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Percy MacKaye
Percy MacKaye as Alwyn the poet in MacKaye's play Sanctuary: A Bird Masque. Photographed in 1913 by Arnold Genthe.

Percy MacKaye (1875–1956) was an American dramatist and poet.

Biography

[edit]

MacKaye was born in New York City into a theatrical family. His father, Steele MacKaye, was a popular actor, playwright, and producer, while his mother, Mary, wrote a dramatization of Pride and Prejudice, first produced in 1910. His brother James MacKaye was a philosopher, while brother Benton MacKaye was a forester and conservationist. His sister, Hazel MacKaye, became a women's suffrage leader and pageant director.[1]

After graduating from Harvard in 1897,[2] he traveled in Europe for three years, residing in Rome, Switzerland and London, studying at the University of Leipzig in 1899–1900. He returned to New York City to teach at a private school until 1904, when he joined a colony of artists and writers in Cornish, New Hampshire, and devoted himself entirely to dramatic work.[3]

He wrote the plays The Canterbury Pilgrims in 1903, Sappho and Phaon in 1907, Jeanne D'Arc in 1907, The Scarecrow in 1908, Anti-Matrimony in 1910, and the poetry collection The Far Familiar in 1937. In 1950, MacKaye published The Mystery of Hamlet King of Denmark, or What We Will, a series of four plays written as prequels to William Shakespeare's Hamlet. His sister Hazel acted in or helped produce several of his early works.

He was made a member of the National Institute of Arts and Letters in 1914.[4] In the 1920s, MacKaye was poet in residence at Miami University in Oxford, Ohio. He lectured on the theatre at Harvard, Yale, Columbia and other universities in the United States.[3]

Percy MacKaye is considered to be the first poet of the Atomic Era because of his sonnet "The Atomic Law," which was published in the Christmas 1945 issue of The Churchman.

Civic Theatre

[edit]

In 1912, he published The Civic Theatre in Relation to the Redemption of Leisure; A Book of Suggestions. Here he presented a concept of Civic Theatre as "the conscious awakening of the people to self-government in its leisure". To this end he called for the active involvement of the public, not merely as spectators, professional staff not dominated by commercial considerations and the elimination of private profit by endowment and public support.[5] This idea is most apparent in his play Caliban by the Yellow Sands (1916). This concept was influential on Platon Kerzhentsev and the Soviet Proletcult Theatre movement.[6]

Works

[edit]

Poetry

[edit]
  • MacKaye, Percy (1912). Uriel: and Other Poems. Houghton Mifflin company. Percy MacKaye.
  • MacKaye, Percy (1914). The Present Hour: A Book of Poems. The Macmillan Company. Percy MacKaye.
  • MacKaye, Percy (1915). The Sistine Eve: and Other Poems. The Macmillan company. Percy MacKaye.
  • The Far Familiar: Fifty New Poems. Richards. 1938.

Plays

[edit]

Opera

[edit]

Non-fiction

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Percy MacKaye

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''Percy MacKaye'' is an American poet, playwright, and dramatist known for pioneering civic theater, community pageants, and masques that aimed to foster national identity and civic engagement through performance. [1] [2] Born in New York in 1875 as the son of innovative actor, playwright, and theater designer Steele MacKaye, he graduated from Harvard College in 1897 before studying abroad and beginning his literary career. [1] [2] MacKaye authored numerous verse dramas, masques, pageants, operettas, satirical comedies, and volumes of poetry from 1905 onward, with notable works including ''The Scarecrow'', ''The Canterbury Pilgrims'', and ''Sanctuary: A Bird Masque''. [2] [3] He advocated passionately for theater's role in public life, publishing influential ideas in works such as ''The Civic Theatre in Relation to the Redemption of Leisure''. [2] From 1906 to 1913 he lectured on theater at institutions including Harvard, Yale, and Columbia, and he served as America's first university writer-in-residence at Miami University from 1920 to 1924, where he wrote poems like ''An Ode to the Universities'' and the play ''This Fine Pretty World'' while promoting creative arts fellowships. [1] [3] He received election to the National Institute of Arts and Letters in 1914, an honorary Ph.D. from Miami University in 1924, and the Fellowship Award of the Academy of American Poets in 1948. [3] [1] MacKaye also produced biographical works on his family, such as ''Epoch'' and ''Annals of an Era''. [1] He died in Cornish, New Hampshire, in 1956. [1]

