College news, December 9, 1959

VOL. XLV—NO. 10

ARDMORE and BRYN MAWR, PA., WEDNESDAY, DECEMBER 9, 1959

© Trustees of Bryn Mawr College,

5
1959

PRICE 20 CENTS



Concert to Offer
Goodale Selection

The Bryn Mawr Christmas carol
service will be held in Goodhart
Hall Sunday, December 13 at 8:30
p.m. Dr. Andrew Mutch of the
Bryn Mawr Presbyterian Church
will be the speaker. The service
this year is not being held in con-
junction with Haverford, there-
fore the Bryn Mawr Chorus alone
will sing the following music:

1. Pater Noster, Francois Auguste

Gevaert

Gevaert (1828-1908) was an em-

nient ‘Belgian composer, theoret-

ician, and music historian. His re-
search included work in early
church music and the origin of
the liturgical chant. During. his
musical career he served with the

Opera in Paris, and later became
. Director. of the Conservatoire at

Brussels. This setting of the

Lord’s Prayer was included in a

collection composed for the class-

es in ensemble singing at the

Conservatoire.

2. Two Christmas Chorales, Mich-
ael Praetorius (1571-1621)

1. Born is a child in Bethlehem.

A setting for three-part treble

chorus.

2. How bright, how fair, the

morning star. A two-part treble

setting of tthe famous chorale:

“Wie schén leuchtet der Morgen-

stern.”

8. Three Marienlieder,
Brahms

During the years 1859, 1860 and

1861, Brahms directed a women’s

chorus in Hamburg, Germany,

and for this group he composed a

substantial amount of music. In-

cluded in this output was a set
of six songs to the Vingin Mary,
three of which are especially suit-
able to the Christmas season. The
texts. are traditional folk-poems

Johannes

' by Monica MacGaffey

Arts Night this year again pro-
vided an impressive evening’s en-
tertainment, of such variety as to
tap both the knowledge and the
ignorance of its audience. The
program was tastefully balanced,
the first half opening -with two In-

No Play Creates

Rare Pleasure
by Kristine Gilmartin

“Oh may He lead me into the
Path of Truth, Into the Path of
Truth.” Her hands outstretched
in the shape of a flower offering to
Buddha, Geeti Sen thus concluded
the Japanese~No play, .’Sotoba
Komachi,” an unusual and im-
pressive production.

The traditional Japanese thea-
ter form, the No play (from the
Chinese "to be able”, hence “‘tal-.
ent”, “exhibition of talent”) has
its roots-in-a ‘kind of 14th century
opera in which performers alter-
nately danced and recited. ‘As
time went on a chorus was added
to speak during the most strenu-
ous jparts of the action.

“Flute, Drums “Background”

The music of flute and drums is
the sustaining background of. the
play, and only a simple set is used,
to suggest rather than reproduce
the scene of the action. This form
is highly stylized and seems unre-
alistic to us, but it wa8 demonstrat-
ed to be wery powerful by the Arts
Night performance, given Decem-
ber 4 and 5 im Skinner Workshop.



+a’ religious one.

Arts Night Highlights Unusual, Original
Features: Japanese No Play, Art, Opera

Music: Madrigals, Opera, Instrumentals
Form Impressive Part of Program

dian dances, and the second with |
a Japanese No play.

To make any meaningful com-
ment on Gina Shah’s performance,
one would have to know more about |
Indian dancing than I do: the sig-
nificance of its patterns, especially
the subtle motions of the hands,
which form so important a part of
it, But even without understand-
ing its meaning, one could appreci-
ate its delicate precision and
somewhat angular grace against
the background of Indian music,
and the effect of colorful costume
contrasting strikingly with the
black and white pattern of the
backdrop. ‘The first dance was a
kind of folk dance, and the second

Folk Songs Included

Juliet Goodfriend sang four folk
songs, accompanying herself with
guitar and dulcimer. Her singing
was-a bit shaky at first: otherwise,
she has a very clear tone and a
pleasing syle ima varied group of
songs. “The Wife of Usher’s Well”
(sung with dulcimer) is a beauti-
ful, ghostly English ballad; “Hej
Pada Pada” is a vigorously rhyth-
mic Yugoslavian song; “Cockle-
shells’—another Engish song; and
“Arirette” is a typically French
kind of slightly naughty song, The
dulcimer (new 'to me) is to the gui-
tar perhaps as the harpsichord is
to the piano: it rather brings out
the clarity of the voice than sup-
ports and amplifies it as the guitar
does.

Following was the first move-
ment of Hindemith’s Sorata for

| start, partly because of the tech-

ni”—got off to a rather shaky

nical difficulties of the piano part,
which, being an orchestral tran-
scription, is probably awkward to
play. Apart from ensemble, I felt
that vocally it lacked sustaining
Continued on Page 5, Col. 1

Art Show Makes

e e
Lively Impression

by Susan Szekely

The Art Show in Skinner proved
to be a very successful element of
the Arts Night program. Lucy
Beebe and Bonnie Rous made a su-
perior use of ingenuity and taste
throughout. The: difficult problem
of how to display the student work
was artistically solved through the
use of panels of burlap stretched
along the walls. “Within each pan-
el the arrangement of drawings
and paintings was tasteful and
balanced.

The imagination of the exibitors
was evident in their use of certain
off - beat, tang - infusing kmick-
knacks not ordinarily found in art
shows. Among these were a pin-
ata-like construction entitled ‘Pa-
nic,” by Glenda Boyd, something
called “‘Blotter—Sally Davis-Fresh-
man Year,” numerous cartoons by
Lucy Beebe, a purple and blue rug
created by Sue McCord and Sue
Szekely, and a ‘composition enti-
tled “Trisoctohedron,” also by
Glenda Boyd,

The main body of the exhibit



Miss Tuve Talks ~
On How to Study
Medieval Allegory

The theme of the English de-
partment’s Anniversary lectures is
“Literature and Knowledge”, or
“What must one know in inter-
preting the literature of the past?”
For Miss Rosamond Tuve, former
scholar and fellow at Bryn Mawr,
and Professor of English at Con-
necticut College for Women, the
answer is, “You can’t tell.”

