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The College Ne 7







VOL. XVIII, No. 14°



WAYNE AND BRYN MAWR, PA., WEDNESDAY, MARCH 2, 1932





Price, 10 Cénts





Mr. S. A. King Gives

Shakespearean Recital |’



Traditional Gestures and Pure
Speech Assist Interpree
tation

IN “WITCHES”



CLIMAX



John Drinkwater once said that
statesmen and politicians should read

a little Shakespeare every day. With
May Day so near, this is equally good
advice for Bryn Mawr, and it: was
with this in mind that we heard a
Shakespeare recital by Mr. Samuel Ar-
thur King last Tuesday night. Mr.

ling reminded us that the full effect °
of Shakespeare’s blank verse-can only~

be attained by giving due recognition
to its construction. In reciting the
ten-syllable lines, accented on the sec-
ond, fourth, sixth, eighth and tenth
syllables, one must keep the “impres-
sion of alternate accents,’ and one
must not overlook the legato effect
where certain consonants are slurred
over to the next word. Legato was
used in Mr. King’s first selection—
Buckingham’s Farewell from “Henry
VIII,” the speech which made Forbes-
Robertson famous—and its. impres-
siveness is helped by the extra sylla-
ble at the end of a line being an
emphatic monosyllable.

“The second piece was the descrip-
tion of Queen Mab from “Romeo and
Juliet,” an example of the traditional
rendering of description handed down
from the days of Kemball to Walter
Lacey, the effect lying in the onomat-
apoeia.- For all those who, tired of
the old manner of presentation, are
ever trying to start innovation in the
acting of Shakespeare, Southern once
said that true art is premeditated.
“It does not do to despise tradition,”
and this is “worthy of contemplation
even by born actors.” Mr. King then
recited Clarence’s dream from “Rich-
ard III.” The dream is told to evoke
horror, and in order that -the voice
may achieve this there are great

“numbers of vocal consonants upon

which the voice may linger. From
“As You Like It’ Mr. King did the
seven ages of man, a speech which’
has inspired illustrators of all years.
The scene of the witches from “Mac-
beth” followed—the most interesting
piece on the program, because Mr.
King’s vibration and high pitch of
voice gave it all the eeriness of su-
pernatural beings. Shakespeare. prob-
ably wrote this with full conscious-
ness of its sound effects, for in’ the
first grammar, written by Ben Jon-
son in 1584 and now in the British

Museum, is found a chapter on the

(Continued on Page Five)



Calendar

Sun., March 6—7.30 P. M., Rev.
Richard Gurley, rector of St.
Martin’s Church, Radnor, will
speak in Chapel. 1

-Mon., March 7—3.45 P. M., the
Bryn Mawr College Choir will
broadcast from Station,
WCAU, Philadelphia; 8.15° P.
M., Rev. Dr. Kirsopp Lake
will speak on “The Problems
of the Text.”

Tues.,, March 8—4.30 P.’M., Dr.
Kirsopp Lake will speak on
“Excavations at Samaria” in
the Common Room.

Sat., March 12—8.20 P. M., Glee
Club concert, followed by a
dance in the gymnasium.

Sun., March 13—7.30 P. M., Rev.
Groton will speak in Chapel.

Mon., March 14—8.20 P. M., Dr.

, Eugen Kuehnemann, profes-
sor of philosophy at the Uni-
versity of Breslau, Germany,
will speak on: “Goethe and
the Modern World” in Good-—
hart Auditorium.

Wed., March 16—8.20 P. M.,
Miss Jennie Lee, M.A., LL.B.,
former Labor M. P. from
North Lanark, will lectiire in
Goodhart Hall. Her subject
will be “Is . Westminster
bios" Out?





fly influenced: by the Arab, might still







Dr. Schumann Speaks
on Music of the East



Pentatonic Scale Necessitates
Simplicity of Instruments

Though Music is Varied
TONE VALUES BIG AID





“Oriental amusic from Tunis to
Japan” was the subject.of Dr. Hans
Schumann’s lecture on February 25.
Dr. Schumann, who is Professor of:
Music at the University of: Pennsyl-
vania, was introduced by Miss -Petts.

To us, he said, the music of the
Near- and Far-East seems strange,
far away from our mentality, from
our :emotions and our expression of
them. The Oriental musician does
not, as we do, hear sounds in their
vertical connection; he hears only |
horizontally in a melodic line. Even
when: two melodies. are combined,
there is no accidental chagd structure
as in the polyphonic music of Bach
and Palestrina. What interests the
Oriental are the tone values in them-
selves, not. the intervals, or what is
between. the tones. Emotionally, F
sharp is always the same, although
by pushing higher or lower its treat-
ment is varied. Thus, if there is
“oneness” in the harmonic sense, the
opposite is true in-the dynamic sense.