Early Life

Birth and Family Background

Percy MacKaye was born on March 16, 1875, in New York City. [4] He was the son of James Morrison Steele MacKaye (1842–1894), a noted theater manager, playwright, and inventor of stage innovations including folding seats and overhead lighting. [1] His mother was Mary Medbery MacKaye (1845–1924), a poet and author. [1] MacKaye had several siblings, including brothers Harold Steele MacKaye and James Medbery MacKaye. [1] His early childhood was marked by frequent moves due to his father's professional engagements in New York and elsewhere, which contributed to an interrupted early education across different locations. The financial difficulties that plagued his father's later career, culminating in bankruptcy and Steele MacKaye's death in 1894, represented a formative event for the family. [1] His father's theatrical innovations sparked an early interest in drama.[1]

Education and Early Influences

Percy MacKaye graduated from Harvard University with an A.B. degree in 1897.[5][6][7] Following his time at Harvard, where he engaged with the university's literary circles, he pursued further studies at the University of Leipzig in Germany from 1899 to 1900, focusing on literature and philosophy.[6] This period abroad offered him early exposure to European theater traditions and English literature.[6] In 1898 he married Marion Homer Morse.[7]

Early Career and First Works

Initial Publications and Poetry

Percy MacKaye's literary career began with poetry during his student years at Harvard College, where he earned his A.B. degree in 1897. His earliest published work was the privately printed poem "Johnny Crimson: A Legend of Hollis Hall" in 1895, a student piece celebrating Harvard's Hollis Hall and illustrated with a cover by Eric Pape. After graduation, MacKaye spent time studying abroad in Europe before returning to teach in a private school in New York City from 1900 to 1904; during this period he contributed various poems to magazines. His first major collected volume of poetry, "Poems," appeared from Macmillan in 1909, marking the publication of his initial comprehensive gathering of verse. That same year he also published "Lincoln, A Centenary Ode" with Macmillan, further establishing his presence in poetic forms. These early publications of lyrical and narrative poetry preceded MacKaye's shift toward dramatic writing in the early 1900s, as he turned his primary creative focus to plays beginning with his first published comedy in 1903.

Early Dramatic Efforts

Percy MacKaye's interest in drama emerged during his undergraduate years at Harvard College, where he began writing his first dramatic piece, A Garland to Sylvia: A Dramatic Reverie, with a Prologue, in 1897. This work marked his earliest documented attempt at playwriting, though it remained unpublished until 1910. After periods of study and travel abroad from 1898 to 1900, followed by teaching in New York City until 1904, MacKaye published his first play, The Canterbury Pilgrims: A Comedy, with The Macmillan Company in 1903.[8] This comedy, inspired by Chaucer's tales, represented his initial venture into published dramatic literature.[8] In 1905, he followed with Fenris the Wolf: A Tragedy, also issued by Macmillan, further establishing his engagement with dramatic forms across comic and tragic modes.[8] These publications reflected his growing commitment to the theater, though no professional productions of his plays occurred before 1906. In 1904, MacKaye relocated to the Cornish art colony in New Hampshire, where he dedicated himself fully to dramatic writing and related pursuits.