It is the student’s responsibil-
ity, not his teacher’s, to find out
what he must know, and most of
his early reading, interesting or
not, is done without knowledge of
where it will be useful. “A schol-
ar must take a passionate pleasure
in what he is doing: no other ap-
proach can leave one free to find
one’s own questions.”

In Miss Tuve’s case, reading in
her own field of concentration,
medieval literature, took on an
unexpected interest when she be-
gan to study Renaissance writers,
and the relationship between the
two periods. Her specific topic,
“Pilgrims (before Bunyan”, at-
tempted to determine ‘Whether
and to what extent medieval habits
of mind influenced Elizabethan
writers.”

‘Comparison of pages from 15th
and 17th century mauscripts of
Guillaume (eguileville’s French
medieval allegory, Pélérinage de
la Vie Humaine, illustrates the
persistence as well as the altera-
tion of the medieval tradition in
the 17th century. The men of the
Renaissance evidently took pleas-
ure in the older work, or they would
not have copied it, but in the pro-
cess of copying they simplified



was, in general, very good al-/and to some degree Protestantized ‘,

in which the Virgin Mary is the
heroine of all’ kinds of imaginary
adventures, The three which are
to be sung are entitled:

The Angels’ Greeting

Mary and the Boatman

The Hunter
English translations by Steney
Drinker.

4. Suite in A Minor for Flute and|~

-Continued on Page 2, Col. 5

Coming Monday:
Spiel, Fest, Tanz

The Bryn Mawr and Haverford
German Clubs are giving a Christ-
mas play and party, starting at
8:00 p.m. on Monday, December
14. Both the events will take place
in he music room of Goodhart.

The play, directed by Mr. Hugo
Schmidt of the Bryn Mawr Ger-
man department, is adapted from
a sixteenth century mystery play,
and illustrates the nativity story.
It is cast as follows (in order of

rance) :

Mosk a ‘ PEA PERN Dan Stiles
Gabriel ...... (Margarete Cardwell
Wn c os etacacens Alison Baker
Josep on ccccceess Noel Matchett
Innkeeper .....-+-++> ‘Mike Dohan
Innkeeper’s Wife ..Abby Trafford
‘Shepherds ...Peggy Kersey, Lois
Potter, Pixie Scheifflin

Kings ..Ted Hoen, Phil Musgrove,
Jim MacRae

At th eparty, immediately fol-
lowing the play, ‘theré will be re-
freshments and communal singing
of German Christmas carols. The
recently formed madrigal group
will also give its first perform-
ance, with a of Schutz,

rounds and m There may

Continued on Page 3, Col. 3 -

Kwanami, the author of “Sotoba
Komachi”, was the patriarch of
No drama. This particular tplay
concerns a beautiful woman, Ko-
machi, who was very cruel to her
many lovers, and especially to
Shii nd Shdshd, who came, as he
had promised, a hundred nights,
but died on ‘the last visit.

As an ‘old, tattered beggar, [pos-
sessed by her dead lover’s spirit,
Komachi wanders from place to
place. Stopping to rest on a stupa,
a sacred log, she enters into dis-
putation with two priests who or-
der her off “Buddha’s body.”

In the following argument, cli-
maxed by an extremely effective
swift dialogue, Komachi upholds
the Zen doctrines, while the priests
speak as members of the Shignon
sect, which believes salvation at-
tainable by incantations and the
worship of holy images.

Geeti Sen was perfectly cast as
Komachi, and gave a superb and
moving performance. Her voice

Continued on Page 4, Col. 3

Professor's Book
Earns Distinction
The Senate of the United Chap-
ters of Phi Beta Kappa has an-
nounced that the 1959 Christian
Gauss. award has been awarded to

the late Miss Margaret Gilman.
Miss Gilman was Professor of

French at Bryn Mawr until her|

death last year. Her book, The
Idea of Poetry in France, was pub-
lished posthumously. The Gauss
award is made every year for the
best literary or critical work pub-

year.- A $1,000 prize is entai
in the award.



particularly the lyrical quality of

lished during the preceding abet



bassoon and piano, played by El-
len Greenberg and accompanied by
Jane Hess.s The piece. brought. out

the bassoon (and of Hindemith),
in which Ellen showed a good
sense of phrasing and good tone.
Her intonation was a little faulty
sometimes, ‘but this is apt to be
the fault of the instrument. My
main criticism of the performance
would be its brevity.

Next Jane Hess played an orig-
inal piece for piano, written by
Edtih McKeon. This was a very
capable fugue in the style of Bach:
the same tune is used imitatively
in several different parts, so it
takes some skill to put them all
together to make sense. They made
very good sense, and the effect was
pleasing and usually Bach-like.

Mozart’s Arias Too

Arts Night also gave us a taste
of opera, in two arias by Mozart.
The first, from “The Magic Flute,”
was the aria of Papageno, the bird-
catcher, who is a sensitive bulfoon,
happy and carefree in his occupa-
tion, except that he deplores his
lack of a wife. James Katowitz,
accompanied nimbly by Audrey
Wollenberg captured the spirit of
the aria in very creditable German,
with lightness and humour, and
with good tone and some delicacy
of inflection—in all, very well. The
second aria — “(Madamina,” the
catalogue aria from “Don Giovan-

ie ce Se ' See nit ea
Notice
_ Students are reminded that
“tickets for the concert to be giv-
en by Mme. Jambor and Mr.
Alwyne in January can be ob-
tained in the Office of Public
Information.











though most of it was somewhat
light in character.
Bonnie Rous and Roo Stainton, im-
pressed this reviewer as having
done exceptionally serious, careful
and thoughtful work.

Two artists, |.

leafy, floral arrangement were ex-

Bonnie Rous’s two monotypes,
one a river view and the other a

ceptionally pleasing. Her work
was varied in quality, one piece
was not simply a repetition of an-
other.