It is natural that in a musical sys-
tem whose basis is the pentatonic
scale, the instruments will be far sim-
pler than those required by a system
such a8 ours, which adds chromatic
to diatonic usage. As a matter of
fact, most of the instruments now
used in the East have had their pres- ;
ent character for some.3000 years.

But, as Dr. Schumann illustrated
by means of records, there is a great
variety within Oriental music; < its
strangeness augments as we progress
East. Egyptian music, for example,
with its minor melody, though chief-

be heard in Spain and Southern Italy.
The Dervish song, used for religious
dancing, is perhaps the best illustra-
tion of the mentality of Islam as a
whole; the soloist and chorus—the
latter repeat continually—quicken the
tempo of the monotone as the dance
progresses, until it culminates with |
the dancer foaming at the mouth,
and falling to the ground in a faint.
(Continued on Page Four)



Summer School-Positions®' }
Undergraduates interested in |
going to Summer School here
may apply during the next two
weeks. : Two places are reserved
_for Bryn Mawr students, pref-
_erably Sophomores or Juniors,
‘though a member of any class
may be accepted. Application
blanks and further information
may be had from A. Lee Hard-
enbergh, Rockefeller; W. Mc-
Cully, Merion, and V. Butter-
worth, Pembroke West. .













a On



iB. M. Choir to Broadcast

Program of Five Numbers



For the first time, the Bryn Mawr

College Choir will be heard in a

broadcast program over the Columbia
network. This is the sixth of a series
of seven breadeasts by the choirs of
the seven Eastern women’s colleges
and is arranged by the alumnae com-
mittee of the seven colleges and pre-
sented through the co-operation of the
Columbia Broadcasting System.

The choir is under the direction of
I’. H. Ernest Willoughby, A.R.C.M.
The program is as follows:

Palestrina (1525-1594)—
factae sunt.”

Vittoria (1540-1613)
nes,”

com

enebrae
—*Q vos: om-

Byrd ( 1543-1623)—“Looke downe,

O Lorde.’
Bach (1685- 1750)—Chorales
“Christmas Oratorio.’
Morley (1557-1604)
“Arise, get up my dear.”

from
~. Madrigal,

The Bach chorales from “Christmas
Oratorio” sung at this broadcast
formed part of ‘the work the choir
presented with the Philadelphia Or-
chestra under the direction of Leopold
Stokowski at the dedication of Good-
hart Hall at the College, in 1928.



Dr. Rogers in Washington

Dr. Agnes L. Rogers, Professor of
Psychology and Education at Bryn
Mawr, and Head of the Department
of Education, spoke February 23 in
Washington at the Chamber of Com-

merce on English and American Col-

lege Practices. ‘



Editorial: Board Try-Outs

‘The following people have en-
tered the competition for re-
porter’s. position on the Edito-
rial Board of The College News:
E. H. Hannan, N. Hart and C.
Robinson, ’34; A. Denton, M. V.

- V. Hayes, P. Howe, P. Jones,
B. Mather, G. Rhoads, D. Tate-

mena,



Mr. Ernen Willoughby and Biss Mawr College Choir



|Mawr_ father.





Smith and. F. Van Keuren, °35.









Dr. Lake Grants an
Interview to News



After Giving Details of His Life,
Dr. Lake. Told His Bryn
Mawr Impressions

DISCUSSES U. S. COLLEGES





Dr. Lake in. an interview with a
reporter from. the NEWS last week
sketched briefly his personal history.
To those who knew his daughter,
Nan Lake, Bryn Mawr, 1930, and
graduate student here last year, it
may be a surprise to learn that Dr.
Lake is a European by birth and
education. His first visit to America
was his trip to Harvard University,
where he has been teaching ever since.
He was prepared at St. Paul’s School
in England, founded in the year 1509
by John Cabot, for the encouragement
of the study of Greek._Dr,_Lake-ad-
mitted having followed in the foot-
steps of the founder in this respect.
He matriculated to Lincoln College,
éxford, where he remained seven
years after his graduation, acting as
curate in the University Chapel, and
assistant in the Bodleian Library, lec-
turing all the time on the New Festa-
ment.in the- University. For

at the University of Leiden, a co-
educational institution from which
Dr. Lake drew many of his obsérva-
tions on educational methods. He
came directly from Leidén to Har-
vard, and here, as he says, he is.
In answer to our questions Dr. Lake
outlined his principal works; the most
important group in his estimation, is
that of editing of old manuscripts,
of which the most important is the |

“Codex Siniaticus.” +Books on the
New ‘Testament imelude one on
' “Acts,” one on the story of the resur-

rection, and one on the epistles of

Saint Paul, which is of course close-
ly related ‘to his lectures here. His
works on theology in general are,led
by a volume entitled “Religion Yes-
terday and Tomorrow.” He and Dr.
Cadbury, ef-our own faculty, are now
collaborating on an edition of the
“Acts,” of which the last volume is
being finished, and are publishing
with Blake, of Harvard, and Mrs. R.
W. New, a collection of essays on the
New Testament.

