continuous


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circuit, plunging protagonists and viewers directly into mythical time, where past,

present and future cohabit with an essential present.77 It is a fact, that from

1300 onward, the personification of Lent was widely known character.78

Heralds in England, like characters, take on names of counties and countries:

Somerset, Lancaster, Zealand and Charlois.79

Boutell's Heraldry states: The tabard hung half-way down the thighs, and was

opened at the sides. The tabard was essentially a heraldic garment. It remains in

use as the official habit of heralds.80 The Tabard garment, actually worn,

complies with the 1364 statutes of the Paris armorers rule, that the first of its

kind be sewn double, 'a deux endroits', using only new material,81 and employs a

shimmering silk for its fabric of reality. Recent alteration in length have

improved its dual-function as garment and flag, with it being shortened to mid-

thigh. Additionally, the top two cords were replaced by a single, two end

tasseled, gold cord sewn around the waist and similar to those found in

jousting.82 Nietzsche says: All things are knotted so firmly together so firmly

that this moment draws from it all that is to come.83

Thespis, winner at the first dramatic festival in Greece, is credited with the idea

impersonation not so much for retaining the satyr's mask, but, for donning

Hermes cloak. Hermes was the messenger of the gods and god of eloquence.84

Pertinent to Ralph Waldo Emerson's words that: We are symbols and inhabit

symbols.85


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The symbolism of the three hundred and sixty degree directional movement of

the Clarion and Tabard, due to the cast, illustrates the unlimited possibilities

found in the diversity of theatre and defines the potential for unrestrained

boundaries of thought. Illustrative of that which moves in itself, and therefore, as

Aristotle continues, that which has circular motion; is to be posited as the true

Being, and this is evident not merely from thinking reason, but also from the fact

itself.86

Nietzsche queries: Art thou a self propelling wheel? Cans't thou also compel the

stars to revolve around thee?87 He proceeds to state: Walk in the footsteps in

which your fathers' virtue has already walked! How would you rise high, if your

fathers' will should not rise with you.88

Mario Villa's statement in the National Trust's Historic Preservation News is an

inspiration to any theatre historian and well reflects our fathers' will: I think

that we, we the aware ones, have a responsibility to to teach: that if we erase

those important monuments to our past, to ourselves -- when that is destroyed,

peoples identity is destroyed.89 It is with this remark in mind that we ask you,

the reader, to voice your support with Members of Congress to begin an annual

event after the Triple Crown called The Presidential to be held at Montpelier

for the benefit of the National Trust with the hope of self-reliance.


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Part of our identity with the Drama of Democracy will always include Addison's

Cato, a book found in Washington's library at Mount Vernon90 and what he

read before going to battle. The prologue written by Alexander Pope is as follows:

To wake the soul by tender strokes of art,

To raise the genius, and to mend the heart:

To make mankind, in conscious virtue bold,

Live o'er each scene and, be what they behold:

For this the tragic muse first trod the stage.91

The symbolism of the Clarion and Tabard will not be bound to a single

interpretation, it shall continue to adapt, as our Constitution has, to each

generation, each individual. Mircea Eliade reminds us that: For each symbolism

is a system and can only really be understood so far as we study it in the totality

of its particular application. Hence, raised or not, he Clarion and Tabard's

inherent meaning, to understand the symbol in the different categories, shall

contain guiding references that point beyond us, within us and to directions yet

to be determined or recognized.


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END NOTES

1 United States Congress, National Theatre Week,

(Washington, DC: United States Government Printing

Office (USGPO)).

1982: Public Law 97-194, 97th Congress: S.J. Res.

131, 96 Stat. 114.

1984: Public Law 98-228, 98th Congress: H.J. Res.

292, 98 Stat. 54.

1985: Public Law 99-51, 99th Congress: H.J. Res.

25, 99 Stat. 91.

1986: Public Law 99-312, 99th Congress: S.J. Res.

247, 100 Stat. 465.

2 Journals of the Continental Congress, 1774-1789,

Volume XII., 1778, (Washington, DC: USGPO, 1908),

pp. 1018-1020.

3 Administration of Ronald Reagan, National Theatre

Week 1986, Proclamation 5497, (Washington, DC:

USGPO, 1986), p. 729.

4 Eleanor Ruggles, Edwin Booth, Prince of Players,

(New York: W.W. Norton & Co., 1953), p. 264-265.

5 John Quincy Adams, Oxford Dictionary of

Quotations, (1980), p. 1.

6 United States Capitol Historical Society (USCHS),

We the People 1994 Calendar, (Glenn Dale, MD:

Holladay-Thyler, 1993), September 1994, p. 16.

7 Paul L. Ford, Washington & The Theatre, (New

York: Benjamin Bloom, 1967), pp. 25-26.

8 Ibid., p. 35.


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9 Peter Thomson and Gamini Salgado, Companion to

the Theatre, (London: J.M. Dent & Sons LTD., 1985),

p. 58.

10 George W. Nordham, The Age of Washington,

George Washingtons Presidency 1789-1797,(Chicago:Adams Press, 1989), p. 28.

11 Ibid., pp. 235-236.

12 Ibid., Farewell Address, pp. 273-284.

13 Ibid.

14 Henry Lee, Oxford Dictionary of Quotations,(1980), p. 313.

15 Nordham, p. 219.

16 Betty Sue Flowers, ed., The Power of Myth,

(New York: Doubleday, 1988), p. 216.

17 William R. Furlong, So Proudly We Hail,

(Washington, DC: Smithsonian Institution Press,

1981), Washington at the Battle of Princeton, p.

96.