Roo Stainton® also presented a
varied collection of water colors,
wood block—prints, and line draw-
nigs. Her style was, in general,
stronger than the delicate one of
Bonnie Rous, The two works that
impressed this viewer most were
a mechanistic water color of water-
pipes and a block print with pen
and ink additions,

‘Joan Batt also contributed quite
a number of pieces in various me-
dia. Her work had a certain force
but was somewhat repetitious.

Continued on Page 6, Col. 1



elements of
make the meaning clearer, and
consequently deprives the reader
“of this pleasur of recognition.”

the original,

The Pélérinage is a narrative.
of life, of a man’s discovery of
the world through loosely connest-
ed scenes of recognition. The pil-
grim asks everyone he meets, “Who
are you?” only to be asked in turn,
“Who are you?”

The allegorical figures of the
story are, in the medieval version,

presented first as characters—
ideas
recognized for what they are.’The

in motion—and.—gradually

17th century version telescopes the
its illustrations to

Miss Tuve believes most inter-

preters of allegory start from the
wrong end when they look for the
author’s purpose and his defini-
tions instead of reading for pleas-
ure.
elation of the subject, not of the
writer’s intentions.” The medieval °
authors were not even aware, in

“Allegory should be the rev-

Continued on Page 6, Col. 3



Lecture and Fil

m in Prospect

THE THEORY OF RECOLLECTION IN PLATO’S MENO—
Gregory Vlastos, Professor of Philosophy at Princeton University, will

give the Class of 1902 lecture in the Common Room on Thursday, De-

cember 10, at 8:30. Mz, Vlastos received his degrees at Roberts Col-

lege, Istanbul, and Harvard University. He is known for his work in

Greek philosophy and the philosophy of religion, and has served in

these connections with the Institute of Advanced Study and as a

Fellow. of the National Council on Religion in Higher Education. Mr.
Vlastos’ published work includes many articles for journals of philos-

ophy..

LES ENFANTS TERRIBLES,

<< teesl-tes ath Gia. et

titles, will be shown in Goodhart Auditorium at 8:30, December 11.

There will be a charge éf .50 for the

program which is being ——"

by the French clubs of Bryn Mawr and Haverford.

The film is based on a book by

Jean Cocteau who also serves as

narrator. The story concerns a brother and. — who share some

unusual and strange experiences.



ssaiiiin daimnsiimmammmnieas ooo

= t






Page Two

THE COLLEGE NEWS

Wednesday, December 9, 1959



THE COLLEGE NEWS

FOUNDED IN 1914

Published weekly during the College Year (except during
Thanksgiving, Christmas and Easter holidays, and during examina-
tion weeks) in the interest of Bryn Mawr College at the Ardmore

Printing Company, Ardmore, Pa., and Bryn: Mawr College.
The College News is fully protected by copyright. Nothing that appears
in it may be reprinted wholly or in part without permission of the Editor-in-Chief.

EDITORIAL BOARD

Belitorin-Chiel oo cicccccscc te ccccccescgecccecsccccces Betsy Levering, ‘61
COmy BOHOF oo. c cc csc cece cece ccc cccctcesceceeesovcccces Lois Potter, ‘61
Associate Editar 20... iccicicceccccccscccccscccvccvves E. Anne Eberle, ‘61
Make-up Editor .....0.ccscccccceeccvsccvecesccevcees Frederica Koller, ‘61
PONE HN ish ek cree dcecesceceberecesediunscsesecets Marion Coen, ‘62
Member-at-Llarge .........eccecsesecees Pisiaci cess cass Alison Baker, ‘62

EDITORIAL STAFF
Susan Szekely, ‘61; Isa Brannon, ‘62; Susan Nelson, ‘62; Judy Stuart, ‘62; Mary
Ann Amdur, ‘63; Janice Copen, ‘63; Kristine Gilmartin, ‘63; Bonnie Miller,
63; Suzy Spain, ‘63.

The College Is No Community

Elsewhere on the page we are printing a letter from
Marcy Tench replying to last week’s editorial. That editor-
ial expressed the feeling—and we think a genuine feeling—
that reorganization had taken place in some far corner of
the organizational maze, and that, bearing an impressive
weight of signatures, it was speeding toward Legislature
without any real reference to the campus as a whole.

Marcy’s criticisms are valid. The reorganization issue
has been around for a long time. Undergrad has done a lot
of valuable legwork, which, considering that the matter lay
in the hands of Co-ordinating Council, was service over and
beyond the call of duty. Her attack on the News is not unjus-
tified, and we do not wish to except ourselves from our own
criticisms. Moreover, since all this is concerned with past
error, it is reassuring to see the future promise that the plan
for reorganization will not be rammed through tonight’s
meeting of the Legislature.

But Marcy missed the fundamental fallacy in the editor-
ial, as did we. It is predicated on the idea that Bryn Mawr
is a community, with community interests and concerns.
Nothing could be more erroneous, and yet no error is as easy
to slip into. The facts suggest a community: less than 700
persons live in close conjunction on a small piece of land;
these persons attend to the same faculty, are responsible to
the same administration, purport to govern themselves and
engage in organized activities. Yet only a token community
exists. ;

It is a truism that this is a hall-oriented campus. This
is a truism, oddly enough, precisely because it is true. What
it means, however, is not that the various halls are vital
centers of activity, but that there are no vital centers of
activity; not that the student body politic breaks down into
seven—or rather, twelve—major groupings, but that there
is no student. body politic. I remember a grim College Coun-
cil last spring, when the Presidents of the two major organ-
izations on campus were bemoaning their tiresome search

‘for candidates for the major offices. I remember the sadden-
ed face of Alliance, after its disappointing conference on
Labor. I have watched active people trying to rouse the
campus; the News has even made such attempts itself upon
occasion. Mohammet had a better chance to move the moun-
tain! The major organizations on campus continue to func-
tion not because they have a broad base of support, but be-
cause they have a few, a very few, members with fire in their
bellies. I might add that, in a number of instances, the fire
seems to be extinguished by sheer exhaustion.

It is a dry campus; it is a dull community. The energy
of a few individuals in a wasteland of tedium and particular-

ization is ineffectual. ‘Talk about apathy and responsibility |.

reverberates around the campus simply because it is not ab-
sorbed. Something must be substituted for this’inane incan-
tation: a hardheaded recognition of the preconditions for
community.

