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Page Four ° ee

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THE COLLEGE NEWS





: Beet Books Shown

In New Book Room

‘Miss seks Buys Important
Volumes in Paris to Swell
Collection Here





SPANISH DATA ON VIEW

- drieux,



The collection of Eighteenth Cen-
tury French books in the New Book
Room were bought by Miss Schenck
while she was in Paris last spring in
an effort to fill in (fe gaps in the col-
lection of Eighteenth Century French
Drama. For the most part, the books
represent work of dramatists who
have since been almost forgotten, but
who were extraordinarily influential
in effecting the change between the
Classic drama of the Seventeenth Cen-
tury and the Romantic drama of the
Nineteenth Century. Among the im-
portant sets are: The works of An-.
six volumes, Paris, 1772;
Theatre by Baron, three volumes,
Paris, 1759; the works of Palissot,
1772. Also of importance are the two
volumes of Cailhava, De l’Art Com-
edie, Paris, 1759, and .the~ collection
called Le Theatre Anglais, 1744. °

Added to the books acquired this
year is the 20 volume set of Letour-
neur’s translation of Shakespeare,
Paris, 1776, and it is probably in this
set, as Miss Schenck suggested, that
students outside the French Depart-
ment will be most interested.

There is one Seventeenth Century
volume given ‘by Mademoiselle Mar-

celle Parde, former member of the |"

Bryn Mawr French Department and
now Directrice of the Lycée de Jeunes
Filles at Dijon.

regarded by Mademoiselle Parde as a
valuable book for a course in Seven-
teenth Century literature.

The bindings of all the books are
worth examining for their Eighteenth
Century style.

Mr. Gillet, of the Department of
Spanish, has also put on exhibition
in the New Book Room, a number of



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Little Entente Bort
In Independence Hall

Continued from Page One



this birth of a nation seem to have
come from the official source, and
then Mr. Miller déssued it to the press
of the world .from Washington, its
actual birthplace. -At the moment
when the declaration was given to
President Wilson, Masaryk hung the
Czechoslovak flag over the door of
his little house in Washington. No
living person had:ever seen it hung.
Mr. Miller was entering at the mo-
ment, and was the first to salute it.
It had not. been flown for 298 vears.
The very name of this new nation was



contemporary -books and pamphlets
on the Spanish War. Some are defi-
nitely propagandist, yet there are
others, issued.by a non-partisan’ group
of intellectuals in Valencia and
Barcelona, which give non-committal
accounts of contemporary Spain, some
written in English, some in Spanish.
Also on the shelves of the New
Book Room is a collection of books on
China, which give not only the cul-
tural and‘ economic developfnent of
that country, but also accounts of
foreign relations at the present time.
Among the more pertinent titles are
The Sino-Japanese Controversy - and
the League of Nations by Westel W.
Willoughby and General Chiang Kai-
shek, written by himself and his wife.



created too, Czechoslovakia, without a
hyphen. The two were to be merged
in an indissoluble one.

President Wilson was delaying a
reply to a communication from the
Empire of Austria-Hungary until the
Czechoslovak Declaration was issued,
and he based his reply in part.on the
positions taken in the Declaration.
The result was that almost -immedi-
ately Austria-Hungary withdrew eae
the war.

In Philadelphia,- John Wicaiiaater
was so moved by the meeting in In-
dependénce Hall, of the 12 nationali-
ties making up the” Little Entente,
that he asked to be allowed to con-
tribute the chairs in which the dele-
gates» were seated. One of these
chairs will be on the platform at
Goodhart Hall on Wednesday night.
Others were giyen“to the delegates
who sat in them, excepts one, which
was given tow Mr. Wanamaker. An
original copy of the Declaration
adopted in Independence . Hall,’ and
signed by all the delegates ‘is de-
posited there.

Mr. Miller, has written four books,
many articles; and faced many au-
diences in his effort to interpret the
objectives which were symbolized in
the life and activities of President
Masaryk. One result of his activities
was the program: of publicity con-
cerning the national aspirations of
the Czechs, news
dropped behind the lines. This
definitely accelerated the break down
of the armies of the Central Powers.











of which was]:











Time in Three Guises -

During This Period

Continued from Page One



ever, the synthesis giving us Father
Time did not evolve without many
vicissitudes.

The classic Saturn was dignified
and strong, but gloomy. In the early
Middle Ages, he was pictured with a
sickle-or a scythe. Later, when rep-
resentations of Saturn were to be
found only’ in mythological and as-
tronomical texts, Saturn became the
patron of melancholy and fearful
genius. He became associated’ with
death. He developed from a fantas-
tic toa terrifying and repulsive char-
acter. In a more or less classicized
form his devouring of his children and
his castration—phases -never -por-
trayed in classical times—continued
into’ High Renaissance and Baroque
art. : Meee

Such was the state of affairs when
artists began to illustrate Petrarch’s
T'viumphs, which required that Time
be shown as a relentless and terri-
fying power, conquering. all but
eternity. For this purpose, illustra-
tors combined the contemporary schol-
astic representation of Temps as an
abstract entity with the meédiaeval
idea of Saturn.

This, then, is the origin of Father
Time as we know hint—half classical,
half mediaeval, half western, half
oriental, “illustrating both the ab-

stract grandeur of the philosophical -

principle, and the malignant voracity
of the destructive demon.” This rich
complexity of character accounts for
the frequent appearance and varied
significance of Father Time in Renais-
sance and Baroque art.

He appears in three important
guises during this period: as Time the
Destroyer, as Time the Revealer, and
as a “universal and inexorable power
which, through a cycle of procreation
and destruction, causes what may be
called a cosmic continuity.”

The development of the figure of
Father Time is instructive in two re-
spects. It evidences the intrusion of
mediaeval features into an image
which ~at first sight seems purely
classical. The figure also. illustrates

tle intrinsic connection between mere ‘

“iéonography” and the interpretation
of. the significance of essential mean-
ings.



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