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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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vi
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
Quotations, (1980), p. 207.
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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
Quotations, (1980), p. 375.
92 Eliade, p. 118.