A community is held together, first of all, not by respon-
sibility but by obligation. If we had a real honor system,
Self-Gov. would have no judicial or punitive functions; every-
one could be responsible to his heart’s content. But instead
of the minimum community we have now, we would have
anarchy. The second precondition of a community is con-
gregation. Activists at Bryn Mawr long for the fervid days
of M. Carey Thomas, when “great causes” swept the cam-
pus. But these great causes, and the enthusiasm which went
into.them, did not descend out of the blue. Miss Thomas sat
her students down regularly at a compulsory assembly, and
challenged them as individuals and as a group.

~~ regular, compulsory assembly is exactly what I’m ad-
vocating. Assemble all the members of this loose associa-

tion of individuals that is Bryn Mawr, give them a common

body of information and concern, and a vital community, a
community which transcends the halls and the special. con-
cerns of organizations, may be the result. You will not get



>

Student Finds De Gaulle “Charismatic Leader”

by Elizabeth Hansot 60 __

It is tempting to speculate upon
how men become leaders, and how
they maintain their leadership. Max
Weber, in “The Theory of Social
and Economic Organization”, con-
structs three types of social dom-
ination, basing his distinctions up-
on their “legitimacy” or internal
means of justification. The three
“pure types” of authority: legal,
traditional, and charismatic, are
considered as ideal constructions,
only approximated in reality. Cha-
risma Weber defines in a quasi-
religious sense. It is a gift of
grace, a quality of individual rev-
elation of heroism commanding
personal devotion and uncondition-
al confidenee-from_its followers.

‘The man whose memoirs begin
with a statement of France’s “ex-
alted and exceptional destiny” re-
marked in the same book: “.. .
my mission seemed to me, all of a
sudden, clear and terrible . it
was for me to assume the burden
of France.” De Gaulle is now in
a position to execute his mission,
and this is (partially due to the
charismatic aspect of his author-
ity.

Concerning the acquisition of
charismatic power, Weber mentions
two points relevant to De Gaulle’s
position. The charismatic individ-
ual does not derive his “right”
to lead from the will of his follow-
ers as in an election. Rather it
is the latter’s duty to recognize
him as a leader, and the loyalty
and devotion which follow such
recognition are born of distress
and enthusiasm, Both these ele-
ments ‘were present upon De
Gaulle’s abrupt assumption of
leadership in May ’58. Although
the enthusiasm may have heen
predominantly in the conservative
right wing, centered in the cap-
able hands of Soustelle and Massu
in Algeria, the distress was wide-
spread, including not only the un-
successful politicians of the Fourth
Republic, but «also those who en-

ee

seizure of the government.

a politician of catastrophe. In the
political chaos of May, Pflimlin’s
crisis-created government. offered
nothing to the demand for new
possibilities. De Gaulle did. Doubt-
lessly a great deal of De Gaulle’s
prestige was based on the non-
political character of his claim to
recognition, He reappeared as an
undefined and undetermined politi-
cal force, identified mainly with
France and her greatness, past and
future, .In the September refer-
endum, (May was reenacted. There
was no serious alternative offered
by the split and impotent left; the
vote was a simple yes or no—for
De Gaulle or for a return to the
impasse of May.

In order for De Gaulle to have
obtained a mandate from the peo-
ple, a right “derived from their
considered will rather than from
a non-political and non-rational
mixture of enthusiasm and despair,
he would have been forced to be-
come (partisan, to specify a con-
crete program and the means to
achieve it; as for instance in ‘the
case of (Algeria. If the govern-
ments of the fourth republic were
unable to operate as a result of
being too sensitive to every irre-
sponsible shift in public opinion,
it is doubtful that De Gaulle, in
his neutral, non-political role of
“arbitrator” offered more than
the occasion for public opinion to
abdicate, at least on the political
level.

The legitimacy of charismatic
power, according to Weber, rests
upon a belief in magical powers,
revelation, and hero worship. He
cites as past instances of this the
prophet and the war loid. The man
who ended the resistance move-
ment ‘with 500,000 men behind him
is likewise given to such oracular
statements as “France is not real-
ly herself unless: in the front

-| the--independence of the nation;
De (Gaulle has been aptly callea| his broad.emergency powers apply

when the institution of the Re-
public, the integrity of the terri-
tory, or the execution of interna-
tional commitments is threatened.
Parliament’s legislative activities
are limited to the “domain of law”,
which involves such areas as civil
rights, criminal |code, taxation,
and general organization of na-
tional defense.

The executive directs all mat-
ters not explicitly allocated to the ©
parliament. The president appoints
his own premier, and the latter is
responsible for creating his own
cabinet.. But as government offi-
cials are no longer allowed to hold
seats in Parliament, they retain
no claim to a popular mandate,
and are in a weak moral position
were they to come into significant
opposition to the President.

DeGaulle has ample scope to
create new forms in his noncom-
mital position of “arbitrator”. But
on what does he base his arbitra-
tion? if it is supposed to be im-
‘partial, it is only so as-long as
public: opinion accepts it as such.
According to Weber, belief in the
charismatic leader rests wpon his
power “through miracles . . . vic-
tories, and other successes... ”
to effect the well being of the gov-
erned, and tends to disappear if
such proof is not forthcoming. De
Gaulle has seven years tenure as
a guarantee, but even more im-
portant is the depersonalized, sym-
bolic facade he maintains for the
public. His often cited remark
that “men have little reverence for
that which they know well’ re-
veals an excellent sense for the
basis of his authority.

It is possible to see an analogy
between the symbolic, legendary
position De Gaulle is creating for
himself,, and the American poli-
tician’s concern with projecting a
satisfying image. In both cases



rank.” (De Gaulle considers him-

the effectiveness of such techniques

self. not only a vehicle for change,! depends on the abdication of pub-



visioned the -army’s invasion of
metropolitan France and military ,

but also a creator of new forms. lic opinion as a rational and direct-
As president he is guarantor of ing force in the poliitcal sphere.