Dramatic Works

Major Plays

Percy MacKaye gained recognition in the early 20th century for his verse dramas, which sought to elevate poetic theater through historical and literary themes. His major plays from this period, often produced on Broadway or toured by prominent actors, included works that emphasized character development and internal conflict over large-scale spectacle.[9] Jeanne d'Arc, premiered in 1906, marked MacKaye's first major commercial success as a historical tragedy about Joan of Arc.[9] It was produced by E.H. Sothern and Julia Marlowe, with Marlowe in the title role as a visionary child-like reformer and Sothern as the Duke d'Alençon, following tryouts in Philadelphia before moving to New York and becoming a touring staple for the company.[9] Critics praised its exquisite appeal, rich imagery, and spiritual depth, with a New York Times review highlighting its profound emotional impact.[9] Sappho and Phaon, a 1907 tragedy set in an ancient theater with metatheatrical elements, premiered on Broadway at the Lyric Theatre under Harrison Grey Fiske's management, starring Bertha Kalich in the lead role alongside MacKaye's sister Hazel.[9] The production suffered from a very short run and scarce positive reception, with criticism focusing on poor verse delivery and limited relevance to contemporary audiences.[9] The Scarecrow, subtitled A Tragedy of the Ludicrous and published in 1908, is widely regarded as MacKaye's finest dramatic achievement, drawing from Nathaniel Hawthorne's "Feathertop" to explore themes of human charlatanism and self-sacrifice.[9] It debuted professionally in New York at the Garrick Theatre on January 17, 1911, produced by Henry B. Harris and directed by Edgar Selwyn, with Frank Reicher as the scarecrow Ravensbane and Fola La Follette as Rachel Merton.[10] The play earned strong acclaim for its graceful prose and imaginative depth, running for five weeks in New York with later productions in Chicago and abroad.[9][10] The Canterbury Pilgrims, a comedy published in 1903 and inspired by Geoffrey Chaucer's tales, represented MacKaye's lighter dramatic approach during this era.[9] A Thousand Years Ago, a 1914 romance of the Orient, relied more heavily on stage spectacle than his earlier works and achieved 87 performances.[9] These plays collectively showcased MacKaye's commitment to poetic form on the commercial stage, though many received stronger praise in print than in production.[9]

Themes and Dramatic Style

Percy MacKaye's dramatic style blended poetic language with elaborate spectacle, drawing on verse forms to create elevated, symbolic narratives that prioritized visual and communal impact over conventional realism. [9] His works often featured complex metrical schemes, rich imagery, and declamatory speeches in early verse plays, evolving toward a more integrated use of allegory, mass choreography, lighting transitions, and large-scale scenography in his masques. [9] This approach emphasized emblematic design and figurative movement to convey ideas across great distances, making spectacle an essential element for engaging large audiences in outdoor or civic settings. [11] MacKaye frequently drew upon historical and legendary subjects to explore themes of human aspiration and progress, reimagining mythic figures and past events as allegories for moral and social evolution. [9] His narratives often portrayed journeys from savagery toward civilization, with recurring motifs of enlightenment through art and the triumph of reason, pity, love, and disciplined will over brute impulses. [12] Romantic idealism infused these works, presenting imagination and cooperative effort as civilizing forces capable of redeeming humanity and fostering harmonious community life. [9] Community-oriented themes dominated his later style, particularly in masques designed as participatory rituals rather than spectator-driven plays. [12] He envisioned drama as a cooperative art that united participants in collective expression, transforming individual aspiration into shared civic education and democratic unity. [11] This reflected his broader shift from early focus on personal spiritual conflict in verse dramas toward large-scale civic masques that celebrated collective identity and forward-looking progress for society. [9]

