College news, December 5, 1934

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VOL. mae BRYN MAWR AND WAYNE, PA., WEDNESDAY, DECEMBER 5, 1934 aoe eis Seow ae PRICE 10 CENTS
—- a esata Ae



Nature Is Subject
of Chinese Painting



George Rowley Discusses Area
Design, Life Rhythm, Use
of. Suggestion



TAO IS THE_ INFINITE

Goodhart, December 38. .

In a lecture on Chinese painting?
Mr. George Rowley, Professor of Art
and Archaeology and Curator of
Far Eastern Art at Princeton Col-
lege, answered clearly and sympathet-
ically the riddle: “What makes a
painting Chinese?” Everyone can rec-
ognize the race of a work of art sim-
ply by instinct. But in precisely what
characteristics this work of art shows
evidence of its race is a difficult ques-
tion. ¥

The answer lies in the Oriental con-
ception of nature.
ern world have no such conception and
can barely understand it. We look
at the world in three ways—meta-
physically, scientifically, and religious-
ly. In all these ways, nature is seen
as external to man. Even in religion,
although nature and men are related
through being alike the handiwork of
God, men are special creatures, dis-
tinct from nature, dominating it, and
imposing their point of view upon it.

The Chinese begin with nature, not
humanity. The absolute for them is
not- conceivable in terms of human
personality, as are our gods, but is
thought to be the principles of nature.
Like all races, the Chinese feel the
need for a direct relationship between
them and the deity, but this need is
easily satisfied by ancestor worship.
Nature is conceived as the infinite and
absolute, and this conception of it is
called Tao. When a Chinese poet
wrote of Tao, he named it vague and
impalpable, yet holding form and prin-
ciple: the mystery of mysteries: the
gate’ of all spirituality, invisible to
all save those free from sin and_pas-
sion.

The. Chinese painter attempts to
paint the Tao. In Western countries,

Continued on Page Four





Vacation Cruise Contest

A strictly educational non-commer-
cial foundation for the interpretation
of foreign cultures, the Bureau of
University Travel, is offering a Prize
Vacation Cruise and Tour to the un-
dergraduate who shall present, in ac-
cord with certain requirements, the
best study of the Educational Values
in Travel. This contest has been
opened because the Bureau’s Trustee
Committee on Educational Policy and
for Academic Contacts wishes to find
out what students expect and desire
from travel in the way of. educational
values, to supplement those gained at
colleges and at universities.

Any eligible contestant must hav:
received the approval of a college ad-
viser, and must present her applica
tion to the Bureau before March 15,
1935. The successful contestant is as-
sured the Cruise from New York to
New York without financial obliga-
tions. |

The itinerary is as follows:

June 27—Sail from New York.

July 3—Southampton—transfer to
S. S. City of London (privately char-
tered by the Bureau of University
Travel for its 1985 Western Mediter-
ranean Cruise).

: Cruise

July 6, Santiago de Compastella;
July 7, Lisbon; July 8, Cadiz; July 9,
Seville; July 10, Tangiers, Gibraltar;
July 11, Malaga, Granada; July 13,
_Valencia, Saguntum; July 14, Tarra-
gona; .July 15, Barcelona; July 16,
Palma de Mallorea; July 17, to
Naples. .

ond ON

July 18, Naples; July 19, Pompeii;

July 20,-Amalfi, Capri; July 20-27,

Rjome ; July 28, Orvieto, San Grimig-

nano; July 29, Siena; July 30-August
4, Florence; August 5-8, Venice; Au-
. gust. 9-10, Milan; August 10 — to
Genoa or Cherbourg for return sail-
ing to New York.

_ Application blanks with - instruc-
tions. may be secured by applying to
‘Vacation Cruise. Govtets Be Bureau of

We of the West- |:



Mlle. Galland Reviews

Sacha Guitry Plays| -

a [ ey
Common Room, November 20.

Mlle. Galland, at the French Club
tea, gave a talk about Sacha Guitry’s
life, illustrated by charmingly read
bits from his works. Sacha Guitry is
one of the best actors in France, as
well as one of the most popular play-
wrights. His father, Lucien Guitry,

‘|played in almost all the great French

plays before the War. Sacha, him-
self, had a very troubled childhood
which he describes in his entertaining
Memoirs. He was brought up by Do-
minican monks, who took him in be-
cause of his father’s reputation and
family, even though ,Lucien Guitry
was an actor, and was, in addition, di-
vorced from his wife. Sacha, in fact,
tried his best to be expelled from
school. He even told the abbot that he
did not believe in God. ‘Well then,”
said the abbot, “you are to serve at
mass.’

Sacha Guitry’s plays are light, but
not so light as they appear at first.
He is tolerant, although his tolerance
is cynical and a little hard. He repro-
duces in his plays not only the Pari-
sian scenes that he knows so well, bu’
even autobiographical sketches from
his private life. His plays are so
much like real life that their plots
are usually very slight.

It seems inconceivable that he can

Continued on Page Four .



Novel Is Germinated
in Fantasy, Reverie



Bernard de Voto Says Solution
of Chief Difficulties Is

Often Unconscious



CONVENTION INTRICATE,



Deanery, November 25.

“I’m going to talk shop,” said Mr.
Bernard de Voto, “knowing it inter-
ests me, and hoping and praying it
will interest someone else.” Having
come in ignorance of his title subject,
Problems of the Present-Day Novelist,
Mr. de Voto remarked that he: would
have found it quite loose enough for
his usual speech, if he had had a
usual speech. “Talking shop’”’ includ-
ed a description of the births of noy-
els, explanations of literary conven-
tions, and a discussion of literary con-
ventions.

“Writers incurably and insatiably
talk shop—they don’t as incurably and
insatiably talk sense.” There are no
pseudo-liars, few pseudo-doctors; and
there are organizations: to prevent
those few from talking. There is no
organization to prevent semi-literary
people from talking, and, as a conse-
quence, a great deal of talking is done.
Most of this talk is devoted to tech-
nique. Technique must be discussed,
although it is a false value, for its
sole aim is to be inconspicuous. The
purpose of technique is to lead the
reader into the momentary belief that
he is seeing life more deeply and truly.

The purpose of a novel is to present
for a moment a view into that aspect
of life with which it is dealing. The
reader knows that only by technique
is this purpose achieved, ‘yet he should
never be aware of the means by which
‘he illusion is ereated. Occasionally,
however, the reader runs. up against
a literary tool; he may think about it,
yet if the tool be good, he soon for-
gets it. An example of this is the in-
terior soliloquy of Miriam Bloom, in
Ulysses. The technique is obvious, yet
it is forgotten in a page or two in the
reader’s absorption in what is being
conveyed.

Genesis of Novéls Discussed

“The thing mdst often asked by peo-
ple who have the good fortune not to
write novels,” said Mr. de Voto, “is:
‘What is the genesis of a novel—how
does a man feel who is coming down
with a novel?’” The process is a mys-
terious one. What Sinclair Lewis
means when he says that a novelist’s
life is a lonely one is that the pro-
cesses of thought and the queer mix-
ture of thought and emotion out of
which a novel comes-are external and
objective. The novelist’s life is a flex-
ible one: he has no set office, and the

Continued on Page Three





Marriner: Lectures
on Brahms, Franck



Franck Famous as Innovator,
Brahms Is Both Romanticist *
and Classicist



NEW SERIES ANNOUNCED



Deanery, December 4.

Brahms and César Franck were the
subjects of the last of Mr. Guy Marri-
ner’s lecture-recitals on the pianoforg
music of the last three centuries. Be-
fore Mr. Marriner began the recital
for the day, Mrs. Collins announced a
series of four similar lecture-recitals
to be given in the spring on the mod-
ern composers and their developments
in America, England, France, and
Russia, and she urged all who had en-
joyed the past series to subscribe early
to the new one through the Publica-
tion Office.

As a prelude to his’ lecture on
Brahms and Franck, Mr. Marriner
played Brahms’ Opus 119, Number 1,
an Intermezzo. This was the last com-
position for the piano that Brahms
ever wrote.

César Franck was born in - Liége.
Belgium, in 1822, but he came to Paris
at the age of twelve and spent most
of his life there, where he taught and
composed throughout his life and died
in 1890. He founded the modern
French school and as organist at Sainte
Clothilde was, one of the greatest im-
provisers on the organ that the world
has ever known. Liszt, who heard him
play, compared his gift to Bach’s. He
was_unappreciated,.in fact, generally
considered an enemy to established
music, until at 50 years of age he was
appointed to the Conservatory of Mu-
sic, more because of his ability as an
organist than to teach music theory.
However, throughout his quiet and
simple life he made his home a center
for his pupils, who gathered there to
play and discuss, as well as to work, at
the new--musie._-Among his famous
pupils were d’Indy, Chausson, Dupare,
Ropartz, and Lekeu.

Franck Famous as Innovator

Franck developed new forms of or-
chestral and chamber music, and was
truly the Neo-Classicist of the 19th
century. His greatest. formal contri-
butions to music were his daring inno-
vations in modulations and harmony,
especially the use of augmented har-
monies. He also introduced innovations
in the cyclic form of motives announc-
ed early and developed rhythmically
and harmonically throughout the
work. Franck’s music possesses great
religious exaltation and spiritual con-
templation. He worked hard and con-
stantly, but his greatest work, such as
the A Major Sonata for violin and
piano, was not played until a year be-
fore his death. Since then, his ora-
torio, the Beatitudes, his string quar-
tet and his quintet for piano and four
strings have become well known. Re-
cently his symphony was voted the
most popular of the classic symphon-
ies.

Mr. Marriner played Franck’s Prc-
lude, Chorale, and Fugue in B Minor,
and added a few notes on their form.
It is not easy to understand, for the
movements are continuous. The theme
of the Fugue is suggested in the Pre-
lude, while the Chorale begins as if it
were a distant organ and swells to a

Continued op Page Six



College Calendar
Friday, December 7. Varsity

Play: Cymbeline. 8.20 P. M.