Letter

a Marcy Tench Re

To the Editor:

In response to the editorial in

the College News of December 2
I would like to add a few remarks.
May I state first that I am all in
favor of strong articles that will
arouse discussion, but that I feel it
only fair to all the students that
the facts presented be first of all
true and secondly that two sides
be indicated. :
Tre editorial obviously intimat-
‘ed that reorganization was being
pushed through over everybody’s
head, Neither myself nor anyone
else on the iCo-ordinating Council
are trying to do anything without
full student interest and knowl-
edge.

If those of you who are now com-
plaining that you didn’t know what
was going on are blaming those
who wrote this plan, you are mis-
taken. You have no one to blame
but yourselves. It has been dis-
cussed in Undergrad since the fall
of 1957 and a committee was es-
tablished iin the spring of 1958. Re-
organization was one of the main
election issues, “There were ar-
ticles in the News on the plan
last spring, and an article this
‘fall ‘requested all student ideas,
saying we hoped to present a plan
to a December legislature, so’ it
could itake effect this March. The
hall reps to Undergrad have been
‘bringing suggestions to meetings
every Monday from various stu-










it otherwise. ee eda dents who have taken the time to|of the various organizations, but
; voice their opinions through the| seem to know what is happening
; Beth Carr, member of last s graduating class, editor nesday. They have also come with) ov - || a general plea that people are'tir-|) Remember, one of Bryn Mawr’s
" Beet as student of ablity, writer of exteh sealed ed of talking about reorganiza-| greatest assets is the independence
7 of fl ea lave alg a || tiom, but want definite steps taken.) of the student. When students
Pathe nga bis rs :











plies to Editorial

student requests. Reorganization
has been discussed within all or-
ganization meetings.

The editorial claimed it was not
publicized enough. The most effic-
ient, but still not very effective
means of communication on this
campus is the College News. It
usually does its job, but is usually
not read widely enough. The News
has an editor (the News editor,
not the Editor-in-Chief.—Ed.) who
deals mostly with the activities of
the Big ‘Six, seven, or what, I have
spoken with her weekly this fall in-
forming her on Undergraduate ac-
tivities, including various ideas on
reorganization, major drawbacks ,
and progress, This has not been
printed. The News is represented
by its Editor on the Co-ordinating
Council which meets every Thurs-
day night. Reorganization has
been the main topic of every meet-
ing. - I contend it is her job not
only to make worthwhile contribu-
tions, but to act as a reporter. It
should be her job to report through
the News what Co-ordinating
Council is doing.

Legislature meets today. We
are not going to press for a vote
if there is still a lot o be discussed.
We have already made some
amendments and expect more
changes today. We have acted all
along im response to many stu-
dents who are not elected members




Music Program
Continued from Page 1, Col. 1

Strings. George Phillip Teleman.
Three movements:
Ouverture
Air 4 1’Ttalien
Réjouissance
The flute soloist is Katherine

Hoover, a graduate student in

music at Bryn Mawr; the orches-

tra is composed of students from
Bryn Mawr and Haverford, and
friends of the college.

5. Magnificat, Robert L. Goodale
This comiposition, for women’s
voices, flute and strings, was writ-
ten by Mr. Goodale especially for
the Christmas Carol Service of
Bryn Mawr’s 75th Anmniversary
year. It will be first performed at
the College-on December 13, 1959.
Marian Willner is the contralto
soloist.

6. Lo, I bring tidings (A Christ-
mas Concerto). Johann Vier-
danck. For two treble voices,
two flutes and continuo.

Very little is known about the life
of the composer of this work, He
sang in the court chapel in Dres-
den as a choir boy, and, in 1628,
went to Vienna for further mus-
ical training. Later he held the
position of organist at St. Mary’s .
(Church in Stralsund. The com-
position which is to be sung is
taken from a group of sacred con-
certi published in 1641. The flut-
ists are Katherine Hoover and

Elizabeth Jones; the bassoonist,
Ellen Greenber, g; the (pianist,

| Jane Hess. All are students. at

Bryn Mawr College.



we all lose view of pon responsi-
bility.

Sincerely,
Marcy Tench, ’60





President of Undergrad









' Wednesday; December 9, 1959

~

THE COLLEGE NEWS

Page Three



Teachers of Music, Art, Writing View Study of ‘Creativity’



Artist's Talent,

Says Dr.Fowle

Function of Self, Not Study

Dear “Creative Artist”,

May I step down at once from
the lofty plane on which I ‘was
kindly invited to discourse. The
questions which the News propos-
ed involve weighing alternative
procedures which might. ibe open
ito the student interested in ‘cre-
ative art,’ including the question
of the possible benefit to the ‘art-
istic student’ of ‘the historical ap-
proach’ offered by art historians.
Each of these three quoted desig-
nations conjures up so many vari-
ables to me that I am disinclined
to try to judge them. At the gen-
eral level they are discussed end-
lessly and—in so far as assisting
a particular student in a particu-
lar situation is concerned—incon-
clusively. We could all jump in
with opinions as to whether or not
_it is good-for.the ‘artistic student’
to study ‘the historical apiproach’,
but faced with the specific prob-
lem of whether itis, or would be,
good for you,’ Cisca, Roo, Mar-
garet, and others whose work and
play enlivened the walls of Skin-
ner Workshop last week-end. We
are more hesitant and more care-
ful realizing how much depends on
the persons, the circumstances,
and the variables of the particular
‘historical approach’ involved, This
brings me to my first»point, which
is that no curriculum or schedule
will, as such, develop or cultivate
creative talent to the full. Your
growth as an artist is a function
of the way you meet, absorb, use,
or discard the whole range of ex-
_ perience which comes to you. It
is not the courses, the teachers,
the travels, the difficulties but you,
in the experience of all of these.

