5

C]

THE COLLEGE NEWS

* Page Five





American Universities

Republican and Wet



(Continued from Page One,

The results of the prohibition poll
conducted last. spring by the Daily
_Princetonian..show..anoverwhelming
sentiment, among the students at the
ten colleges represented, including
Bryn Mawr, against the retention of
the Eighteenth Amendment. i

Ninety per cent. of the 10,000 votes
cast in the poll advocated a definite
prohibition plank in the platforms of
the major parties and ninety-five per
cent. of the total votes advocated the
discontinuance of the present prohi-
bition law. Only 89 of the 10,027 bal-
lots were for the continuance of pro-
hibition; 2775: favored modification;
4075 voted for repeal, and 2107 were
in favor of referendum,

The balloting on the adoption of a
definite prohibition plank by the major
parties was as follows:

Yes No

PAAADOTEO. 6 rca 345 32
eee eer. ee 205 11
ParimMouth ~ Harvard oes 1492. 154
Pennavivania ......: 1236 192
ee 1581 23
Sarah Lawrence ..... 155 25
NN ec ek 986 189
0}. |.) |) AEE areeReparenmaa: 506 32
Weesley 2.6.2 750 297
Total - (men)... 45 6419 452
Total. (women) . 2602 554
Grong total .;.. 9021 1006

The tabulation of the vote on the
question, “Should the platform be
for continuance of the present law;
modification, repeal, or referendum?”
was as follows:





Cont. Mod. Rep. Ref.
Amherst ...... ld 16 “ise “ve
Bryn Mawr... 7% 60 91 = 47
“Dartmouth ... 87. 675 966 298
Harvard ..... 104 4111 626 384
Pennsylvania .-47 — 303 654 249
Princeton . 88. S18 785. 685
Sarah Lawrence 16 aa 118: Ja
SMI... es 55 «366 4=— 294-185
VEShOr 33446, 23. 156 198 128
Wellesley ..... 97 \826. 265 3864
Total (ment) .285 1823.. 3107 1369
Total (women) .204 ‘952 \ 986 7387
Grand Total. 489 40738 2107

2775



ae

Bourdelle Descoled
as Prominent Sculptor



(Continued from Page Four)

said that of all the likenesses that
had been made of him, he wished only
Bourdelle’s to remain. Rodin, it
seems, was not so pleased with his
pupil. Indeed, with his undulating
beard, he looks rather like an old faun
—almost a caricature. It is by this
very accentuation of feature, however,
that Bourdelle, without seeking it,
actually does obtain resemblance.

In the bust of the athlete, we have
an example of Bourdelle’s re-interpre-
tation of Greek art, Here there is no
awkwardness or stiffness. The same
is true of the portrait of Aphrodite.
In his so-called “sculpture d’imigna-
tion” we see further evidence of his
interest in antiquity; Heracles, as the
apotheosis of physical force; Europa
and the Bull; the Dying Centaur, sym-
bolic of the bestial and human in
man. % ;

Showing several of the monumental
works, Mr. Reau pointed out the bas-
reliefs which are part and parcel of
the architecture, and elongated: like

=the column figures of (Chartres: Vic-
tory, with her Greek tresses, and other
allegorical figures at the foot of Gen-
eral Alviar’s simple equestrian statue;
the Birth of Beauty, a great frieze
on the opera-house at Marseilles. Es-
pecially interesting was the Victory
at. the base of the column erected to
a Polish poet. It had the same vigor

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and movement as Rude’s “Marseil-| New Contract Bridge Code

laise,’’ at the foot of the Are de Tri-
omphe.

Bourdelle* was very patriotic; the|

World War occasioned a number of

works, such as La Vierge a VOffrande,

reminiscent of ivory madonnas of the |
fourteenth century. The child is out-
lined in ‘the form of a cross, as if
offering himself too. For Bordeaux, |
where the American soldiers disem- |

barked, he destined a monument of |

thanks to the United States.

In conclusion, M. Reau_ spoke : of |!
Bourdelle’s great influence. Though
1 pupil:of Rodin, he developed along
quite different lines. Rodin was an
impressionist, a contemporary of De-
gas and Monet, whose interest lay
only in rendering the momentary
phase. Bourdelle was a builder, cor-
responding to Cezanne, who for the
flimsy forms of the impressionists
tried to substitute a structural art,
solid, firm and vigorous. Further-
more, unlike Rodin, Bourdelle was an
educator. He took as much pleasure
in modeling his numerous pupils as
he did in shaping a statue. .He died
in 1929, having rescued sculpture
from the dangerous power of Redin,
the individualist, and restored to it
its mission; sculpture is architecture.