_Goodhart.

- Saturday, December 6: Al-
Philadelphia Hockey Game. 10
A. M.

Varsity Play. 8.20 P. M.
C@pihart. After | Cymbeline,
nee in Gymnasium.
‘Monday, December 10. M.

aul Hazard on La Femme
D’Un Grand Homme: Madame
de Chateaubriand. 8.20 P. M.
Goodhart.

Tuesday, December 11. Vo-
cational Tea. Mrs. Appel and

in Teaching. 4.00 P. M. Com-
mon Roop. -







ies

Miss Johnson on Opportunities ||

Bw!

Orientation Course
Difficulties Explained



Goodhart,’ December 4.

In response to a recent editorial in
The College News, Dean Manning
spoke in Chapel about general Orien-
tation courses, and the particular type
which was advocated for. Bryn Mawr.
Courses of this nature first appeared
about the middle of the World War as
a consequence of the. growing desire
for a more general view of universal
history than was attempted by most
college courses, Almost.a half of the
more important colleges had such a
course in one form*or another. The
demand grew out of the lack of corre-
lation between courses in college; the
subjects tended to get pigeon-holed
and separated from one another, and
no attempt was made to show the con-
nection between the various fields of
study.

At the time when the movement was
quite widespread, great consideration
was given by the Bryn Mawr Facul-
ty to the idea of instituting a kind of
survey course in world history which
was spoken of as the “Chaos to Cool-
idge” course. After considerable de-
liberation the plan was’given up.

Since that time there has been a
god deal of change in the nature and
scope of these courses. Some have be-
come survey courses in the Humanities,
and the Columbia course has turned to
the study of history from the psycho-
logical point of view. Quite a few col-
leges instituted an orientation course
and then gave it up after a few years.
One of these was Swarthmore, which
had what was called an Exploration
Course. Members of the faculty did
reading with the students on different
topics, mostly those not studied — in
school. ‘They pointed out the lines of
thought these subjects would take and
develop. The course was given up
largely because it was felt that too
much time was being spent and that
not enough was being gotten out of
the course. The chief trouble with
all such courses is that they are apt
to be-superficial.

The discussion which the proposals
for such courses created, had several
good effects. One of the most important
was that each professor had to think
‘out the»best possible introduction to
his subject from the point of view of
an adult meeting it for the first time.
Another good effect was the great in-

_Continued on Page Five



Dr. Nock Predicts
Collectivist America



Centralization, State Control of
Power, Buying of Votes
Oppose Democracy



SOCIAL POWER WANING



Goodhart, Novembér 26.

“Under the surface df affairs, be-
hind inflation, the NRA, farmers’ re-
lief, and foreign policies, is one fun-
damental tendency: increase of state
power, and decrease of social power.”
This alarming judgment on the. pres-
ent and future conditions of the state
was pronounced by Dr. Albert Jay
Nock in his lecture on Our Political
Tendencies.

There are three major causes of
this shifting from so to state con-
trol. The first is centralization of
power. Gradually, the prerogatives of
small political units, such as towns
and counties, have been absorbed by
federal administration, and the rights
the Administration has won have in
turn been centered in the hands of
one executive. Our government is
nominally republican, but actually
monocratic. The only differences be-
tween it and Italian or Russian sys-
tems are these: that here no state
interest is served, and that the mo-
nocracy is maintained by purchase,
not by military force.

Dr. Nock named the extension of the
bureaucratic principle as the second
cause in the growth of state power.
Outside of ordinary civil service em-
ployees, 90,000 men now serve — the
government. No petty officials, but
federal executives, direct these men,
and receive the benefit of their. sup-
port at elections.

The third cause is the use of men-
dicants for political power. “The gov-
ernment Owes everyone a living,” is
preached to the starving, and a million
votes are won. The Democrats now
control this pressure group, but the
Republicans have not disdained to
compete for it, while the collectivist
parties have always achieved their
power by appealing to the jobless and
the hungry.

Many who have: anxiously noticed
the growing concentration of power
have comforted themselves by suppos-
ing that another election and another .

Continued on Page Three



Awareness of Past, Ability to Adventure
Are Highly Praised in November Lantern



(Especially contributed by Kathrine
Koller)

Though not heralded by a fanfare
of publicity, the appearance of the
first number of the 1934-35 Lantern
should be an important event on the
Bryn Mawr campus. This magazine
has a unique place among the college
publications because it affords the
sreative writer an organ for publish-
ing her work and at the same time it
gives an incentive for honest experi-
mental writing. The’ Lantern should
neyer be a feeble imitation of the
New Yorker, Vanity Fair or count-
less futile short story magazines. It
was, therefore, with great interest
and pleasure that we opened the No-
vember Lantern. A modest volume in
its grey covering, it contains much
that is brilliant and commendable.
The sincere, thoughtful editorial sets

indicates, we hope,. the policy which
will guide the contributors in the fu-
ture: an awareness of the past, a
strong consciousness of the trend of
contemporary tastes, and a willing-
ness to adventure in new fields.
The contents The. Lantern ifluss
trate these points: Miss_ Franchot
has experimerfed ‘and imitated with
decided success in “An Aesthete I
Once Knew” and “To Alphonse.” The
work is not only clever, but is also
sincere. Fortunately, Miss Franchot
has enough ability to learn to master

‘her medium, and to keep her from be-

coming a slave of mere imitative
Lskill. She gives proof of her own
power in the nicely turned poem
“Calliope.” Miss Wyckoff’s “Three
Sonnets,” though less pe one



the tone for the entire number, and



than is Miss Franchot’s work, show
the contemporary adaptation of an
old form, and there is gentiine beauty
and feeling. in Miss Thompson’s
“Song” and Miss Fox’s. quatrains.
Still another illustration of the con-
temporary interest in form is found
in Miss Raymond’s gently satirical
poem “The Bitter End.” “Euclid
Alone” and “Ajax” are the work of
students who have a sense of style
and an awareness of the power of
words. On the other hand Miss Put-
nam’s short story has that weakness
which characterizes so many modern
short stories. An uncertainty of pur-
pose -mars the total effect. The story
may belong to the model; it may be-
long to the artist; the result is. that
it belongs to neither one. The slice-
of-life theory in fiction is not suffi-
cient in itself to create a perfect
form. Miss Putnam has the power to
write and she should continue experi-
menting in the short story until she
herself is more satisfied with her pro-
duct.

The first volume of the *#934-35
Lantern shows evidence of genuine
ability, sincerity and eagerness on the
part of a “‘numb®? of: Bryn Mawr stu-
dents. We are anxious that they at-
tempt more substantia]. work, that
they strive to write vigorously as well
as beautifully, and that The Lantern
staff encourage new students to write
for publication. The fine tone of all—
the contributions-and the evidence of
lively - interest in all experimental
writing which this issue evinces is
heartening to all those who wish to —
see The Lantern take its rightful — |
place among ae Mawr publications,






‘Page Two : ae.




THE COLLEGE NEWS

bea |







a : : —e
THE COLLEGE NEWS
Published weekly during the College Year (excepting during Thanksgiving,

(Founded in 1914)
Christmas and Easter Holidays, and during examination weeks) in the ‘interest of
Bryn Mawr College at the Maguire Building, Wayne, Pa.,.and Bryn Mawr College,







The College News is fully protected by copyright. Nothing that appears in
it may be reprinted either wholly or in part witheut written permission of the
i Editor-in-Chief.

a



Copy Editor

Editor-in-Chief
DIANA TATE-SMITH, ’35

GERALDINE RHOADS, ’35

- Editors

BARBARA, CARY, ’36 ELIZABETH LYLE, ’37

Sports Editor
PRISCILLA Howe, ’35

Business Manager Subscription Manager
BARBARA LEWIS, ’35 MARGOT BEROLZHEIMER, ’35

2 5 Assistant
DOREEN CANADAY, ’36.

SUBSCRIPTION, $2.50 MAILING PRICE, $3.00 *
SUBSCRIPTIONS MAY BEGIN AT ANY TIME

Entered as second-class matter at the Wayne, Pa., Post Office

4











“Quoth the Raven—”

Now that midsemesters are over, we ought to have a much saner
slant on quizzes and on the reasons for which they were instituted.
Obviously, they are designed to make the student coordinate the sub-
ject matter of her courses and to give the professor and the academic

administration some indications of the quality of work completed mid- by Oise aie ok Giiies Games wheels free of charge. Place your or-|ordinate amount of publicity. +
way between the beginning of the fall term and Mid Year Examina- By the shining Big-Sea-Water, ders now for 1897 models of ‘World,’| Garrick: Victor Herbert’s The Red
tions. Whoever established the midsemester quiz system at Bryn Mawr| stands a hotel large and roomy, | Waverleys,’ ‘Glevelanda,’ ‘Crawfords’ Mit is_heing presented for the first
was working toward a noble aim; but as the system of quizzes has| In a crowded transients’ quarter. 874 many other make bicycles.” Lyons |time in 25 years. ma

oar haa ti Nor only la ib euiicct to the limita. and his “bicycle business’ have van-| Walnut: Slightly Delirious ap-
pea vile out, it winnie ene ” oe ee gee eee Where the forest stood primeval, ished. He did a great work though. | pears to be a farce, having to do with
tions of any examination plan, but it also hampers work, the eer Where once roamed the wolf and Perhaps he has got his reward and|the more striking peculiarities of one
attitude to: work, and frequently prevents the student from taking weevil, sits on a cloud around which wheels|of our better families, which works
advantage of many of the opportunities afforded her by Bryn Mawr/Tourists dribble on their shirts, .,,4n infinite succession of rosy-faced an- | itself up into 8 great state over just
to round out a liberal education. Coca colas, hot frankfurts— ‘gels on celestial bicycles. pag na ge ot ad ee

; : tage ee | Prickitt, “the reliable Apothecary |Ple n they have worried over the