Civic Pageantry and Community Theater

Philosophy of Civic Theater

Percy MacKaye championed the concept of civic theater as a democratic art form that would involve entire communities in participatory drama, transforming passive audiences into active creators and performers. [13] He viewed theater not as an elite entertainment but as a communal process capable of uniting citizens across social classes through shared artistic expression and celebration of local identity. In his 1909 essay collection The Playhouse and the Play, MacKaye outlined the need for playhouses to serve as civic centers rather than commercial venues, advocating for environments that encouraged public participation in dramatic production. He argued that such spaces could foster a more inclusive theatrical culture by prioritizing community involvement over professional exclusivity. MacKaye expanded these ideas in his 1912 book The Civic Theatre in Relation to the Redemption of Leisure: A Book of Suggestions, where he proposed civic theater as a means to reclaim modern society's expanding leisure time from idleness, commercial amusement, or social harm. [13] He contended that organized community drama could redirect leisure toward creative, uplifting ends, promoting moral and social improvement through collective artistic effort. Central to his philosophy were arguments for outdoor performances, which he believed could accommodate massive participation and spectatorship, making theater truly public and democratic while integrating it with natural settings to enhance communal impact. MacKaye also stressed the value of public participation at every level—from writing and design to acting and audience engagement—to ensure the art form reflected genuine civic life rather than imposed professional standards. As a leader in the movement, MacKaye helped establish the American Pageant Association in 1913 to promote and organize these community-based dramatic forms on a national scale. His theoretical writings laid the groundwork for the civic pageant movement in America, emphasizing theater's potential as a tool for social cohesion and democratic expression.

Major Pageants and Masques

MacKaye's major pageants and masques in the 1910s represented the pinnacle of his commitment to civic theater, creating large-scale, community-driven spectacles that united thousands of participants and spectators in allegorical and historical dramas. These works emphasized collective participation over professional performance, aiming to foster civic pride and cultural unity through inclusive artistic expression. His prominent masque for The Pageant and Masque of Saint Louis was presented from May 28 to June 1, 1914, in Forest Park, St. Louis, Missouri. MacKaye wrote and directed the masque portion, which offered a symbolic interpretation of the city's history, complementing the historical pageant written by Thomas Wood Stevens. [14] The production drew widespread community involvement and served as a major civic celebration. [15] In 1916, MacKaye authored and staged Caliban by the Yellow Sands, a community masque performed in New York to commemorate the tercentenary of William Shakespeare's death. Conceived as an embodiment of his civic theater ideals, it featured a large cast and audience engagement in a symbolic exploration of the art of the theatre, inspired by The Tempest. [16] The work highlighted MacKaye's vision of drama as a democratic, communal force. [12] The Evergreen Tree, produced in 1917, further exemplified his approach to civic masques, incorporating community performers in a symbolic production that aligned with his broader efforts in participatory theater during the era. These masques and pageants of the 1910s stood out for their scale and emphasis on community collaboration, drawing participants from diverse backgrounds to create shared cultural experiences. [17]

Non-Fiction and Theater Writings

Essays and Books on Drama

Percy MacKaye contributed several key works of non-fiction prose on drama, emphasizing its potential as a democratic and communal art form rather than a commercial enterprise. His writings advocated shifting theatre from profit-driven entertainment toward participatory civic expression that could enhance social harmony and constructive leisure. These books and essays built a theoretical foundation for community-oriented drama, linking artistic practice to broader ideals of democracy, neighborliness, and social regeneration. In 1909, MacKaye published The Playhouse and the Play, and Other Addresses Concerning the Theatre and Democracy in America, a collection of lectures critiquing the dominant commercial orientation of modern American theatre. [18] He argued that true democracy is vitally concerned with beauty and that true art is vitally concerned with democracy, proposing a theatre aligned with democratic values rather than financial gain. [19] The addresses explored ways to make the playhouse a site for civic engagement and cultural renewal. [20] MacKaye expanded these ideas in his 1912 book The Civic Theatre in Relation to the Redemption of Leisure: A Book of Suggestions, where he outlined a vision for civic theatre as a community institution capable of redeeming leisure time by transforming idle or destructive pursuits into participatory dramatic activities. [21] He presented the civic theatre as a tool for education, social cohesion, and collective expression, shifting drama from spectator-based amusement to active citizen involvement. [22] This work served as a foundational text for his civic theatre philosophy, offering practical suggestions for integrating theatre into municipal life. He further elaborated on these themes in Community Drama: Its Motive and Method of Neighborliness (1917), an interpretive essay portraying community drama—including civic pageants and masques—as the technique of neighborliness that resolves social estrangement into harmony through cooperative art. MacKaye positioned community drama as a moral and psychological substitute for war, channeling discipline, self-sacrifice, and initiative into joyful collective creation while regenerating leisure across classes. He described its motive as efficient neighborliness—the active practice of social love through participatory symbolism—and its method as the expert application of theatrical techniques on a civic scale to foster democratic cooperation and the international mind. These writings collectively advanced MacKaye's advocacy for drama as an instrument of social progress and meaningful leisure.

