2

THE

CLARION AND TABARD BY PHILIP PASKERT

3 [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

4 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 4

5 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!

6 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 multiethnic 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

7 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 17891797, 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 7

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

9 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. 9

10 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 10

11 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.

11

12 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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13 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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14 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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15 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 15

16 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 16

17 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 midthigh. 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

17

18 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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19 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.

19

END NOTES 1 United States Congress, National Theatre Week, (Washington, DC: United States Government Printing Office (USGPO)). 1982: 131, 1984: 292, 1985: 25, Public Law 97-194, 96 Stat. 114. Public Law 98-228, 98 Stat. 54. Public Law 99-51, 99 Stat. 91. 97th Congress: 98th Congress: 99th Congress: 99th Congress: S.J. Res. H.J. Res. H.J. Res. S.J. Res.

1986: Public Law 99-312, 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, York: Benjamin Bloom, 1967), pp. 25-26. 8 Ibid., p. 35. (New

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. pp. 273-284.

12 Ibid., Farewell Address, 13 Ibid.

14 Henry Lee, Oxford Dictionary of Quotations, (1980), p. 313. 15 Nordham, p. 219. The Power of Myth, p. 216.

16 Betty Sue Flowers, ed., (New York: Doubleday, 1988),

17 William R. Furlong, So Proudly We Hail, (Washington, DC: Smithsonian Institution Press, 1981), Washington at the Battle of Princeton, p. 96. 18 Ibid., 19 Ibid. 20 Ibid. 21 Ibid., p. 151. p. 138.

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 Address, January 1790. State of the Union

29 DA. J. Boulton, The Knights of the Crown, York: St. Martins Press, 1987), pp. 159-60.

(New

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. 2425. 34 Pine, p. 108. 35 Thomas Bulfinch, Bulfinchs Mythology, York: Dell Publishing, 1967), p. 264.
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(New

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 Medieval Theatre, (New York: Greenwood Press, 989), pp. 353358. 51 Vincent F. Hopper, ed. and Gerald B. Lahey, ed., Medieval Mystery Plays, Morality Plays and Interludes, (Great Neck, N.Y.: Barrons Educational
iv

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 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 (Washington, DC: National Trust, 1991). 90 Ford, p. 44. 91 Alexander Pope, Oxford Quotations, (1980), p. 375. 92 Eliade, p. 118. Dictionary of News,

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