7 eo cp ae mae = e wah asaya Just to see (their nomenclature) ‘of Rosemont,” is still extant and is same problem and come to more inter-
system in general—the over-emphasis on grades, the inadequacy | of. Wild and raw and woolly Nature. | worthy of a visit even though the|esting conclusions, we fear.
most examinations to test both the scope and the depth of a studént’s —Sightseer, Greek’s and Liggett’s and Meth’s are Orchestra Program
knowledge, and the hysteria which examinations inevitably induce sili : ‘Inviting and nearer at hand. One re-|Dvyorak........ From the New World
among the students. We would like, however, to point out some of the DEPRESSION | = to eink that our vardy ang Debussy....L’Apres-midi d’un Faune

: : ; hard-working forebears had a few! Casella
; peculiar semeste system. 9 ; : ea : : ,

defects a to the midsemester quiz system | =p se ctnere Ro hope?) oe .|minor vices. Prickitt, speaking of him- Introduzione, Aria e Toccata

The ordinary course work throughout a semester includes lectures, | You can’t teach o dogs newer tricks: ' self in the third person, lets the cat Waaner..:, :eciade ed Gove haa.
laboratory work, daily assignments, reading, and reports. In advanced . F or the srg we - — a turn— out of the bag. “He also handles a Tristan und Isolde
work a greater proportion of time is devoted to reading, laboratory |” pe a ila asa ll a line pol ee meg Lowney’s and Leopold Stokowski conducting.
work, and reports; in honours work emphasis is.placed upon these three] a nq—jt’s never too late to learn: seta “a Ree at ee Movies
alone. The midsemester quizzes completely upset the student’s sched- aoBono.” thot ov enld soda. whieh je alwava on| Aldine: Eddie Cantor stars in Kid
ule of work. Regardless of the theory by which midsemesters are sup- draught.” — Prickitt’s ~soda> “sounds mood = ve a eater tro —
posed to help the student, in practice they cause her to cut lectures, WARNING TO PARENTS strangely like a showerbath. = ren . ei eo eee ten

ll be ready We have just run across a comment |8°@7e? of a legacy. We wouldn’t ‘miss oy:

laboratory, and classes involving daily preparation; they force her to

WITS END
OUR FACULTY ATHLETES

We_like to see the faculty a
Relaxing for a while.

As hockeyites their frantic fights

Must’ inake the expert smilie.

He might suggest it would be best
To use both hands‘to drikble,

And not-to fall when on,tne bail,
Though this is but to quibbie.



We have_no use for such abuse,
But like to contemplate
The profs at ease,—though they may
wheeze, :

So thanks to you, our profs, are due,
_ May you go down to fame!
—Admiring Undergraduate.



AS ONE CAVEWOMAN TO,_+
ANOTHER (CAVEWOMAN)

Oh, my sweet, you look-so svelte

In that dinosauric pelt;

And really you look too divine

In things to match of porcupine.
You have the most exquisite clothes.
I’m quite reduced to tears and oaths.

—Modish Mab *



ARCADIA WITH HOT AND COLD
RUNNING WATER



‘ Years and Years Ago - »
| Matthew Arnold, Mill’s philosophy
‘and James on “Habit” were the great
'topies of dinner-table conversation in
11897. Everyone was trying to form
useful habits, that could be depended
upon in emergencies“to keep one out
of mischief. At least almost everyone
was trying. A few people were happy
in spite of James.. Exercise, however,
Seems to be a habit that did not need
ito be cultivated. The pages of the
lfirst Fortnightly Philistines almost
|breathe fresh air into the peering face
lof the eager reader. The girls of 1897
‘considered it a crime to study more
than four hours, without rising to take
'a rapid jaunt to Haverford and back
lor to ramble about Harriton woods for

|
1



‘ketball. ,She was something of a weak
‘sister, though, if she continued this
course of action long. What one really
needed was to sniff in the fresh ozone.
‘Therefore the roads were continually

dents.

If they were not walking, they were
lbicycling or skating. James S. Lyons,
\of the Bicycle House, greets his Bryn
|Mawr contingent: “We wish to in-
form the public that we will continue
the ‘bicycle business’ at the same stand
‘on Lancaster Avenue, Bryn Mawr,
{Pa., where we will be ever ready to
‘wait upon our customers with prompt-
‘ness by calling for and delivering

on the exercise question that seems to

\filled with healthy, rosy-cheeked stu-|-

When asked, ‘Do- you trot?’
She replied, ‘I guess not;
The galop or nothing in East.’ ”

The above speaks for itself. So
does the following: :. ~

Yourig John and Jill, a youthful pair,

Climbed up an elevation fair,

On fetching for domestic needs the
H:0 intent;

With unforseen rapidity

John traversed the declivity,

And sympathy inordinate accomplish-
ed Jill’s descent.

Johannes Sprat with ease no hydro-
* carbonates could digest,
His estimable spouse no proteins could

' NNE RBURY, ’3 : Page
seca Geant: wae 96 a pre 19H r They run at such a rate. __|an hour or so, The girl who sat at masticate.
FRANCES VANKEUREN, ’35 ; What matters score?—our spirits soar ‘her books all day went, of course, to|By mutual symbrosis a plenty each
When watching such a game. ithe gymnasium at night to play bas- possessed,

The chinaware receptacle. was clean
and desolate.



IN PHILADELPHIA



‘

a Theatres

Broad: Need we mention that The
Pursuit of Happiness is as ever with
us?

Chestnut: The immortal Ruth Dra-
per is appearing in sketches for one
week. only, and in all her best sketches
at that.

Erlanger: The Milky Way, with
Cecil Lean and Cleo Mayfield, is all
about a timid soul who suddenly finds
himself possessed of fame and an in-

anything with Eddie Cantor in it.

discontinue work on reports; and, especially in the cases of advanced 0 make merry. settJe it once and for all. A “careful Arcadia: Little Friend, with Nova
and honors students, they make her drop her intensive work. I'll be all prepared anneal eee f 1:043,,, | Pilbeam.
: : To dance ‘mother” wrote one of the Philistine Sei «th :
Instead of helping a student to keep her work up to date, mid- editors in order to tell her that she os e Great Garbo is back

semester quizzes prevent it. If the student must drop all of her regu-
lar work to correlate material for a quiz, then she has the proper
attitude toward quizzes, but is accused of letting her regular work
slide. If she does not correlate material for the quizzes, then she is
faced with discouraging grades, despite the excellence of her regular
work.

Another disadvantage of examinations. held in the middle of regu-
lar college work lies in their interference with the general educational
program of the college, and of the individual student. This past month
saw, at Bryn Mawr, a splendid:series of lectures and conferences on
international and domestic problems. Many students could not attend
the Shaw lectures and conferences because they were busy with quizzes ;
many more (including both Major and Minor Polities classes, a German
class, one Philosophy section, and, doubtless, other smaller classes)
found themselves unable to hear Dr. Nock speak on domestic political
problems because they had quizzes scheduled for nine o’clock the next
moruing. This statement of fact concerning the attendance on lectures

I’m coming home for Christmas
In ani ambulance.
—Dying Duele.



THANKSGIVING

When I go home,
It seems the Lord
Weeps mirthfully
At my pains.
I set my foot
On native heath
And then
It rains—and rains.
—Lone Goose.



LEST WE FORGET

Tell us, little stay-in-halls,

Was your turkey good?
Or was it just
Like’ all the

‘was sending her daughter abroad to
‘study, because it was her firm convic-
tion that “in no college can a girl,
however willing, get a sufficient
amount of healthy outdoor exercise.”
_This aroused the just ire of the Phil-
istine, who set out to refute the state-
ment by the Socratic method of. tack-

. ling and questioning everyone she saw.

Her first victim was a very poor speci-
men of humanity. Her day’s exercise
had consisted of a walk to the village
and a mild drill in the gymnasium af-
ter dinner. The second one was a lit-
tle nearer the average. “She had
started at eight in the morning, had
taken a fourteen-mile bicycle ride out
beyond’ Wayne and Devon and had re-
turned for the two lectures which fall
to her on Thursdays. After hearing
Mr. Belloc’s lecture (Hilaire Bello-

among us, in Somerset Maugham’s
Painted Veil. La Garbo, let loose in
China with nothing but domestic trou-
bles to occupy her talents, gathers
unto herself a lover who flees her in
a panic at the first breath of scandal.
We seem to have heard the story be-
fore, oddly enough, but then—there is
always Garbo to renovate it.
Europa: Two Hearts in Three-
Quarter Time is back for a return en- .
gagement. A swell movie if you didn’t |
see it years ago.
Fox: Hell in the Heavens, with
Warner Baxter, Conchita Montenegro,
and Russell Hardie. Not so good.
Karlton: Great Expectations, with
Henry Hull, Jane Wyatt and Phillips
Holmes. Couldn’t be better done.
Stanley: A new West Point ro-
mance, Flirtation Walk, with the

: ‘ : rest of os
during the past month must speak for itself. get ee was then at Bryn Mawr), she had vis- yen ge ie aon a, . 8
7 ids ster quizzes is ex ely good; in practice ited a strip of woodland. which lies |720%TOF, DY Vick Fowell an uby

The theory of midsemester quizzes is extremely good; I food? p é Mosler, being beautifully ‘romantle in

midsemesters interfere considerably with the student’s approach to her
work and with the work itself. We feel that if a student really wishes
to keep her work up to date and correlated, she can and will do so
without the enforced aid of quizzes; and we know, further, that if a
professor wants to examine his students on their work during the term
-. he ean and will set an appropriate time for a reading quiz, as he fre-
quently has done in the past to supplement the midsemester quiz.



Light for Our Darkness
The beginning of the drive for the Fiftieth Anniversary gift to
the college brings to mind a number of significant projects which are

—Lazy Loon.