Biography of Steele MacKaye

Percy MacKaye authored a comprehensive two-volume biography of his father titled Epoch: The Life of Steele MacKaye, Genius of the Theater, in Relation to His Times & Contemporaries, published by Boni & Liveright in 1927.[23] This work serves as a memoir written by Steele MacKaye's son, offering an intimate and detailed portrait of the elder MacKaye's multifaceted career as an actor, playwright, producer, theatrical innovator, and educator.[24] The biography traces Steele MacKaye's life from his ancestry and early years through his artistic training in Europe, his service in the Civil War, his acting roles, his development of stage innovations such as advanced lighting and scene-shifting mechanisms, and his involvement in significant ventures like the Madison Square Theatre.[23] It situates his achievements within the broader context of American theatrical history and his associations with contemporaries, emphasizing his reputation as a "genius of the theater."[24] Upon publication, the book received attention in major outlets, including a New York Times review that highlighted Steele MacKaye's role as a key theatrical innovator and framed the biography as a valuable memoir documenting his contributions and era.[25] The expansive scope of the two volumes reflects Percy MacKaye's effort to preserve and interpret his father's legacy through a personal yet historically grounded narrative.[23]

Later Life and Death

Residence in Cornish, New Hampshire

In 1905, Percy MacKaye moved his family to the Cornish Artist Colony in Cornish, New Hampshire. [26] In 1913, he purchased land in Cornish, built a house, and relocated his writing studio to the property, establishing a permanent base there. [26] This home and studio became recognized as one of the distinctive "jewels" of the Cornish Colony, alongside the historic residences associated with the community's early founders and prominent figures. [26] The Cornish Colony functioned as an artists' enclave in Cornish, drawing writers, painters, composers, and other creative individuals, including MacKaye himself. [27] MacKaye's residence served as a key site for his ongoing writing and as a hub for community-oriented artistic activities, enabling him to organize and participate in local productions. [26] While living in Cornish, he produced some of his most notable works, particularly in the realm of pageants, masques, and communal theater, both for the colony and on a broader national scale. [26] A prominent example was Sanctuary: A Bird Masque, which MacKaye wrote, cast, staged, and performed in during September 1913 to dedicate a local bird sanctuary near Cornish. [27] The production involved nearly sixty residents of the Cornish Colony, costumed as various bird species, and incorporated verse, music, and dance; it drew attendance from President Woodrow Wilson and his family, who were summering in the area. [27] This local event reflected MacKaye's continued emphasis on civic and community theater. [26] His time in Cornish also supported the creation of other major masques, such as the Masque of Saint Louis in 1914, which embodied his vision for large-scale participatory drama. [26]

Final Years and Death

In his later years, MacKaye resided in Cornish, New Hampshire, where he continued his literary work, publishing poetry collections such as The Far Familiar (1937/1938), plays including An Arrant Knave & Other Plays (1941), and the tetralogy The Mystery of Hamlet, King of Denmark (1949-1952). [28] He also engaged in folklore research with his wife Marion Morse MacKaye, served as advisory editor to the journal Folk-Say starting in 1929, and taught poetry and folklore at Rollins College. [28] MacKaye died on August 31, 1956, at the age of 81 in Cornish, New Hampshire. [28]

Personal Life

Marriage and Children

Percy MacKaye married Marion Homer Morse in 1898. [29] The couple had three children: a son, Robert Keith MacKaye, and daughters Arvia MacKaye and Christy MacKaye. [30] [31] The family resided in various locations over the years, including a period in Cornish, New Hampshire, where they participated in the local art colony community.