Having finished the more formal
necessary parts of the interview, we
went on to-question Dr. Lake about
Bryn Mawr and his impression of it.
He is singularly well fitted -to,:.ob-
serve the college, having been both a
Bryn Mawr lecturer and a_ Bryn
We were flattered
when he compared the Bryn Mawr
audience favorably with Harvard’s.
“If you know stupidity, you must lec-
ture before a Women’s Club.” He
went on to make the startling state-
ment. that there is, in his opinion,
not a stupid person in Bryn Mawr.
Some, who appear so, are really only
disinterested. They all can at least

- (Continued on Page™Five)

>

‘clearly the necessity for

ten }.
-years following he was a professor

! The





Dr. Lake Traces New __
Testament’s Evolution



i Revised Version in Modern Use

is Reconstructed Synthesis
of Many Early Texts

TELLS OF NEW WORK

(Specially. Contributed in News
Competition)

On Monday evening Dr. Lake gave
the first half of his lecture on the
study of the text of the New Testa-
ment. His theme was the. evolution
of the text which we now use.

The earliest English translation of
which we know, a Vulgate, is that
of -Wyclif. The Vulgate is a revi-
sion of the New Testament made at
the end of the fourth century by St.
Jerome. Although we do not actual-
ly. possess a Jerome text, we have a
group_of manuscripts.so—close_to his
style that we can easily reconstruct
from them the original, which was
very corrupt because it had passed
through a long period of deteriora-
tion. ied

The first abbot of St: Paul’s mon-
astery, built by Bénedict Biscop, and
a centre of learning as well as of
piety, presented a copy of the New
Testament to the Pope. At first
thought to be written by an English-
man, it. was later proved by an analy-
sis of the printing to have been writ-
ten by .an Italian. In the 9th cen-
tury a partly erased note from this
text. was deciphered, revealing that
the text had been copied from a man-
uscript traced baek to .Naples and
Capua. The Pope gave away many
of his manuscripts, one of which, the
“Acts of the Apostles,’ written in
Sardinia and located in Northumber-
land and Wurzburg, was used by the
“Venerable” Bede and Bishop Laud,

(Continued on Page Two)







February Lantern Review
Given by Miss Buchanan



_ The February issue of The Lantern
opens with an editorial thaf states
preserving
literature in an economic depression. .
But, since the proof of the necessity
for literature has much in common
with the ideals of a college, there
seems to be little need for the state-
ment. of the problem on the Bryn
Mawr campus... ,The defiant tone of
the editorial leads one to suspect that
Lantern ‘has reached its period
of depression and that it is pleading
its cause in-rather sweeping terms.
I’ortunately the contents show little
cause for melancholy on the part of
the editors. They have choseh one
sort of thing that undergraduates can
do, and the knowledge of limitation
makes for more finished work,; ‘The
poetry lacks the completeness of the
prose. Miss Perkins’ “Scholar” will
not bear the pitiless light of experi-
ence, since it is the delight of the
scholar that- his sticks and stones
somehow fit together in the end.
“Void,” by Miss Grant, is not unified
enough to achieve the #orm_ that
places art beyond the immediate emo-
tion. Of Miss Burnett’s two poems
“Doubt” is the best. In spite of, its
commonplace note, it has a certain
simplicity and-concreteness lacking in
the more complicated ‘Theophany.”
The latter- poem shows mastery of
technique, but the double conception
is not fused into a whole, and the
dramatic contrast’’in the specific
statement at the end serves only to
disintegrate the sonnet. The sketches
in The Lantern have more form than
the .poems, and through concrete de-
tails they imply rather than state
conclusions . The note of unreality in
Miss Reinhardt’s “Through the Gate
of Horn” is achieved by the use of
light, shadow and solid color in con-
trast. Its three episodes form a deli-
cate harmony unified by the central
figure of the woman. Only through
the reactions of the two characters
to the external world can-one see the
death of love between them. In “Pre-
lude,” by Miss Lombardi, the most
, (Continued on Page Three)

.