Now that the cold winter months
approach and we see that soon all of
the customary rendezvous will be cov-
ered over with drifts, we suggest that
we have a fraternity house on campus.
We must have some place in which to
gather beside the over-populated and
echoing showcase. Peace on earth,
goodwill to men!

Cheerio..
THE MAD HATTER.

near the campus and. had there found
blood-root, spring beauties and hepati-
cas in generous quantity. She also
went to the aforesaid drill and danced
after it in the gymnasium.”

“T myself,” writes our reporter with
modest pride, “had walked to the gulf
in the morning on a vain search for
arbutus, had played basketball in the
afternoon, and had then, mindful of
arrears, betaken myself to the drill.”

“There was a young lady in East,
Who thought Minor Latin a feast,





just the sweetest way. The conduct
of the “boys and girls” offérs a swell
opportunity for picking flaws if you’ve
ever been to

Weg

est Point.
auli Lord,
Fields, and Zasu Pitts in one of the

Stanton:
best of all movies, Mrs. Wiggs of the
Cabbage Patch.

Local Movies

Ardmore: Wed., One Night of
Love, with Grace Moore; Thurs. and
Fri., Outcast Lady, with Constance
Bennett and Herbert Marshall; Sat.,
Joé E. Brown in Six-Day Bike Rider;

4 , 3 new Science building. One
planned for the near future, such as the ne “ae ic acd tues: Happiness “Ahead



of the least known and yet most important -parts of the plan is the
_ proposed addition to the power-house, if not the entire rebuilding of it.
What this will meap,to the college.as-a whole will-be afnowledged by
students and officials alike. The inconvenience and even iscomfort of
the present system is manifest and is ‘an object of regret to everyone.
We think it should be clearly understood”by all the students that

i i FRA, CMa OMe a, REESE. SPL SURES REY Meee mS MMO SUR yr gS: cP

in our rooms and higher powered bulbs, but it is an absolute physieal
impossibility. The present power-house is already taxed to the limit
and the addition of even a few more lights is actually noticed_ there.
Some have suggested that ad ower might be brought from outside
sources. This proposal has be@ thoroughly mvestigated and it has



been fund that the cost would prohibitive.

epee a PB, SE sta. ee RR eM A he oo Fe | ay re

with Dick Powell; Wed., Helen Hayes
in What Every Woman Knows,
Seville: Wed.,, Nova Pilbeam in
Little Friend; Thurs., Fri. and Sat.,
Jackie Cooper as Peer.’s Bad Boy;
Mon. and‘ Tues., One Exciting Adven-



ture, with Binnie Barnes; Wed., The.

of






en ae ie COLLEGE NEWS

Page Three





Novel Is Germinated
in Fantasy, Reverie}:



Continued from Page One

preliminary work on a novel is done
at odd moments in accidental places.

Novelists are notoriously loafers, who
spend their time lying around in or-
chards looking at pear trees, or sitting
in front of sidewalk cafés. This loaf-
ing is really the period of germina-
tion, of fecundation, The man swim-
ming off Cape Cod, while doctors and
lawyers are in their offices, is work-
ing at his trade.

No. one knows what ‘the start of
a novel may be. It takes place some-
where between the conscious and the
unconscious, in the.semi-conscious. In
Babbitt, there is a paragraph out of
which Arrowsmith was to come. Sam
Dodsworth is mentioned in tlas nov-
el, and there is a three-page speech
attributed to William Mundy, which
appears to. be the germ. of. Elmer
Gantry. In every case, these refer-
ences look fike the genesis of other
novels, yet there would be a risk of
ninety-nine to one hundred against
such a possibility.

The great production ground, deliv-
ery room, hothouse of the novel, is
necessarily that of fantasy. A con-
vincing psychological theory could be
worked out by saying that by writing
in a novel about people, the novelist
works himself out in a career he has
never achieved. This is in part true.

Reverie and day-dreaming is the ma-
terial of fiction; the novelist is the man
in whom the capacities for dreaming
are tremendously developed. Yet it is
ridiculous to say that the sole or most
important origin of a novel is a result
of unfilled dreams of the novelist. Of-
ten it is, and just as frequently it is
not. Once a novel is written, the nov-
elist loses interest in it. Between the
last proofing. and the printing, he
knows that it is a great novel: after
the reviews come in, he gladly forgets
it.

“Problems Solved Unconsciously

Anyone who thoroughly prepares a

~ long job and then begins it is able to
foresee the difficulties which will arise.
When the subject is ready to write
down, the novelist knows what will
be difficult. He is aware that two or
three problems will be most difficult
and. most’ important. Two or three
will seem insoluble. ‘The novelist, from
experience,-will know what thing's are
absolutely impossible and which no
technical expedients can help. Fre-
quently it happens that the novelist
goes on, working toward the anticipat-
ed point, but no light breaks; having
written 32,000 words, he goes to bed,
ready to abandon the whole thing. He
gets up prepared to face the problem,
and there is no problem; it has been
solved. This is true in everything as-
sociated with writing. The mind works
unconsciously toward the solving of
such problems.

An example of this sort of uncon-
scious solution from Mr. de Voto’s own
experience is shown in his last novel,
which centers about the impressions
of a person who is dead. The dead
man is never on the scene, but to vari-
ous characters in the book, he repre-
sents various types of people. It was
essential for Mr. de Voto never to
take sides, merely to present his ideas.
The novelist had to decide at some
point just what one man’s relationship
with the dead man would have been.
To have omitted this fact would have
lowered the integrity of the book, yet
to find a relationship that would have
produced the effects shown in the book
seemed impossible. Suddenly, the day
Mr. de Voto started to write that
scene, he knew at once what to do:

everything had been solved.

‘On the other hand, one does not set
about writing a novel with the main
important ‘decisions unmade. Prac-
tically everything is determined long
in advance; the primary skeleton, the
-lines of force, the relationship of va-
rious characters, and the major ex-
periences of the characters. One does
a good bit-of extemporizing “in getting
Henrietta out of the room,” and such



Rit. 4852 Room 707



VIOLET ARMITAGE
HAIRDRESSER |

fminor details, yet the eaiicds import- | | News of “the New York ats
ant outlines are known before the book |

is begun. The writing is the easiest | Another new and very fine~play,
part of a book.

: |The Children’s Hour, has appeared on
Friends Not Put Into Novels ithe scene of action in New York and
Another question frequently, asked is arousing not only much comment
of the novelist is whether he puts his! ‘but endless difficulties in the way of
friends into his novels. This cannot|reproaches from irate matrons who
be done. Nobody can set down what mistakenly take their youthful off-
he knows about his friends, because spring to see a “nice” play about a
they won’t lead the sort of life that ee school. The Children’s Hour is
is necessary for material for a novel.|about a girls’ school, but it ‘could
Secondly, there is a still more basic | scarcely be said to have been written
psychological quality necessary to the for the innocent young. It is the story
novelist, and that is fantasy. Fantasy ‘of two sober and‘ earnest headmis-
is necessary in order to put oneself in ‘tresses who are accused of abnormal
one’s friends’ shoes, but this same!conduct by a yotthg hellion who has
quality, which is necessary in order been doing a little reading; indignant
to characterfze friends, makes them’ parents descend upon the unfortunate
entirely different when they are set headmistresses and confront them with







down on paper.
Therefo:

choice. On the other hand, one does
not write from a vacuole. One writes
about what one knows; in order to give
the reader an insight into a certain
aspect of life.

are basically familiar.

Conventions Must Be Obscure

One fact that is frequently over-
looked is the fact’ that writing is an
art. Since we all write interesting let~ |

ters—all our friends tell us so—we'
As a result, we tend |

are all writers.
to forget that literature is an_ art,
with its own intricate set-of conven-
tions. The things that seem to the
reader to be most true to life are fre-
quently the result of conventions.
Hardy, Meredith, and Sinclair Lewis
have established conventions of dia-
logue. Their dialogue is supposed to
be extynordinarily trie to life, yet any
part of it, taken apart from the con-
text, seems a burlesque. However,
the speech‘is true because of conven-
tions which have been established. The
page which convinces you that you are
looking into life more deeply than in
ordinary dealings with your friends is
really a result of elaborate artificial
conventions.

The novelist’s situation is a diffi-,
cult one: he has to get what he only
partially understands into your mind.
He can only do this by symbols, con-
ventions of speech, scene changing,
and other devices. He must not lose
sight of them, and you must not be-
come aware of them. If either of these
catastrophes should happen, the char-
acters become mere marionettes. “It
is persistent dealing with this that
wears a man down,” concluded Mr. de
Voto.



Harry Woodburn Chase: ‘The run-
of-the-mine product of graduate
schools is as standardized and inter-
changeable, part for part, as any other
result of mass production.”

ee

themselves ‘universities.