Friendships and Associations

Percy MacKaye formed lasting connections within the Cornish Colony after moving there in 1905, associating with prominent artists and writers in the New Hampshire community. [32] [9] He participated in the 1905 masque A Masque of ‘Ours,’ The Gods and The Golden Bowl, held on Augustus Saint-Gaudens’ Aspet estate to mark the Saint-Gaudenses’ twentieth anniversary in Cornish, where he wrote the introduction while Maxfield Parrish assisted with scenic elements. [32] [9] This collaborative event highlighted the colony’s blend of talents and the strong friendships fostered among its members, including figures such as Saint-Gaudens and Parrish. [32] MacKaye also cultivated close literary ties in Cornish through hosting fellow poets at his home, including William Vaughn Moody, Ridgely Torrence, and Edwin Arlington Robinson, who formed an “inspired phalanx” of writers supporting one another’s efforts to bring poetry into the theater. [9] These gatherings involved mutual critique and encouragement, reflecting shared ambitions in verse drama and literary innovation. [9] In the theater world, MacKaye developed a significant professional association with actor E.H. Sothern, who commissioned his play Fenris the Wolf in 1903 and later produced and toured Jeanne d’Arc with Julia Marlowe in 1906–1907. [9] Sothern also optioned several of MacKaye’s early scripts, underscoring their ongoing collaboration in advancing poetic drama on stage. [9]

Legacy

Influence on American Theater and Pageantry

Percy MacKaye emerged as the leading theorist and practitioner of civic theatre and large-scale participatory community masques in the United States during the 1910s through the 1930s, advocating for drama as a democratic art form that engaged the masses rather than relying on commercial spectatorship. He envisioned the "Drama of Democracy" as a participatory medium capable of fostering social cohesion, civic enthusiasm, and national identity through collective creative expression. His theoretical framework emphasized drama's potential to channel communal energies into peaceful, unifying activities, positioning it as a "moral equivalent of war" and a tool for redeeming leisure through active involvement.[9] In his seminal 1912 work The Civic Theatre in Relation to the Redemption of Leisure, MacKaye outlined a vision for municipal-supported civic theaters where citizens participated directly in drama to build community bonds, educate through experience, and replace passive entertainment with collaborative art. He distinguished his allegorical masques from conventional historical pageants, promoting outdoor performances that integrated diverse social groups—immigrants, neighborhoods, schools, and clubs—in symbolic narratives often set in natural landscapes or public parks. MacKaye's approach popularized large-scale civic pageants in the early 20th century, with events like the 1914 Pageant and Masque of Saint Louis involving thousands of local participants and attracting nightly audiences of up to 100,000, demonstrating the viability of community-driven public art on a massive scale.[9][33] MacKaye's emphasis on mass participation in rehearsals and performances significantly influenced the community theater movement, encouraging outdoor drama as a medium for democratic participation and cultural unification. His methods helped shape the American pageant movement's peak in the 1910s and 1920s, providing models for inclusive, non-commercial public performances that prioritized social impact over individual artistry. MacKaye's legacy endures in the traditions of participatory civic pageantry and outdoor community drama he advanced, which established enduring frameworks for public engagement in American theater.[9]

Critical Reception and Historical Assessment

Percy MacKaye's civic pageants and theoretical writings on community drama garnered a mixed reception during his lifetime. While his large-scale spectacles drew enthusiastic crowds and acclaim for their ambition in uniting poetry, music, and communal participation, they also provoked persistent criticism from professional theater circles, who often regarded his idealistic approach as impractical or overly didactic. [33] [34] Contemporaries who supported his vision praised him as a theoretician, prophet, and advocate for civic theater, though many focused more on his role as a community conscience than as a traditional dramatist. [35] Major works like "Caliban by the Yellow Sands" were hailed in contemporary accounts as rare and epoch-making spectacles, reflecting the positive public and press response to his innovative use of pageantry. [36] Later scholarship has identified it as one of the largest pageants of its era, underscoring its significance in the civic theater movement. [37] In historical assessments, MacKaye has been largely marginalized within theater historiography. Despite the massive participation and spectatorship his pageants attracted, he has been mostly ignored by theater historians and dramatic critics since the mid-20th century. [9] This oversight has resulted in limited modern scholarship on his contributions to American civic theater and the pageant form, leaving significant aspects of his influence underexplored in contemporary studies. [9]