(What can be taught, then, that
is surely of use to ‘the artistic
student’? JI suppose the view that
the study of the characteristics of

‘time,



the various media—how they may
be controlled, ordered, varied, and
so forth—belongs in this category,
and has a place in the liberal arts
curriculum. Like courses in har-
mony and countenpoint, it is direct-
ly related to the fabric of man’s
great achievements in the arts. To
the extent that it is a study in
control and order, it is a discipline
for which academic credit may be
given, and may be of interest to
the ‘non-creative’_student,.._I__re-
as to the “creative’ student, I re-
main unconvinced ‘by the angu-
ments of my friends who advocate
academic or so-called ‘creative’
courses where the tanget is “‘creat-
ing’ works of art. Problems re-
lated to this are raised in. the
News’ questions about ‘teaching
creative art’ which I hope you will
forgive me for leaving aside this
(But I must say that the
legitimate reservations of some

college faculties with reference to

giving academic credit for ‘crea-
tive art’ has had a lamentable cor-
ollary in the neglect of proper fa-
cilities for students to practice
the arts. This activity may be so
vital a part of the expanding ex-
perience of an individual that not
to provide the opportunity for it
is a serious inadequacy in the lib-
eral. arts college.

In Conclusion, let me indulge
myself with a brief | fament for the
word ‘creative’. It is in a sorry
state at the moment, having re-
ceived its M.A. degree and been
admitted to the vocabulary of pub-
lic relations men. We are all for
creative_statesmanship, creative
children, and creative art.‘Crea-
tive’ is a goody just now - - and
‘imitative’ and ‘derivative’ are ‘bad-
dies, and the words are in current
usage more as value judgments

Continued on Page 4, Col. 5



Gilbert Discusses
Lauds Excellence

“Pure poetry, art unadulterat-
ed”: this is Ariosto’s Orlando Fu-
_Yioso, according to Mr. Allen H.
Gilbert, Professor of English at
Duke University and visiting pro-
fessor of Italian at the University

of Pennsylvania. The first Amer-
ican translator of Ariosto’s ro-

mance, Mr. Gilbert has also writ-
ten several studies. of _ English
write hakespeare, Jonson, Mil-

ton—and his new book on Ariosto
is soon to be published.

Ludovico Ariosto (1474-1583) be-
gan his poem with the idea of con-
tinuing Boiarclo’s extremely popu-
lar Orlando Inamorato, but in the
process of composition the work,
written over a period of thirty
years and lovingly revised and re-
edited up to the time of his death,
took on a life of its own. The num-
erous characters and adventures
are so well construced that Coler-
idge included Orlando Furioso in
his list of good plots.

This coordination is made [poss-
ible by Ariosto’s remarkable gift
for narration: Byron called him
the “Scott of the South.” Besides
his tricky technique of leaving the
audience in suspense as to the fate
of one character while going on
to talk about another, Ariosto
knows how to vary his tempo to
achieve “variety without confusion,
speed without rushing.”

Although “Messer Ludovico does
not spoil his story,” Mr. Gilbert
said, “by obvious attempts to be
edifying”—attempts: which are
part of the most commonplace it-
erature, or the greatest—the per-
sonal element is one of the most
entertaining sides of the poem.



Orlando Furioso,
of Composition

Ariosto’s various debates pro and
con women are a case in point.

The presentation of both sides
of the perennial feminist: question
is part of Ariosto’s essential de-
tachment, a detachment which en-
ables him to laugh at himself and
his fellow-poets even in bits of
satire like tthe visit to the moon.
His actual opinion, however, is
emphatically against the double
standard, and his sympathy for
women comes through in, for ex-
ample, the description of Andro-
meda waiting to be devoured by a
sea monster: “Though everywhere
to be a woman is trouble and cal-
amity; on that island it was es-
pecially great.”

Mr. Gilbert finds reasons for the
poem’s success in its reflection of
the “mind of the 16th century”
wtih its delight in double mean-
ings; its “Machievellian” senti-
ments of average practical good
sense before Machievelli’s The
Prince appeared; the occasional
serious touches which do not in-
terrupt the romance but give it
substance.

Its influence on later writers
was great. Sipenser began the
Faerie Queene in the design of
surpassing Ariosto, Sydney imi-
tated him in tthe Arcadia, Milton
owes a greater debt to him than
to Dante.

America in this century has
shown little interest in Ariosto.
Scholars today, Mr. Gilbert said,.
seem to be spending most time
on a question which might be car-
icatured: “Was there really a
Renaissance?” In his opinion, it
would be better to “wait to find
out—and read Ariosto.”

-to-have time to write.



Teacher is Guide
For Young Writer

”There’s not much you can
teach—the student is his own sub-
ject matter,” said Mr. Robert A*
Wallace, commenting on creative
writing, which he teaches here.
There are certain, exercises he can
assign which are useful—an en-
fire story in dialogue, for instance
—but these can merely advance
the student technically.

“The teacher in this case is a
stimulus, a guide—he has to stretch
the talent and personality of the
student,” Mr. Wallace continued.
“He is partly corrective; that is,
he matches a critical taste against
what’s being*written. For this he
has to ascertain what the student
is trying to do, and then how well
he succeeds at it.”

Mr, Wallace pointed out that a
creative writing course varied
from others in this, that for the
most part people who ‘want to
take such a course do so because
they already enjoy writing, which
then means a molding of some-
thing which has already been be-
gun. He himself is “not creative-
ly imterested in fiction’, so his
tastes there are what he calls
“pretty catholic’, and he thinks
there is little fear of even sub-
conscious imposition of his style on
that. of the student, which is a
danger;-when one person consist-
ently criticizes the work of an-
other.

“Now verse would be different”,
he says, since he is a poet him-
self, actually hired on a part-time
basis by the College to enable him
“There are
just certain kinds of verse I can’t
stand, Now, form in’ verse—stu-
dents tend to neglect that totally,
but I have a thoroughy orthodox
insistence there. I guess some
poems have been ‘lucked out’, but
you've got to learn the form
first.” :

Mr. ‘Wallace feels that there is
a very bad effect if students begin
to think they are writing to one
person, i.e, the professor. He
thinks this does not very often
happen in the Experimental Writ-
ing course as it is set up now,
mainly because the students’
weekly stories are often read to
the class, and. most write at least
to the class and often with a larg-
er audience im view. This is where
the teacher can supply what. Mr.
Wallace calls “professional insist-
ence,” some concern about publish-
ing and-an encouragement to sub-
mit manuscripts to magazines,
prize contests, etc.