18 Ibid., p. 138.

19 Ibid.

20 Ibid.

21 Ibid., p. 151.

22 Richard B. Bernstein, Are We To Be A Nation,

The Making of the Constitution,(Cambridge, MA:

Harvard University Press, 1987), p. 85.


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23 Edmund S. Morgan, The Challenge of the American

Revolution,(New York: W.W. Norton & Co., 1976),

pp. 197-198.

24 Mircea Eliade, Myths, Dreams, and Mysteries,

(New York: Harper,1961), pp. 220-226.

25 Flowers, p. 167.

26 Bettina L. Knapp, Theatre and Alchemy,(Detroit:

Wayne State University Press, 1980), p. 30.

27 J. Huizinga, The Waning of the Middle Ages,

(London: Edward Arnold, LTD., 1963), p. 271.

28 Nordham, GWs first State of the Union

Address, January 1790.

29 DA. J. Boulton, The Knights of the Crown, (New

York: St. Martins Press, 1987), pp. 159-60.

30 C.W. Scott-Giles, O.B.E. and J.P. Brooke-Little,

F.S.A., Boutells Heraldry, (London: F. Warne,

1966), p.21.

31 L.G. Pine, Heraldry and Genealogy, (London: St.

Pauls House, 1974), pp. 89-96.

32 Glynn, Wickham, Early English Stages 1300 to

1660, Vol. One, 1300 to 1576, (London: William

Clowes and Sons, Limited, 1963), pp. 40-41.

33 Henry Bedingfeld, Rouge Croix Pursuviant and

Peter Gwynn-Jones, Lancaster Herald, Heraldry,

(Secaucus, NJ: Chartwell Books, Inc., 1993) pp. 24-25.

34 Pine, p. 108.

35 Thomas Bulfinch, Bulfinchs Mythology, (New

York: Dell Publishing, 1967), p. 264.


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36 Ibid., p. 233.

37 Ibid., p. 296.

38 Boulton, p. 13.

39 Millia Davenport, The Book Of Costume, Vol. I,

(New York: Crown Publishers Inc., 1948), p. 126.

40 Scott-Giles, O.B.E., p. 255.

41 Boulton, pp. 159-160.

42 Knapp, p. 160.

43 Pine, p. 65.

44 Davenport, p. 127.

45 Martin Banham, ed., Cambridge Guide To Theatre,

(Cambridge, England: Cambridge University Press,

1992), p. 1012.

46 Flowers, p. 25.

47 Natalie Curtis, ed., The Indians Book, (New

York: Dover Publications, Inc., 1968), p. 154.

48 Flags, Ciba Review, (December, 1949), pp.

2807-2808.

49 David Male, The Story of the Theatre, (London:

A. & C. Black LTD., 1960), p. 32.

50 Ronald W. Vince, ed., Companion to the MedievalTheatre, (New York: Greenwood Press, 989), pp. 353-

358.

51 Vincent F. Hopper, ed. and Gerald B. Lahey, ed.,

Medieval Mystery Plays, Morality Plays and

Interludes, (Great Neck, N.Y.: Barrons Educational


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Series, Inc., 1962), p. 147.

52 Ibid., p. 196.

53 Michael Toss, An Open Life, (New York: Larson

Publications, 1988), p. 23.

54 Flowers, p. 195.

55 Vince, pp. 353-358.

56 Davenport, pp. 126-127.

57 Flowers, p. 149.

58 Pine, p. 64.

59 Ibid., p. 56.

60 Bedingfeld, Rouge Croix Pursuviant, p. 150.

61 Pine, p. 127.

62 Rules of Civility and Decent Behavior, Life of

Washington (1839), vol. ii, p. 109., (Alexandria,VA: Do It Publishing Group, 1987), p. 10.

63 E.S. Haldane and Francis H. Simson, M.A.,

trans., Hegels Lectures on the History of

Philosophy, Vol. Two, (New York: The Humanities

Press, 1968), p. 299.

64 Curtis, pp. 323-324.

65 Flowers, p. 196.

66 Joseph Campbell, Transformations of Myth Through

Time, (New York: Harper & Row, 1990), p. 247.

67 Joseph H. Wherry, Indian Masks and Myths of the

West, (New York: Crowell, 1974), pp. 217-218.


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68 Curtis, pp. 68-69.

69 Ibid., pp. 68-69.

70 Knapp, p. 190.

71 Eliade, p. 82.

72 The Sport of Knights, Horizon, Vol. One, No.2,

(November 1958), pp. 94-95.

73 Ciba Review, pp. 2819-2820.

74 Ibid., pp. 2819-2820.

75 USCHS, May 1994, p. 10.

76 Knapp, p. 162.

77 Ibid., p. 228.

78 Huizinga, p. 212.

79 Ibid., p. 88.

80 Scott-Giles, O.B.E., p. 24.

81 Ciba Review, p. 2827.

82 Ibid., p. 2829.

83 Rose Pfeffer, Nietzsche: Disciple of Dionysus,

(Lewisburg, KY: Bucknell University Press, 1974),

p. 192.

84 Thomson, p. 28.

85 Ralph Waldo Emerson, Oxford Dictionary of



26/26

86 Bedingfield, Rouge Croix Pursuviant, p. 145.

87 Friedrich Nietzsche, Thus Spake Zarathustra,

translation by Thomas Common, (Random House, o.d.),

p. 65.

88 Ibid., p. 327.

89 Mario Villas, Historic Preservation News,

(Washington, DC: National Trust, 1991).

90 Ford, p. 44.

91 Alexander Pope, Oxford Dictionary of


92 Eliade, p. 118.

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