University of Toronto Schools - Twig Yearbook (Toronto, Ontario Canada)

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THE T WIG Mblarneyn was introduced into the English language is rather hazy. It is believed that Queen Elizabeth used this word as an ex- pression of annoyance, when Dermot Mc- Carthy repeatedly refused to surrender the castle. The inspiration for all these tourists was probably supplied by this little doggerel by Father Prout: There is a stone there, that whoever kisses, Oh! he never misses to grow eloquent. 'Tis he may clamber to a lady's chamber, Or become a member of parliament. A clever spouter he'll sure turn out: or An out-and-outer to be let alone Don't hope to hinder him, or to bewilder him, Sure he's a pilgrim from the Blarney Stone. ln the old days people who kissed the stone were hung by their heels over the edge of the parapet. One day someone was in- jured and since then the stone has been approached by a different method. It is quite simple. While somebody sits on your legs, you lean back, struggle under the stone, and kiss the base. Then you get up as quickly as possible and congratulate your- self. Unfortunately some practical joker conceived the idea of smearing lamp black on the lower surface of the stone. There is a rather interesting legend about a small but deep lake on the road to Cashel. Although this lake is only about a hundred yards or so across, no one can hurl a stone more than half way across. The legend also says that it is extremely unlucky to take more than three fish from its Waters. A certain young man who was ignorant of this superstition, caught more than three fish. As it was a warm day he decided to go swimming. Shortly after his clothes were found on the bank. Nothing more was heard of him until a month later his relatives received a letter from Australia asking them to send him some clothes. These are a few legends related to southern lreland. But they are only a few, drawn from an inexhaustible source. They reveal the part which superstition and the supernatural has played in the life of the peasant. Greater still, they explain the passionate love of an lrishman for his stony fields. On Macbeth MAVOR MOORE Fear and folyshe hardinesse corrupteth the valientnes of man, for whi? -Wilkinson, after Aristotle. ORE than any other character of Shake- speare's fwith the possible exception of Ml-lamletul Macbeth has given rise to exhaustive research, abundant comment, as well as a surfeit of misdirected experiment. We know no more of what the author in- tended the man to be like than what we find in the playg and the character of Macbeth as it is written is so universal, so all-embrac- ing, so elastic, that critics have been prone to choose their theories first and subse- quently to fit the individual to the theory. 46 The only people who may escape from the temptation to do so are the actors who have themselves assumed the role. They must, of necessity, interpret the personality as he is most likely to be effective on the stage, which was obviously the author's intent. A survey of contemporary criticism of the great actors would therefore seem to lead us to the correct identity of the most com- plex and yet the most universally applicable of the Master's creations. Macbeth was played during Shakespc-:are's

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THE TWIG Irish Legends and Folklore JOHN STIRLING OWHERE is there a country so rich in its legends and folklore as lreland. No- where is there a nation which has so pre- served its ancient literature that the individual can produce tables of his descent, and designate with certainty, even in the darkness of prehistoric ages, the race from which he has sprung. This folklore is a strange conglomeration of reality, supersti- tion and humour. Every rock, every lake and every ruin has its own particular history. Many legends have their setting 'in beauti- ful Killarney. ln my estimation there is no more exquisite piece of scenery than the three lakes viewed from the Windy Cap. They lie far below nestling in the heart of the mountains, diamonds inlaid in a setting of emerald. One could believe it was Fairyland. And it is Fairyland. For below Killarney, the legend states, lies the Land of eternal Youth. In ancient days when O'Donaghue owned all this land, he dived headlong into the water from the tower of Ross Castle to reclaim his lost youth. Muckross Abbey, a beautiful vine-clad ruin, stands on the shore of the middle lake. It was built almost a thousand years ago by Saint Francis and a group of monks. The Devil became alarmed at the good the abbey was doing and decided to destroy it. He took a huge bite of rock out of a mountain and flew towards Muckross with it in his mouth. Saint Francis hearing of his coming went out to meet him. He struck Satan with such force that he dropped the rock into the lake and fled. To-day a solitary island lies in the middle lake. ln line with it is Muckross Abbey, and a huge bite in the skyline of the mountains. Within the abbey stands an old yew tree which is reported to be as old as the abbey itself. It is said that if this tree is cut or damaged it will bleed and the person who inflicted the injury will die within the year. A strong iron railing protects the tree from the vandalism and disbelief of tourists. Beyond Muckross Abbey lies Buckeen Bridge- bridge of the little trout. lt is a common belief that the person who bathes his feet in its waters will never have tooth- ache. The person who bathes his elbow will never suffer from backache. Everywhere one runs across similar superstitions. At Ardmore on the south-east coast is Saint Declan's holy stone. It is a huge boulder weighing several tons, set up between two stones. The tide keeps this hollow full of water. Each year hundreds of pilgrims, completely clothed, crawl beneath this stone through the water, hoping to be cured ot rheumatism. The legend tells us that Saint Declan possessed a holy bell which had been blessed by the Pope. About a thousand years ago, when he set sail to establish a mission, he discovered he had left his bell behind. A few days later he found it float- ing on top of a huge stone, following the ship. Saint Declan vowed to set up his mission where the great stone beached. He followed it to Ardmore, where it stands to-- clay. Another famous lrish saint was Saint Kelvin. He was forced to live the life of a hermit on account of the amorous attentions of a maid Kathleen. Eventually, the legend relates, Saint Kelvin was forced to push the young lady into the lake. Her ghost is said to appear on a huge stone every night. Tragedy is a favourite subject of the lrish legend. The Colleen Bawn Rock in Kil- larney is a vivid reminder of one dark stormy night, when a lunatic was hired by a man to drown his former sweetheart from this rock. At Blarney Castle, five miles north of Cork, each year thousands of tourists kiss the Blarney Stone. No one knows the origin of the custom. Even how the word