_As far as the teacher’s function
as to subject matter, Mr. Wallace
says there is little trouble with the
students’ running out of ideas. He
starts by letting the people write
anything they want, then assigns
definite subject-matter. When stu-
dents “dry up” the teacher’s pow-
er of suggestion is enough to
start them again. “I just tell
them to tell me the first object
that comes into their head, then
run into a question—what kind of
characters ‘would be concerned

Continued on Page 4, Col. 1

German Play
Continued from Page 1, Col. 1

also be come German folk-dancing,
both exhibition and with audience
participation.

All Haverford (nd Bryn Mawr
students are invited to these fes-
tivities, even if they have only a
very slight knowledge of German.
The play shouldn’t be hard to un-
derstand, since it is written in



ver ysimple language and its plot
is well-known.

Creativity “Intellectual Process”
Comments Miss Kenney

‘Miss Kenney, of the Bryn Mawr
music department, said of the
special problems of teaching a cre-
ative art: “In the first place, it’s
a lot of fun. The creative process
is an intellectual one. It’s not so
utterly different from _. subjects
other than the creative arts. While
the eventual criterion in an art
such as music is different, the cre-
ative process itself is very similar
to that in physics for instance.
Isaac Newton applied imaginative
thinking to the facts at his dispos-
al.”

‘Music presents the same prob-

lems and possibilities as other cre-
ative arts, but also has the peculi-
arity of being a very restricted
language. Students are inclined
to start out afraid of music, They

think it’s a great mystery, whieh
isn’t actually true.”

Miss Kenney pointed out Haydn
as a particularly interesting com-
poser to study, ,-since his develop-
ment is so extensive and so meee
ly visible.

“He stants out with the prnnara
tissimo form, and gradually turns
it into the very elevated, serious
form of the string quartet. In
studying his music, you can see
him going through the process of
this development; you find what
he rejects, what he likes, and what
he finally arrives at.”

The study of the history of mu-
sic is also essential as a basis if
the student is to do any composing
of her own. Although Miss Kenney
doesn’t specifically encourage or

‘prepare for student composition

in her course, they could, and oc-
casionally have had this result as
a by-product.

“In studying the rise of the op-
era in the 17th century, you can
learn about the nature of creativ-
ity, and its relation to the -tradi-
tion which goes before it. The
Camerata, one innovating group,
wanted to evolve an entirely new
form. They were much too dog-
matical] and theoretical in reject-
ing previous musical styles, Mon-



tiverdi, on the other hand, wanted
change too, but he started with
the five-part contrapuntal madri-
gal. He was thoroughly trained
in traditional technique. In such
a situation, you can see how a
first-rate composer goes about his
work. He may be an innovator, or
a culminator like Bach.

“There are three approaches to
teaching a history of music. You
can study a piece of music as an
individual work of art, on its own;
you can see it in its position in the
dévelopment of medium; or you
can consider the relation of a piece
of music to the whole cultural pic-
ture, I don’t use this last approach
much in my courses, as we don’t
really have the time. The 101
History of Music course is langely
a history of change of style.”

“In music there is a constantly
changing aesthetic. The Baroque
period, in the 17th century, intro-
duced ugilingss for its own sake.
The word “Baroque” itself means
grotesque. Nobody says _ ithese
things aren’t dissonances, it’s just
a matter of what you want and
what you're allowed. Music be-
came a mixture of. consonances
and dissonances.

“T used to think music was a
luxury subject, but I’ve changed
my mind, Perhaps the most im-
portant thing a student learns in
studying music is the difference
between greatness and mediocrity.
You can learn this in any subject,
but more so in music.”

Miss Kenney illustrated this in
a comparison between Schubert
and Schumann.

“Schubert was a great indepen-
dent. He didn’t stick close to the
classical form, but his music has a .
value in itself. His melodies are
what is most beautiful; you want
to listen to them over and over
again, and that’s just what you
do, Schumann, on the other hand,
was a near-great. He tried to do
something he wasn’t.. He used
the sonata form, without ever

Continued on Page 4, Col. 5



Notes From Paris (France)

7 Nov. 26
Dear or ——

Wuz (forgetting English o
ready) walking along Pont Beaux-
Arts, sky blue as common phen-
omenon usually manifests itself
(when it’s not raining every day
like-here) and sun shining some-
times and lots of people without
prophylactics (boots have’nt hit
Europe yet) and trying to avoid
one of the two most common symp-
toms of Abroaditis—i.e., pastry,
the other being the mad desire to
hitchhike everywhere, especially
where U.S. doesn’t recognize var-
ious land areas; nevertheless hav-
ing 2% milliétepeople & cats, dogs
& furniture on them such as China
for example (why did Hegel:
Marx: communism: capitalism:
CONFLICT get in the way of tour-
ists anyway?) when a man ap-
proaches (switch to present his-
toric tense as dramatic situation
coming up soon) with desperate
look in his eye and anxious per-
suasive talk that I should buy a
monkey? (Maybe my French,wasn’t
fully developed stylistically, gram-
matically, & rhetorically “pour
piger”).

(Well- anyway, whether it ‘was
Paris or not I remembered how
well we all learned in biology last
year never to buy monkeys indis-
criminately like that seeing as
they are very susceptible to colds,
and above all, T.V. Therefore, so
I said to the man all that. How-
ever, so he wanted to know ,why
Americans are so antiseptic. Well,
80 I finally bought a parakeet.



_ By. — time my feet were tak-

en by surprise by a metro sign and

-I-got-in-first-class-on-a-second-tie-——

ket (who could resist? the char-
treuse colored car remains a per-
petual fascination for color-blind-
ed people) when the conductor got
closer and closer so all I said ‘was
“T don’t speak Russian” in Rus-
sian, and thinking I was an Es-
peranto devotee, he didn’t demand
the 100 francs usual fine (when an
American stops equating 100
francs to 1$ he’s become Frenchi-
fied) so there were a few minutes
between Stalingrad & Franklin D.
Roosevelt to watch a starving art-
ist (beard & dirt & youth hosteling
world outlook) picking out most
willing-looking girl possible but
when she asked to see his etchings
replied, “very sorry but I ate them
all for breakfast this morning,”
(due no doubt to rising prices of
alimentation, devaluaton of French
franc etc.)