References

  1. https://archives-manuscripts.dartmouth.edu/agents/families/1
  2. https://cather.unl.edu/writings/letters/let2024
  3. https://miamioh.edu/news/top-stories/2017/06/mackaye-marker.html
  4. https://www.jstor.org/stable/41152575
  5. https://en.wikisource.org/wiki/Collier%27s_New_Encyclopedia_(1921)/MacKaye,_Percy
  6. https://en.wikisource.org/wiki/The_Encyclopedia_Americana_(1920)/Mackaye,_Percy
  7. https://www.nytimes.com/1956/09/01/archives/percy-mkaye-81-dramatist-dies-creator-of-tetralogy-based-on-hamlet.html
  8. https://onlinebooks.library.upenn.edu/webbin/book/lookupname?key=MacKaye%2C%20Percy%2C%201875-1956
  9. https://d-scholarship.pitt.edu/6567/1/MehlerM_etd2010.pdf
  10. https://www.gutenberg.org/cache/epub/57156/pg57156-images.html
  11. https://www.thesegalcenter.org/jadt/choreographies-of-the-great-departure%3A-building-civic-bodies-in-the-1914-masque-of-st.-louis
  12. https://www.gutenberg.org/files/58076/58076-h/58076-h.htm
  13. https://archive.org/details/civictheatreinre00mackuoft
  14. https://files.shsmo.org/manuscripts/saint-louis/S0294.pdf
  15. http://www.loc.gov/item/14016585/
  16. http://www.gutenberg.org/ebooks/58076
  17. https://www.dartmouth.edu/library/rauner/exhibits/a-masque-of-ours.html
  18. https://catalog.hathitrust.org/Record/000200064
  19. https://archive.org/stream/curtainsgoingup007877mbp/curtainsgoingup007877mbp_djvu.txt
  20. https://books.google.com/books/about/The_Playhouse_and_the_Play_and_Other_Add.html?id=xcApAAAAYAAJ
  21. https://catalog.hathitrust.org/Record/000200065
  22. https://onlinebooks.library.upenn.edu/webbin/book/lookupid?key=ha000200065
  23. https://books.google.com/books/about/Epoch.html?id=5zUOAAAAMAAJ
  24. https://catalog.hathitrust.org/Record/001374581
  25. https://www.nytimes.com/1927/10/30/archives/steele-mackaye-theatrical-innovator-epoch-the-life-of-steele.html
  26. https://www.nhpreservation.org/blog/seven-to-save-2021-percy-mackaye-home-and-studio
  27. https://blogs.loc.gov/picturethis/2013/09/sanctuary-for-birds-a-remarkable-pageants-100th-anniversary/
  28. https://www.britannica.com/biography/Percy-MacKaye
  29. https://www.imdb.com/name/nm0533219/bio/
  30. https://archives-manuscripts.dartmouth.edu/repositories/2/resources/2589
  31. https://www.nytimes.com/1989/01/07/obituaries/arvia-mackaye-ege-a-poet-is-dead-at-86.html
  32. https://www.nps.gov/articles/000/the-cornish-colony.htm
  33. https://pinemountainsettlement.net/biography-a-z/percy-mackaye/
  34. https://muse.jhu.edu/article/457310/pdf
  35. https://muse.jhu.edu/article/457310/summary
  36. https://www.nytimes.com/1916/05/25/archives/mackaye-masque-a-rare-spectacle-caliban-the-biggest-dramatic.html
  37. https://www.cambridge.org/core/journals/the-drama-review-tdr/article/percy-mackayes-masque-of-caliban-1916/E24A1FB8E7B1C4DC4A6ED01CB2EF8E2E
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