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T H E T WIC lifetime by Richard Burbage fthe originator of most of his leading partsl, but unfortun- ately no record whatever of his perform- ance exists. Even the date of the first pro- duction has been lost. Dr, Simon Forman, that infamous astrologer, has recorded in his diary a performance as early as l6l0, but no details of the acting were given. No record is available of any subsequent performance up till the time of Charles l. On November Sth, I664, Thomas Betterton assumed the role at l..incoln's lnn Fields Theatre, acting the original text as given in the First Folio: in l672, at Dorset Gardens. he presented a version of the tragedy by Sir William Davenant. This unfortunate perversion of Macbeth survived for many years, and along with Colley Cibber's mu- tilations obscured the impersonations by many great actors of Shakespearean char- acters. ln this presentation a chorus of singing witches was introduced findica- tive of the complete misunderstanding of the reason for the presence of the witchesj, in order to bring a group of beautiful women before the audience. Davenant's transcription of the play con- tinued to be used until the time of David Carrick, who, in I774, presented 'Mac- beth' as written by Shakespeare. fMr. C-arrick took the liberty of inserting bits of his own writing here and there, notably a dying speech so that Macbeth might hold the stage till the endif But if contemporary writers are-to be believed he gave a per- formance which for sheer expression of the haunted, despairing, fiend-tortured soul was far beyond anything seen up to that time. They tell us that, after the murder, holding the blood-stained daggers aloft, his face grew whiter and whiter, and that his whole expression of ghastliness and horror was tremendously effective. Disregarding dis- crepancies of costume and scenery, it is doubtful if Crarrick's performance of the part has ever been surpassed. John Philip Kemble, brother and leading man of the illustrious Sarah Siddons, gave a performance which is chiefly notable for 47 business innovations which have stayed with the play until the present. l-le had the bell inviting Macbeth to murder the king, ring twice instead of the usual once, to intimate the time of night. l-le was the first actor to dispense with the ghost of Banquo, an ex- pedient which leaves to the actor of Mac- beth the task of representing the ghost to the audience. Kemble's ideal of Macbeth has been preserved by his biographer Boaden, who writes as follows: i'Macbeth is a fatalist and conceives that certain beings are the organs of destiny. Fate will always bring its decrees to their completion. It is useless to question what has been pronounced by the spirits, to whom all mortal consequences are known. The success of any portrayal of Macbeth depends largely upon a sustained atmos- phere of the preternatural. Macbeth calls it this supernatural soliciting. However it may be obtained, the critics found it respon- sible for the great success of Edmund Kean. who presented the play in its original form at Drury Lane Theatre in l8l4. Following Garrick's lead, he made terror the keynote of his performance. Although short, he apparently evinced a rather remarkable vigour in his movements, all of which assisted towards his compelling impersona- tion. William Charles Macready gave his usual scholarly and scrupulously correct reading of Macbeth, and was esteemed in his day the greatest Thane of all time. The super- natural element was again uppermost, and the critics were also impressed by the num- ber of grunts and pregnant pauses which he injected into his performance. Samuel Phelps, one of the finest men ever to grace the English stage, presented the play at Sadler's Wells Theatre on Mav 2 7th, l844. ln this production he used a version of Davenant's contortion. Later, however, in September, 184 7, he revived the tragedy with such conscientious attention to Shake- speare that the whole of London was quite rightfully shocked. To quote the London Athenaeum - Since Edmund Kean we