Lantern Night Affords
Illusion of Beauty



Lantern Night, announced for 7.45
P. M., Saturday night, got under way
at 8.00. As we waited, we, and prob-
ably ‘others in’ the audience, realized
how carefully aesthetic events should
be timed _to preserve an illusion of
beauty and propriety. However, after
this wait there was a double thrill in
seeing the red lanterns start to swing |
up and down, and we relaxed and
looked at the stars, ready to be awed
by the first strains of Pallas Athene.

They: were disappointing; they lack-!
ed the dynamic shading without which
our Greek Hymn is a weary, unin-
spiring chant. For one moment the
singing increased in feeling as the two
lines swung together successfully un-
der the arch, but the stately pacing of
the glow-worm line seemed eternal.

The lanterns were handed to the
freshmen with more dispatch and dex-
terity than usual, but a long pause,
broken by testy coughs from the roof,
ensued before the sophomores broke
and walked over to the corner to sing
Pallas again. This was the high point
of the evening, for. the sophomores
took courage in congregation |
and sang better than before, although
the crescendoes were either misplaced ,
or lacking. '

There was another hiatus in events
before the Freshmen began, a pitch-

pipe, pause, and then Sophias, ren-|
dered Surely but thinly. Either there |

were very few altos, or*they were
timid, for the striking harmonic effect
which a good group of altos usually
provides was lacking and the singing
wan.

Inadequacy in the Freshmen’s sing-
ing may and will be attributed to
hasty preparation and the unusual
difficulty they have had in getting or-
ganized. The sophomores, however,
are the ones who need an excuse, and
the only excuse that can be offered is
the tradition of sophomorism.

Much credit is due to those who
managed the mechanics of Lantern
Night. One instance of good judg-
ment was~that the last weak bit of
singing when only a few are left in-

, ose

Makes Scoring Uniform



The Monday morning edition of The
New York Times, October 31, carries
on its front page an article on the
|new contract bridge-rules, ‘‘Through-
|out the western world the game will,
ibe governed by a new international
code, making the rules and scoring
aniform for all countries, and the code
will serve as the official basis for
| bridge playing at home, at club, at
the tournament hall.” The most im-
portant change is that of the scoring
of penalties for undertricks. The pen-
alty.for doubled not vulnerable under-
tricks has been slightly increased: The
first trick penalty is 100, after which
it increases by 50 for each trick. The
| penalties for vulnerable undoubled uxt
|dertricks are the same. The premium
for fulfilled doubled contracts has been
omitted. Also the premium for un-
doubled overtricks has been reduced
to the equivalent odd trick value. The
|premium for a grand slam has been
i increased to 1,500 when not vulnerable
‘and to 2,250 when vulnerable.

Another important change is the
new evaluation of no-trump tricks.
The first, third, fifth and seventh no
trump tricks are worth 30, while the
second, fourth, and sixth are worth 40
apiece. The purpose of this change is
to make the no-trump game equiva-
lent in score to a minor suit game
bid. Of less importance but still of
interest are the new revoke and in-
fringement penalties. The first may
be-summarized as follows:

(1.) Although /a revoking side
must still forfeit two tricks, here-
after only tricks won after the re-
Sein can be taken for the penalty.

(2.) The penalty for each subse-
quent revoke by the same side and
| the same hand has been changed to
j one trick.

(3.) The revoke to the twelfth
itrick is no longer subject to a pen-
alty.

There are other slight changes in
the definition of the establishment of
‘a revoke.

It is also no longer possible to look
back one trick and the penalties for
easual infringements are numerous:

(1.) Looking back a trick is pen-
alized by the call of a lead by the
left-hand opponent.

(2.) Looking at cards during the
ideal; left-hand opponent may demand
a_new deal.

(3.) Call other than pass when it
is partner’s or left-hand opponent’s
| turn to bid; left-hand opponent may
‘demand new deal.
| (4.) Call other than pass when
right-hand opponent’s turn; offender’s
partner must pass when it is next
his turn.

(5.) Exposing card lower than 10
‘during auction; declarer, if opponent
of offender, may treat the card as ex-
posed and subject to call, or prohibit
offender’s partner from making the
lead in the*same suit.

(6.) Exposing card higher than 9
during auction; left-hand opponent
may demand new deal.

(7.) Leading from wrong hand
by declarer; must lead same suit from
correct hand.