Dr. Ales Hrdlicka, anthropologist:

“Coeducation is a ridiculous fad.”
* * *

Christopher’ Morley has a sneaking
suspicion, and says as much to stu-
dents, that so-called “extra ¢urricular
activities” could be nicely fired out the
window.



e, the only sensible thing to.
Jdo is not to--try to put down one’s
friends,, but to give the fantasy free’

The known thing's be-'
come exaggerated by fantasy, but they |

Nicholas Murray Butler: “There|
are only eight institutions in the
country which can -rightfully call

furious accusations in the course of a
highly dram@tic scene. The upshot of
‘it all is that the children are with-
drawn from the school in a body and
the life work of the two headmis-
| tresses is ruined permanently. By the
time the accusations are discovered to
have been unfounded, it is too Jate to
save the school.

| Although definitely depressing, the
play is®eautifully acted and expertly
dramatized. The young hell -child,
‘who is played by Florence McGee, is
‘so smug and irritating, and weaves
‘such an intricate web of falsehood be-
fore the startled eyes of the audience,
that it is all anyone can do to remain
in her seat and not charge upon the
stage to obliterate the maddening
youngster. The curtain no sooner de-
scends than the audience breaks into
cries of protest and emerges from the
‘theatre with some idea of finding .the
‘dressing rooms and doing something
drastic. to the youthful Miss McGee,
The agony which the two headmis-
tresses endure in their fruitless at-
tempts to talk down the scandal is
just as painful to the audience/as to
them, and a more agonizing moment
has seldom been portrayed upon any
stage than the one in which the
younger of the two is unable to hear
with the situation any longer and pro-
ceeds _to-shoot herself,

A very different but also excellent
spectacle is the new musical comedy,
Anything Goes, with Victor Mvore,
William Gaxton and Ethel Merman.
We are not inclined to rush for a sight
of Miss Merman when left to our own
resources for a few moments, but shc
does a rendition of an extremely in-
tricate melody, with contrapuntal ef-
fects by th¢ orchestra, entitled “I Get

iA Kick Out of You,” which could
‘searcely be improved upon. She also
appears in an advertising skit as

Miss Lux-Lifebuoy-and-Rinso, which
is a delight to the souls of anyone who
follows the B.O. ads with startled put
undisguised interest. There is, in ad-
dition, a really charming skit in which
Victor Moore appears as a shy but
proud gangster, disguised as a clerzy-
man, and takes a blushingly naive
pride in having risen from an un-
known toughie to ‘Public Enemy No.
1.” Anything Goes is a noble suc-
cessor to the Third Little Show and
others of®he same highly sophisticat-
ed ilk which we had feared were never
again to be with us, and it proceeds at
a pace which only the better brains of
Broadway’s oldest producers can
achieve.







ORCHIDS /

BRYN MAWR, PA.
Seville Theatre Bldg.
B. M. /2418



BRILL FLOWERS

/ MARTY BRILL

The thoughts that cannot be expressed in words
can be expressed in flowers

GARDENIAS

ARDMORE, PA. .
46 W. Lancaster Ave.
Ard. 2048

¥*




























“For Christmas”

=Nothing is more pleasing and acceptable
than beautiful stockings - - -

Clear Fine Chiffon

All Silk
$1.05—3 pairs—$3.00
Sandal Foot—$1.50 pair

_|republican system on these principles

Dr. Nock. Predicts

Collectivist America



Continued from Page One

party would undo the work of this|
regime. Such hopes are doomed to |
disappointment. Political planks do!
not denote party principles, nor do
promises result in action. All parties |:
are interested in these three things—
centralization, bureaucracy, and con-
trol of mendicants. When the NRA,
ceases to function, the government:
will not make any real concession; it’
will gain ‘its ends another way. Al-,
though direct appeals to the pressure
group may cease, it will be subsidized .
indirectly through state indemnities |
and insurance.

Causes of Conditions Analysed

In order. to understand the present
state of affairs, it must be syrveyed |
in relation to its causes. In 1776, the
purpose of government in America |
was proclaimed to be the maintenance
of freedom, and the protection of nat-;
ural rights. Jefferson worked out a

and saw .that the true power of the
nation should be held by the smalles:
units—townships and wards. Jeffer-'
son’s ideas, however, are not the. bases
of our government. Instead, the na-;
ture of the American state is Euro-
pean, and the doctrine at its root is:
“Man has no rights except those the
state gives.”

Fascism, Hitlerism, are thus con-
demned by Americans for embodying
a principle that is the very founda-
tion of the American state. - Such
Americans do not realize the essential
nature of the phenomenon known as
a state, A state did not originate
through social agreement or necessity,
but through conquest and confiscation. |
It was an institution imposed on the’
conquered group. It does not serve |
a social purpose; it does not maintain |
freedom and security. The object of
a state is the exploitation of-one. class
by another. ‘The state,” as a wise
Spaniard said, “‘is the most dangerous |
enemy of society.” eo

When the American government
was formed, this social enemy was’
made the machine for control. As for
the Declaration of Independence, it}
was forgotten if all but name. All of
our country’s ensuing history has been.
nothing more than a struggle of vari-
ous classes to pull the levers of pow-|
er for their own advantage. If social!
rather than state needs had been con-
sidered, the United States would not
extend beyond the Mississippi ‘oday.

Power of State Enlarged

Class struggles necessitate the cre-
ation of new boards, new officials, new
laws, all of which enlarge the power
of the state. For 150 years, the pro-
cess of centralization has continued
by natural steps in America. At the

beanie

s,| Although we pretend otherwise,
‘havé been corrupted to look to the

“will collapse.

jtyranny.



very beginning, the eventual destiny
of the nation might have been fore- |



Open Daily and Sunday
LUNCHEON ‘40c-50c

Meals a la carte

THE PUBLIC

Jefferson
“The government now takes so
steady a course as to show by what
'road it will pass to destruction—first
‘by consolidation, and then by corrups
ition, its necessary consequence.’

In a government like ours, more
than in any other form, the state ‘cor-
rupts the people, and the people cor-
‘rupt the state. Morally and intellect-
‘ually, the American. people are cor-
‘rupt. In speaking of the state itself,
‘we are dishonest. We praise its vir-
‘tue, give it prestige, proclaim it as a
‘protector of freedom. Yet we ‘believe
‘with Hitler that “the state dominates
the nation becausé it alone represents

it.” If we did not ‘know Mussolini
‘nd said this, we should agree. that

‘Seen, and was foreseen.

'“the state embraces everything and is ~
right.”
cile freedom and a state.

It is nonsense to try to recon-

As we refuse to face — reality
speaking of the state, so we do in talk-
‘ing of many other things. “Laissez
faire,” “rugged individualism,” and
such terms are bandied about on every
‘tongue. They have never even existed.
we

state for everything.

In Rome at the time of Marcus Au-
relius, the people were reduced to pre-
cisely this level. Social power had

| ° .
been converted into state power until
‘there was no social element left to

pay the bills. Before that time, Greece
had reached the same dangerous point
by the same natural, easy route. Both
nations disintegrated into chaos. °
Collectivist America Predicted
America. now stands on the brink of

the same precipice, and nothing in the

world can be done about it. The law
of cause and effect cannot be broken.

‘The causes have been accumulating

for centuries, and now the effects are
about to crush us. America will be-
come a nation of Collectivists. They,
with an insane logic, deny the equi-

‘librium between state and social pow-

er, and so will do away with the so-
cial part of the country.
plete lack of one element, the state
Bloody civil. wars will
be calmed only by a military dictator-
ship, which will be transformed into
’ Far off in the future, this
tyranny will decay and a new, reason-
‘able organization will arise, but that is
very far off.

All who are rational, intelligent, all

“lovers of virtue,” as Plato once said,

should simply run for cover, as they
would in a hurricane. There is noth-
ing else to do. Politicians tell such
people to be up and doing. They them-

selves feel the urge to reform the
state and convert it into a social, not
an anti-social institution. But they

can do no more than butt their heads
on a stone wall. As history shows,
the nature of a state is to be as Amer-
ica is, and to follow the course Amer-
ica is following. The nature of a
state cannot be altered.

BRYN MAWR COLLEGE INN
TEA ROOM

Lombaett Avenue between Merion and Morris Avenues

8:30-A. M.-7:30 P.M. °*

DINNER 85c
and table d’hote

Private Dining Room available for parties

SPECJAL THANKSGIVING DINNER $1.00
12:30 P. M. to 2:30 P. M.
To arrange for Party Reservation Phone: Bryn Mawr 386

IS INVITED









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Page Four

THE COLLEGE NEWS









‘ _Nature Is_ Sybject . at
| of Chinese Painting





Centinued from Page One

scientific imitation of nature is the ob-
ject of painting, for science, through
perspective, has invaded | art. In
China, however, the artist interprets
nature as part of an harmonious whole,
a vital rhythm pervading all things,
‘animate and inanimate.
more of this rhythm in the form af a
beautiful woman than in a grace
willow twig. No science dictates to
* art, which instead is wholly imaginat-
ive. Because of the propensity among
ZZ Chinese for poetic analogies and im-
3 aginative pictures as explanations,
es, they have never developed a great sci-
% ence or logic. But through fancy
% they have been able to enter into the
; spirit of the objective world, tofun-
4 derstand and keep alive its mysferies
rather than baldly to explain them.
¥ Essence Is Subject of Art
‘ Where the artist of our hemisphere
E would pick a flower, bring it into his
3 studio, and copy it as perfectly ashe
3 could before it died, a Chinese artist
would plant the seed, water the sprout,
watch every unfolding and shading of
“the blossom, watch its fading and fall-
ing, and then go into his studio and
paint the soul, as it were, of the flow-
er. The result is very tenuous and
slight in our views, but it is what the
Chinese wish—the essence, not the
image.

The desire of Chinese artists to
paint the intangible Tao has given
their pictures certain permanent. and
distinct characteristics. That their
painting is opposed to imitation is’ one
most important trait, and this opposi-
tion to copying results in ideographic

oo abstraction. Thus their art resembles

4 their writing, which began with ideo-
graphic representation. Originally, a
Chinese letter symbolized an idea, not
a name, and the idea was necessarily
reduced to its absolute essence. Neces-

’ sarily, also, it was rendered in noth-
ing but linear rhythm.

When a Chinese painter works, he

too seeks the idea of his subject, and
he expresses it in harmonious lines.
If a Western landscape is compared
with a Chinese, it seems to possess a
“g plasticity, a feeling for texture, a
richness of actual detail, that the Ori-
ental painting lacks entirely. The
Chinese world is little more than a
series of lines, but these simple lines
emphasize a life rhythm quite conceal-
ed by the complexity of color and sur-
face in our pictures. Again, the Chi-
nese seek the impalpable, vital idea,
not a photographic or even impression-

istic likeness.
Chinese Painters Design in Areas
A second quality of Chinese painting
is design in areas. There are few at-
tempts ‘to show depth; instead, scenes
* are represented as flat and two-dimen-
sional. In Western art, only..Greek
a vase paintings and old Byzantine mo-
saics can compare with the Chinese
, patterns of areas. A picture of a
_ | Chinese lady shown on the screen by
a Mr. Rowley illustrated this quality.
Her hair, her face, her bodice, her
girdle, were not drawn as if in differ-
ent planes, but as if in different parts
of the same plane. By the reduction

Bea

Spon ce eee
































tion of design unknown to us except
in formal decoration is obtained.
Essentially, the Chinese render a
figure in brush strokes. Long ago,
their old philosophers said that the
soul of the artist must live in the tip
of his brush. That is, he must be so
aware of the inner qualities of things,
that almost involuntarily, the brush
records them in sure, vital lines. Our
great masters of the pen and brush,
. like Rembrandt, were never content
with the silhouette alone. They. added
washes and shadings to show depth
and texture. But in the silhouette
itself, by a mere thickening of the
brush stroke, the Chinese convey
whatever idea of varying surface they
desire.

The Chinese do have a method of ink
wash, but it is used more for sugges-
tion than actual portrayal; and
through all the history of Chinese art,
the brush stroke remained essential.

~-gnere “and moze complex, until in the
nineteenth century, a wavy outline of
@ sleeve could represent all motions
_ of the surface planes of material as
the arm raised or lowered it. There
is difficulty i in understanding lines that
Bymbolize so much, but when at last
Chinese art began to decay into cal-
licraphy, methods of representation

There is no

of several surfaces to one, a perfec-

As time went on, the strokes beeame-



the flower of a school. of art- becomes
most explicable through the definitions
propounded in the downfall of the
school.

Life ‘Rhythm Saves Declining Art

* When Ciinese art declined, it be-
came completely tenuous and anaemic.
Only its quality of life rhythm saved
it. The vital movement of lines was
so deeply felt by Chinese artists of the
sixth century, that they painted things
in actual motion whenever they could.
All the blowing of flowers in the wifrd,
they portrayed in the bending of a
single ‘peony stalk and the lifting of
its petals. Necessarily, the art of
life rhythm must deal with suggestion.
It can be conveyed in no other way.
Simplication, omission, or oblitera-
tion,of form are methods of suggest-
ing the rhythm of life and the Tao.
The imagination of the spectator is
inspired and released and led to the
brink of the unknown, where Tao is
most comprehensible, even if most in-
explicable. To the Chinese, who
have a psychological world of symbols
and’ impressions far ‘wider and far
different from ours, Tao is much more
expressible than it is to us. Dragons
shown by two eyes, a single coil of the
body, and a forked tail mean little to
the “Westerner, but to the Oriental,
they convey airy spirit as opposed to
matter, forked lightning, sheets of
rain, and reverberating thunder.

Voids Used for Suggestion

Another method of suggestion is the
use of voids. Voids are quite as im-
portant as confining lines. A China-
man would say that not the walls of
a room, but the space enclosed by the
walls, was most essential. When he
painted, he would use empty space to
signify just as much as. his masses
of form, Like the intervals in a mu-
sical compositions, the voids in Chi-
nese painting emphasize and complete
the theme, and make a picture an ex-
perience in time rather than a station-
ary unit bound within the instant of
one Blance. The voids give to Chinese
art a unity entirely different from our
unity of central balance. Instead, the
unity is that of coherence; it is flow-
ing, like life. Landscapes especially
show this quality. They portray not
one scene artificially selected, but the
vast, related whole one actually sees
in looking at the world.

In order to show the relation of all
things, when objects are so diverse in
rhythm and texture, the, Chinese se-
lected and emphasized whatever qual-
ities weré alike. If a wrinkled old
man is drawn sitting by a rock, this
rock is given the same sort of wrin-
kles. If a furry monkey is painted
in a tree, the tree must have a furry
look as well.

Another element .of Chinese art is
overtones. These may be of a liter-
ary nature often incomprehensible to
us. No painting is made for the sake
of imitation alone. Every subject
symbolizes an idea much vaster than
itself, as a picture of a family group
may signify the glories of ancestor
worship and large families.

Moods of Nature Portrayed

Westerners impose the passions of
man on’ nature when they represent
it, but nature has its own moods for
the Chinese. It is pure and imper-
sonal like music; restrained and har-
monious even in wind and storm. Even
pictures of men absorb the tranquill-
ity and timelessness of nature. When
a Chinese artist draws such a trivial
thing as a lady at cards, he gives it
a lofty dignity imparted by aeons of
decorous ancestors who lived in the
serene mood that comes of feeling uni-
ty with nature.

As an illustration of all the quali-
ties of Chinese art, Mr. Rowley con-
cluded his lecture by showing the four
sections of a scroll painting of a river
by Wang Wei. At the same time, he
read a poem describing a river by the
same man. The harmonious rhythm
of nature, the relation of qualities in

all objects—trees, clouds,:and_ rocks, | -

the use of voids and repetition of mo-
tifs, the restraint and tranquillity of
an eternal idea, the Tao, were all there
as they are in all Chinese art.

“GREEN HILL. FARMS

A remirider that we would like to
take care of your parents and
triends, whenever they come to
visit you.







Not Out of the Stacks o
. Hans Fallada’s new book, The
World Outside, is much like Little
Man, What Now. Like*the*novel about
the Pinneberg family, it is a propa-
ganda against the injustices. of society
during the depression. It has a swift-
ly moving plot and it involves the
reader by its human appeal. Both
novels are somewhat Dickensian in
treatment of social problems, but they
are written in a distinctly modern
style: the plot is not complicated
with incidents of minor significance,
the characters are not caricatured, and
revenge and retribution have no, part
in the modern scheme of morals.
The: German novelist secures re,
markable artistic effects by the ways
in which he balances and_ sustains
character, plot, and theme. The char-
acter of Willi Kufalt, the Little Man
of The World Outside, is portrayed
primarily by his thought, and“only to
a certain degree by his reactions,.to
the plot. The plot, however, is so. in-
geniously fashioned as to make him
think through all kinds of problems,



to act under all sorts of cireumstan
and to feel through the whole ga

of emotions. Both character and p
are deftly used to point the theme—
the moral, if you will: ‘Once a man
has eaten out of the tin bowl he is}
sure to eat out of it again.” Kufali
at the beginning of the book is just
about to be released from prison af-
ter a five-year term, and ever after
he remains haunted by the fact that,
even though he may—by some rare
chance—establish himself as a respect-
able member of society, he will always
be regarded as an ex-convict and may
never realize his ambitions to secure
for himself a home, a job, and a
family. He must always remember
that he was in prison; -he is always

reminded of his prison sentence. When |.

he does at last attain to some measure
of success, he is falsely accused of
crime or forced’ by circumstances into
involving himself in the affairs of his
ex-convict friends. ;

As propaganda, The World Outside
could scarcely be bettered; as a novel
it is extremely good, and escapes
greatness only becaus2 it is so true to
life as to be factual, so timely as to
be dated.

It is hard to say whether The World
Outside. or Little Man, What Now -is
the more depressing novel in tone. The
World Outside deals with one of the
darker sides of life—the life of a
prisoner;—but—Fallada’s earlier—novel,
by its inclusion of Pinneberg’s wife



and child, touching figures both,
awakens more sympathy for less
acutely distressing events.

Martha Gellhorn, the’ author of

What Mad Pursuit (reviewed in this
column November 14)



is a_ recent
Bryn Mawr alumna.
Minneapolis, -®Minn. — President

Franklin Delano Roosevelt, originator
and champion of the New Deal, will
run for re-election in 1936 on a lib-
eral third party ticket, it was pre-
dicted here by a speaker before a
University of Minnesota student for-
um. He will be succeded as head of
the ticket in 1940 by Floyd B. Olson,
present-time Farmer-Labor Governor
of Minnesota. The predicter was
Howard Y. Williams, organizer and
executive secretary of the National
Farmer-Labor Party.
* * *

Scientist Einstein would have no
examinations in his ideal university,
no drilling of the memory. “It would
be mainly a process of anneal to the
senses in order to draw out delicate
reactions,” he says.







Ht costs no more to ve in

the very heart of town—with
all the modern comforts and
conveniences! The suites (one
and two rooms) are large and —
airy, with Pullman kitchen and
bright bath. You will have te

Mile. Galland Reviews

Sacha Guitry Plays!



Continued from ‘Page One

act unless Yvonne Printemps,
gallicisme vivant,” plays opposite him.
During the fifteen years of his mar-
ried life with her, he wrote for her
alone.

hommages.”

her at once, although he was ‘much
older than she. Everything she knows |
of dramatic techniques he taught her.
There was such perfect understanding |
between them that they never gave
two exactly similar performances, but,
for the sake of variety, improvised |
new lines or new actions every night.
It is Mlle. Galland’s opinion ,that
Yvonne- Printemps will only be -able|
to act in plays especially written for |
her, if she remains here in America. |

In 1920, Guitry did, what was for'
that time, an extraordinary thing: he |
turned to writing historical plays. His
Pasteur was so affecting that Pas-

teur’s. family wept when they attend-.

ed a performance of it. Guitry fol-|
lowed up-this first succes with Mari-
ette, for which Oscar Strauss com- |
posed the music, and with Mozart, '
which was played by Yvonne Prin-
temps. His La Jalousie caused the

critics to compare Guitry with Moliére |
who was also both an actor and a’
playwright, and who wrote with much | -
Ba’
Jalousie indeed became so well known !

the same “fraicheur de touche.”

and’ was so widely admired that it

was purchased by the Comédie Fran-:

caise and is now played in that the-

sla |

This was,.said Mlle. Galland, Morning,
“le plus fervent et le plus .délicat des |
Guitry found Yvonne!
Printemps in a cabaret and married |

College Liberalism Suppressed.
(Hunter College Bulletin.) ,

On the evening of November 138, the
jPaculty of City College handed a
‘statement of its final action on the Oc-
|tober 9th student anti-fascist demon-
lstration at the College to reporters
|from the city newspapers. The next
the front pages of the city
\press carried the story: ‘Twenty-one
|Expulsféns.” The same day college
‘students all over the country. réad the
action with unbelieving eyes.

a student opinion becomes “danger-
lous” (i. e., whenever it dares express
‘itself in opposition to the administra-
‘tion of the colleges) -it must. be sup-
| pressed. Whenever there is the possi-
ibility that “dangerous” opinion is be-
jcoming representative of a student
body through student council and stu-
‘dent publication expression, as in the
‘case of City College, we find that*the
council is: suspended, the publication
lis investigated and a wholesale house-
cleaning by expulsion is staged.