, (8.) Premature lead, play, or ex-









side. the cloigtgrs was eliminated. The
even spacing of the lanterns and the
brilliancy of the stars. helped to build
up the illusion of beauty, which, after
all, is inherent in Lantern Night.







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from 11 A. Matera Bo

posure; declarer may require offend--
er’s partner to win the trick by trump-
ing if necessary, or not to win the
trick, or to play highest or lowest
card in suit led, or to discard from
a main suit.

(9a.) Drawing attention to which}
hand has lead by dummy; left-hand!
opponent .may choose the leading;
hand.

(b.) Warn against incorrect lead by}
the dummy, left-hand opponent may?
choose the leading hand.

(c.): Suggesting play by the dummy;
left-hand opponent may decide wheth-’
er or not declarer may play card sug-
rested. ‘

N. B.—-Dummy may still call atten-'
tion to possible revoke.

Thére are other penalties for in-
fringement of a highly technical na-
ture. The most important conclusion
to be drawn is that the English sys-
tem of decisions by the left-hand op-
ponent is followed in general upon
infringements.



Movie Review

William Powell and Kay Francis
have once more been paired together.
One. Way Passage, now at The Karl-
ton, in Philadelphia, is their latest ef-
fort, and quite successful, if one can
swallow the plot,

One Way Passage, like so many
movies, concerns the romance of two
young. people .on a boat, which, in
their case, happens to be crossing the
Pacific. For these two beings, how-
ever, there wait not wedding bells, but
a funeral dirge, unbeknown to her, he
is a criminal on his way to execution,
and she is the victim of a disease
which, for lack of more definite in-
formation, we shall call General Disa-
bility.



For Dan, however, there is a real

-ehance...He~has.-but.to.escape..when.

the ship stops at Honolulu. This he’
proceeds to do with the assistance of
two kind friends, who. pick his cap-
tor’s ‘pocket and release him from the
prison where he has been put for the
day: Joan, all unsuspecting, accom-
panies him ashore, and cramps his
style considerably by fainting at the
| crucial. moment when, at the end of
a perfect, day, he is about to. let her
return to the ship alone. With her
| safe on board once more, he makes
for the door, only to be stopped, once
for all, by a faint “Don’t go” from
the sick-bed.

Yet, despite its artificiality, ‘tine

“its triteness, and - its. sentimentality, j

One Way Passage almost brings a
tear to the eye; the characters are in-
credibly real. To the actors, then,

{goes all the. credit.” for its success.

Kay Francis, though’ no actress, is
drenchingly, lovely as the frail sotleky
maiden, with her exciting clothes an#@d.
her lustrous dark eyes. But more
than that, she can portray a lady in
love more convincingly than anyone
on the screen. Wiltiam Powell seems
no less sincere, though delightfully
sleek as well. Not quite so young as
he used to be, he has lost none of his
dapper manner. Excellently cast, the
hard-boiled detective is quite human,
and. not_too unsympathetic. With the
utmost skill Aline McMahon changés

back and forth from ‘a crook to ‘a

pseudo-countess. I know of few ped-

‘ple who can ‘seem so sincerely kind

as she. Her “pal” also does his be&t
to beat the fate of “the two lovers, but
never succeeds in doing more than
eluding his various pursuers, on which
occasions he emits such a laugh as
would in itself make the picture. Even
without him, howevet, as an example
of almost perfect’ acting, the film

would be worthwhile.—L. C.









a



Mace Pasn Erennr! .



“yy aT S TIME TO.
Weeernone Home!

’IGHT-THIRTY P. M. is the aa telephone

home!

The day’s rush is over; the night’s still young. There's:

plenty of time for a newsy, intimate chat. The fam- *

ily’s at home; eager to hear your voice. (They'll be

ata there for sure if you telephone as a regular habit, the

same time each week.)

What is ‘more, it is cheapest to telephone after 8:30







P. M. That is when the low Night Rates go into effeet ~~~
on Station to Station calls. For 45c you can then call
as far as 140 miles away!
Yes, it’s surprisingly inexpensive, as these typical
rates show. But be sure you make a Station to Station) |
call. Just give your home. telephone number to the
operator and hold the line. If you like, the charges *
can be reversed. j
’
Station to''Station, call ;
. 3-Minute Connection
; Wherever applicable, :
; Federal tax is luded. | a;
from BRYN MAWR to Day Rate Night Rats ]
, WASHINGTON ..... Tee eee 0
oN BOSTON... Beeccvcce 1.45 BS
ts» NBW YORK)......... 69 '* 35
* PEERS CHICAGO |.......... 2.73.5 » BSS
‘ vf i 35