Such disciplinary action proceeding
\from the administrative heads and the
faculties of institutions is not merely
an expression of their personal con-
;demnation of the activities of the stu-
‘dents called onto the carpet before
ithem. It mainly voices and acts upon
the demands of those who give eco-
‘nomic or political support to the col-
leges and who fear and despise the
growth of an American student move-
ment.

In our own times, we cannot but
look with unbelieving eyes and an out-
raged sense of justice upon the ‘vicious
and unwarranted attempts, clearly
shown in the late student suppression

|

|



iio! : ich Inelod ‘vat cases, that are being made to crush a
“1 ius es wa Kaye sa x “YS student movement which works toward
ee ee onere, La JSAOUste the elimination of the present major

a bla fs sng i anaes evils that beset us—toward the elimi-
mal a manner, that one scarcely real-' nation of War, of Fascism, of race

izes one is at the theatre. It begins ).ejudice—toward the elimination of

with a monologue, proceeds Into @ the economic causes from which they
very amusing though trivial quarrel spring

between the jealous husband and his:

wife, and ends finally with their recon-
The Garland
Beauty Salon

ciliation.
Louise Richardson














Guitry has written a_ great deal |
about women in his plays-and.in his!
maxims. “En somme,” he says, “ce
que veulent les femmes, ce n’est pas
étre seules avec vous mais que vous.

Pe All Branches of Beauty Culture
soyez seuls avec elles.

SPECIAL RATES
3 Beauty Aids to College
Students $1.00
Shampoo and Waves 75c
Excellent Work

&



Only 25 per cent. of the mer who
apply to the student date bureau at
the University of Toronto have a
preference for blondes.



Meet your friends at the
Bryn Mawr Confectionery
(Next to Seville Theater Bldg.)
The Rendezvous of the College Girls

Tasty Sandwiches, Delicious Sundaes,
Superior Soda Service
Music—Dancing for girls only

HOME FOR THE |—
CHRISTMAS

ff HOLIDAY ?
MM hi

QUICKLY and skonoitledar

Don’t spoil the thrill of getting home again by worrying
about the shipment of your baggage. Solve the problem by
leaving everything to Railway Express. We will call for
your trunks, baggage and personal belongings and send
them home on fast passenger trains through to destination.
You can take your train home with peace of mind—knowing
that your baggage will be there quickly and safely. Railway
Express service means economy. We give a receipt on
pick-up and take a receipt on delivery ...double proof of
swift, sure handling. If you cannot go home, send your
presents to your family and friends by Railway Express.







Low Prices



Ardmore Theatre Building
Ardmore, Pa.

Call Ardmore 4577
for appointment

















For service or information merely call or telephone
BRYN MAWR 440

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THE COLLEGE NEWS

Page Five





Haverford Game Tie;
Faculty Beaten 3-0



Despite Extra’ Period Allowed
Varsity Unable to Score
vs. Haverford -~:



FACULTY TEAM IS WEAK



Bryn Mawr, November 27.
The Varsity hockey team finally

took revenge for last«year’s tied score 4

by defeating the Faculty, 3-0, in a
game filled with the usual bumping
and scrambling, with the added at-
traction of some fine slipping and slid-
ing as a result of the rain and mud.
_ Although the Faculty threw mercy
to the winds in its attempt to conquer
the Varsity, its dignity for some rea-
son seemed to stay by, making the
game more of a tense struggle than is
customary in this annual event. Al-
thovgh Dr. Blanchard and Mr. Carl-
son held their own positions on the
forward line and were backed up by
Dr. Watson and the more professional
playing of Miss Brady, the co-opera-
tion was weak, and Varsity for once
was able to carry cn a steady offense
against a stronger backfield than the
Faculty usually has to offer. Collier,
at center half, proved to be a great
stumbling block to the Varsity for-
wards and her work plus their inac-
curacies prevented an even more one-
sided game. Dr. Cope, who has taken
Dr. Richtmeyer’s place at left half
and also his golfing swing, carried on
nobly, while Dr. Dryden, holding down







: Resignation

The College News regrets to
announce the resignation of
Edith Rose, ’37, from the Edi-
torial Board.







his usual post at the goal in the good
old soccer fashion, was one of. the
mainstays of the team.

Watch out for the basketball sea-
son! That famous faculty quintet will
be after our blood, and though slow
on the hockey field, it’s a good Var-
sity team that can beat them on a
hardwood floor.

The line-up was as follows:

Faculty Varsity
DY Want 0.6. PW. ik Taggart
Miss Brady «.... ge Cae era Larned
De WRUEONM 6446. Oe ices Cary
MY, COvlgOn 5 cil Wo he ea es Faeth
DP Bianenard . oc Wess cocks Brown
Dr, Brougnton. ..%. D.-.. ce Bridgman
Miss Collie? 43 ..0F Beek eceis8, Kent
Dr Cope. si oac | Fae | aca splat Evans
Dy Ee ier 56s PED TN clas Gratwick
Dr. Mevseer ot ele DS ccc es Jackson
Dr. Dryagen .. 6... en Pe ee Leighton

Goals—Varsity: Brown, 1; Faeth
Le Cary, 1.



Bryn Mawr, December 4,

Bryn Mawr failed to: score against
the Haverford Soccer team in their
annual hockey battle. With an 0-0
score at the end of the game, Haver-
ford shouted for more, but in spite of
the extra period allowed, Varsity was
unable to push the offense to tally.

Followed by a vanguard of Campus
dogs, the two'teams scrambled up and

‘of the weakness of opposing backvield,

jtumes; long bare legs being chased





down the slippery field, Bryn "Mawr |

holding the Haverford forwards nicc-
ly with a strong defense, but, in-sp.cc |
|
|
Varsity was unable to gather its!
forces sufficiently#to push the-ball into
the cage. The strange variety of cos-

frantically by short, equally bare, but
less rapid ones; the mournful wails
issuing»from. the west stands and the
girlish giggles and shrieks percolating
from the east “bleachers;” the bark-
ink of canine enthusiasts; and © the
crashes in midair,—all helped to en-
liven one of the great dccasions of the
hockey season. So with the echo of
the Haverford “Amen” ringing in our
ears, we retire and start to polish up
on our basketball in the fond hope of
offering a little competition to the
more expert Haverford quintet.

The line-up was as follows:

Haverford Bryn Mawr
Reis ce A, fears ceo ‘Taggart
BLOWN iia. ee eer enti eee Larned
PORE A, 6406 Orth ci Cary
Mechling Ae ti . .Faeth
10 Cs | a a LOWE Cea Brown
BOMOY oy. RoR 48 Bridgman
MHATDIONS. 6 ic bs Ons 6 4acewe Kent
McGinley ....... eo ccs S. Evans
Haron ... f- bea WeDicrierss Jackson
COKOR, Fe oi. o..9's I*b. ...+..Gratwick
‘EOYEIANGON - ..... Pea sivvecsa. Smith

Subs—B. M.: Bakewell for Tag-
gart. Haverford: .Tomkinson for

Seeley, Maier for Evans, Dutton for
Tomkinson.

Umpires — Miss Sharpe and Miss
Grant.

Time of Halves—20 minutes.







Christmas’ Dance

Let us remind you that there
is a 50¢ reduction’ on couple
tickets for those couples who are
also going to the play.

We: want to announce music
by Herb Woods’ Orchestra, and
entertainment by Shorty At-
more, Haverford, ’34. |

Those assisting. for the dance
committee are: Agnes Halsey,
chairman; Betty Perry, Ann
Hawks; Jean Lawson, Winnie
Safford, Ruth Woodward,





Doreen Canaday. \

x.



Orjentation Course
Difficulties Explained



Continued from Page One

fluencé it had on textbooks of all kinds.
Histories were made more interesting
by illustrations and by better forms
of presentation.

The kind of course which the News
was advocating was \yne which would
give information to Students to help
them choose their field of future study.
Mrs. Manning felt, however,-that the
need for such a course is not very
great. Discussion with friends is real-
ly the best way to find out about a
course or a department.

In closing, the very popular Vassar
course was mentioned. This has been
a notable success and is extremely
worthwhile. A great measure of its
value depends on ‘the personality of
the person giving it. He must see
clearly the connections between varied

will be:





fields of study. There are very few
people who are able to do this type of
thing.



New Groupings for Courses

State College, Pa.—With the intent
of bringing related subjects into clos-
er integration for the benefit of stu-
dents, and of relieving able teachers
and investigators from routine admin-
istrative detail, Pres. Ralph D. Hetzel
has approved a plan for the reorgani-
zation of the Pennsylvania State Col-
lege school of liberal arts,

The new program, “developed by
Dean Charles W. Stoddart in co-op-
eration with the scheol’s faculty, pro-
poses to reduce arbitrary lines be-
tween related subjects by dividing es-
tablished departments into divisions
of major interest, and orienting these
divisions into more comprehensive re-
lated subject groups.

The major groupings of divisions
fine arts, to include music,
drama, and speech; foreign languages,
to include French, German, Spanish
and Italian, and the classical lan-
guages, and. social studies to embrace
history, political science, economics,
and sociology. A chairman has been
selected to head each group for the
period of one year.

“The newly created groups shall be
responsible for matters of common in-
terest,” Dean Stoddart said. “They
shall recommend courses of common
nature where they are desirable; set-
tle questions. of overlapping courses,
and adjust those which do not belong
specifically to a single division or de-”
partment.









TOBACCO EXPERTS

NOTED GIRL EXPLORER.
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“When I’m tired, I just
stop and smoke a Camel.
It wakes up my energy in
no time. And here’s an
important point—smoking
Camels steadily does not
affect one’s nerves.”

ALBERT FAY, JR.,’35—Architectural
Student: “When I’m working ‘en charette,’
as we say, on plans, specifications, design
work—right up to the .‘due date” of a job, I
sometimes work for two whole days and.
nights without a break. It’s not easy to fight
off exhaustion at times. I have discovered a
good way of bringing back my energy when
I need it. I smoke a Camel and a feeling of
renewed energy quickly comes to my aid,
and I can carry on! I enjoy Camels all I
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ALL SAY:

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sun
















Page Six

CHOPIN

a



THE COLLEGE NEWS





Mr. Marriner Plays
Romanticist Music



Mendelssohn’s Work Has Power
to Soothe Pain, Liszt Was
Wizard of Piano

LYRIC MASTER



Deanery, Noyember 27 :
Mr. Guy Marriner delivered the
fifth of his series of lecture-recitals on

the music of the three romantic com-
posers: Mendelssohn, Liszt, and
Chopin. He opened the programme
by playing the beautiful waltz Lie-
*bestraum by Liszt, and concluded
with a large selection from Chopin’s
various kinds of ‘shorter piano pieces.

Felix Mendelssohn was born in
1809 of well-to-do parents and en-
joyed a fine classical musical educa-
tion. He was a precocious boy and

at the age of ten was composin
while at 18 he wrote the Mian
e t 20

Night’s Dream Overture, and_

he conducted the Saint Mathew Pas-
sion of Bach for the first time since
that composer’s death. He revived in-
terest in “Bach and published his
works. As a piano virtuoso he tour-
ed Europe and appealed to everyone
through his attractive’ personality
and the variety of his works. He
founded the Leipsic Conservatory and
instituted the modern school of or-
chestra conducting, but the strain of
his active life of musical and execu-
tive work killed him at the age of
38.

His music is delightful and charm-
ing and throughout it, the influence
of his mother is apparent in its ten-
derness and sympathy. As Beethov-
en’s great appeal lay in depicting the
sorrow of the soul, so Mendelssohn’s
lay in his soothing quality, his power
to ameliorate suffering, as is shown
in O Rest in the Lord, Elijah. Some-
times he is purely happy, sprightly,
and light-hearted, yet in all his work
he maintains a clear and polished
symmetry of form. He is known as

—



e baa ty +g
the most classical of the Romanti-
cists. Mr. Marriner played two of
Mendelssohn’s Songs Without Words
which” show the composer’s great
iyric and formal powers: the perfect-
ly finished Duetto and the popular
Spinning Song.

Franz. Liszt, the wizard of the
piano, was born in 1811 of a Hungar-
ian father and a German mother. At
9 he was a prodigy ‘and as one suc-
cess followed another, he lived all
over Europe, charming everyone with
iis personality and his Antelligence.
His life story reads liké a fairy tale
for he was loved by the masses and
feted by royalty. The followers of
his school at Weimar became the ul-
tramoderns of the future. He exert-
ed a tremendous influence on his con-
temporaries by helping them with his
money, efforts, and time, by support-:
ing many of his pupils and by writing
on music. His Hungarian Rhapsodies
embody the idea of a musical epic for
the Madgar people. -Among his var-
ied compositions are arrangements of
more than 80 songs.* He innovated
the one movement symphonic poem,
which became the keynote of 19 cen-
tury Impressionism. Believing that
virtuosity is a creative art, he h-
sisted on a mastery of the instrument
and introduced vital changes in piano
technique. At a concert in Rome he
broke all precedent by being the solo
performer, and so instituted the mod
ern recital. The Twelve Transcerk
dental Etudes reveal his energy, vi-
tality, and technique. To illustrate
furthey the work of Liszt, Mr. Mar-
rine®played the etude, Murmurings
in a Forest.

Chopin, born in Poland in 1809 or
1810, “was the. greatest of all com-
posers for the piano because he never
abandoned his medium. After a
splendid musical education, he _ be-
came a virtuoso at 19. Contrary to
the usual belief, his lung trouble did
not develop until the last years of his
life and his childhood was not spent
in poverty. He spent most of his
life in Paris surrounded by the bril-
liant people of his day, although he
always wanted to go to London. He



brought forth a new Romanticism
and, with a beauty \that. was never
trite, he blended in ‘all his. works a
magic style, melody, rhythm, and _ har-
mony. He recognized a new value in
national musie and brought out the
past in such music for every class in
life. - Taking the nocturne form from
Field,. he developed it with a new
lyricism. . He wrote in every form for
the piano, introduced a new piano
style of greater flexibility, and freed
the piano style from pedants. His
musie, an instant success, possessed
refinement, delicacy, and languor, just
as dil the Pre-Raphaelités in litera-
ture. It ‘lacked all that was harsh,
rough, and conventional, but by its
very tenderness inspired especially
women to an awakened understanding
of great art.
he gav¢all possible expression to his
instrument by developing all its var-
ious forms of composition. Mr. Mar-
riner illustrated a ‘great many of
these forms: first the Pollanaise in
A Major, followed by the Nocturne in
D Flat, and the Minute Waltz.: Then
came a group of études, which de-
mand years. of study for the proper
tone technique and interpretation, in-
cluding: the Harp, Black Key, the
F Minor, Double Thirds, the Butter-
fly, followed by Number 11, Opus 25,
in C Minor. He continued with two
preludes, the E Minor, and the B
Flat Major, and a Ballade, Number
4, in F Minor, which has a Wagner-
ian chromaticism toward the end. In
response to the great applause, Mr.
Marriner cortcluded by playing the
Raindrop Prelude as an encore.



Marriner Lectures
on Brahms and Franck



Continued from Page One
full climax where there is a bridging
over to a suggestion of the Fugue.
Then the Fugue comes, with varia-
tions and inversions, reaching a cli-
max followed by a cadenza; this leads
into the theme of the Chorale in canon,
ond over against it is the theme of the
Fugue with an accompaniment of the

With lyric brilliance| and nobility of character



French Club Play
The Frénch Club regrets to
announce that the Christmas
play will not be given.



theme of the first movement, ending
in the major key.

- Thus at the end there are four dis-
tinct motives and ideas, not unlike
those in certain:works of Bach. This
composition reveals, aside from
Franck’s. technical skill and innova-
tions, his spiritual exaltation and his
quality of being apart from reality
while yet presenting it. :
Brahms Music Has Tectonic Dignity

Johannes Brahms,. vorn in Ham-
burg in 18338, inherited his musical
ability from his father and his depth
from ‘his
mother. At thirteen he was concertiz-
ing and at twenty he met Liszt and
Schumann. After years of study and
self-discipline he settled in Vienna for
the remaining 38 years of his life,
where he was known to be a genial,
humorous, and - lovable bachelor.
Brahms was both-a Romanticist and a
Classicist for he renewed the past with-
out ever lowering his personal ideals.
He composed in all the great forms of
music except the opera, and aside fron
an oratorio, the Requiem, four sym-
phonies, two overtures, and chamber
music of every kind, wrote over 200
songs. He composed with deep emo-
tion’ as well as-with phenomenal har-
{mony and rhythm, yet he always in-
sisted on the proper organization of
the themes and on their artistic pres-
entation.

A Brahms cult was formed by his
admirers and soon a warfare broke
out quite accidentally and unfortu-
nately between the school of Brahms
and that of Liszt and others. Brahms
was accused of being cold, and-writing
absolute music, but strong Romantic
influences show in his work and his
200 songs certainly evoke an emotional
and imaginative response. Music can-
not be regarded as purely absolute, for
sooner or later it must, like everything
else, take on a meaning.

Brahms was an organic blend of both

|



'the, new and the dld and combined co-

lossal architecture, dignity, and
breadth with his special technique of:
broken chords, double thirds and
‘sixths, interlocking tenths and

twelfths, and his contrapuntal method
of interwoven themes, The magnifi-
‘cent Sonata in F Minor, Opus 5, which
Mr. Marriner played as a fitting con-
clusion ‘to the series of recitals,-is a
fine example of all this as well as bf
the young and fiery Brahms, It isin
five movements: * an allegro, an an-
dante, a scherzo, and a retrospect re-
calling and interweaving preceding ©
themes, which grows into the finale.
The finale evotves into a_ chorale

worked in many tempos and _ cross
rhythms.



Grinnell, Iowa—The creation of a
class of public servants, trained for
positions of leadership.in government,
was advocated by Secretary of Agri-
culture Henry Wallace here before the
Grinnell College Conference on Inter-
national Relations.

The system advocated by Secretary
Wallace is patterned after the famed
English civil service, and demands
specific college and university train-
ing for civil service careers. He pre-
dicted the early establishment of this
type of training in the United States.

=
LN

eT e ITT eit Te]

. SPECIAL PRICES
on
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Gardenias

Orchids

Roses :

JEANNETT’S
BRYN MAWR FLOWER
SHOP, Inc.

Mrs. N. S. T. Grammer
823 Lancaster Avenue
bRYN MAWR, PA.

Phone 570

MIO TITTTIITOMTTTTeO LI MOHIU Ue LLL ©
THTTOTTTTTI el Tenet te tiitiite |)



POU e en THe Tits



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enue



















been “in tobacco” for years—growing tobacco



and curing it—buying it and selling it—until
they know tobacco from A to Izzard.

Harvesting to-
bacco and packing
it in the barn for
curing—and (be-
low) a scene at a
Southern tobacco
auction.




Now folks who have been in tobacco all
their lives, folks who grow it, know there is
no substitute for mild ripe tobacco.

And down in the South where they grow tobacco

and where they ought to know something about it—in
most places Chesterfield is the largest-selling cigarette. \