Well, if I ever get home to that
icy. little room (the French would
have made good Eskimos) and if I
as a pedestrian can avoid becom-
ing part of this year’s bumper
crop and if you think this could
only happen in Paris, you’re right.
But on the other hand there was
a time when New York was. Ah
Paris! with much effort, American
know-how, social distinction, good
marks, and a strong right arm
you too can become a vingin.

Maintenant—
PUBLICITES
- demandez KIM—
demandez _KIM—
demandez KIM ...
Gabrielle Yablonsky, ’61












Page Four

THE COLLEGE NEWS

Wednesday, December 9, :1959



Alumna-Sculptress Speaks to the Dedicated

Dear College News: Pe than to start alone, as so much’

time is saved. A truly personal

It is difficult to explain the way| +1. evolves with time, and is

one lives, but I hope that the fol-
lowing contains the information
you want.

I had always wanted to work
in sculpture, although before I
went to Bryn oly I had some
vague notion of making money
first. Both my mother and father
being in the arts, I was naturally
concerned with these values. I
had been warned by my parents of
the difficulties and uncertainties
in the life of an artist, After two
years at Bryn Mawr I went to
Paris. From the first day at the
animal sculpture studio there it
was only a question of how to be-
come an artist. The difference be-
tween working with your mind.
and curiosity alone and working
with every faculty you possess is
indescribable. The search of art
has to seem of paramount impor-
tance or the necessary commitment
of one’s life would be impossible.
A great deal has been said about
the egoism of artists. I believe
this to be true, but not in the sense
of personal vanity. The serious
artist uses himself as an instru-
ment, living so far as possible in
the way,that will best feed his vo-
cabulary of expression. He is al-
ways aware of being a part, how-
ever unimportant, of a very long
process in the outward expression
of degrees of inner awareness
which the human animal has prac-
tised since before history. As
there is no barrier of language, he
is at home with work in the plas-
tic mediums of all places and per-
iods, ‘through travel, museums
and books, ‘This sense of floating
timelessly in space, unanchored to
any specific culture explains, I
think, y many modern artists
congregaté for at least part of
their working lives in cities such

as York and Paris, where
they can feel rooted in an alliance
“6f common purpose, and can bene-
fit from the cross-pollination of
contemporary work.

The process of becoming a sculp-
tor starts with the conviction that
the creation of art, in -spite of
every material evidence to the con-
trary, is of supreme importance.
Then come the years of study un-
der some older sculptor whose ap-





proach ‘one respects. I think it far

better to study with someone rath- |

hardy enough to survive many in-
fluences. The working artist ac-
tually studies all through his life,
but these first years he learns tech-
niques and the probable direction
of his expression, You might say
that the artists begins with the
strong urge of an individual to ex-
press something, and if it cannot
be said in words, which are after
all the most easily communicable
medium in our contemporary word
society, he must find the medium
suited to his aptitude. In the case
of a sculptor it is the feeling first
for the significance of form as it
exists of itself, and occupies space.
The common phrase, “How niceto be
able to do something with. your
hands!” is superficial. If this were
all, the making of a chair or table
would be sculpture, which it is not.
In pure craft the emotional and
idea content must be held below
the functional] and purely decora-
tive qualities. The sculptor’s wish
is not to make a thing, but to
create an object which shall ‘so
occupy space as to be a‘symbolic
entity inconporating his ideas and
feelings, all of which are shared
by other people somewhere. ‘If the
image is strongly expressed ‘and
incorporates the ideas and feelings
of his contemporaries, he will be
successful. By contemporaries I

‘refer to those-who react to art.

These images can be widely diver-
sified and yet equally effective to
the cognizant modern, as in the
work of Brancusi, Giacommeti,
Henry (Moore and Lipchitz.

To live as an artist varies for
the individual. The minimum re-
quirements are a place in which to
work and time without encroach-
ment. Most contemporary art-
ists in this country have to teach
or take part time jobs to get along.
We are entering into a period of
great interest in the plastic arts,
but there is as yet insufficient ma-
terial support to the artist. I have
done some work on commission,
but for the:most part I make a
sculpture hecause I want to, and
then hope someday to sell it. The
use of sculpture with modern: ar-
chitecture is beginning; it is of
enormous satisfaction to the sculp-
tor to work with a sympathetic
architect, Ultimately,
sculpture with its infinite possi-



‘Wallace: On Creative Writing

Continued from Page 8, Col. 8

with this object, what kind of cir-
cumstances? and so on. I call it
brainstorming.”

In his function as a guide the
teacher is constantly pushing the
student. back into his own realm
of experience. “As soon as he
gets out of his own experience,
the student ultimately imitates,
just takes up a world what other

_twriters have created. He doesn’t
know a thing about the Gay ’Twen-
ties, so he puts his story in a set-
ting he’s taken entirely from
books.”

In his function as a stimulus,
the teacher and the writing course
provide a sense of direction and of
urgency. Mr. Wallace approves
of the ‘rushed feeling” in a course
which demands a short story a
week, because “the beginning writ-
er is apt to be poor. if you spend
too much time worrying you get
all bogged down, you lose your
perspective. The whole object of
the ‘writing course is to get as
“much experience as possible with-
in the period of time.”

In his function as a critic, ‘the
teacher not only offers judgment



unbiased point of view than the



cess-as you ‘write: there are prob-
ably a thousand possibilities for
each sentence—which one do you
select? You see the teacher’s
comments and you get those of
the class—who are, after all, peo-
ple in the same circumstances—
and you start applying the same
things in your own stories, If
something really gets lambasted
in class, you get pretty edgy about
that fault, even if it wasn’t your
story.”

But the teacher’s tool (or weap-
on) of ériticism is not an absolute
—he must be a fine judge of the
degreees of encouragement and
discouragement needed to chal-
lenge or hearten the student. “Most
people who are not good don’t
know it—but even they must be
encouraged—you can’t get any-
where if they stop writing.”

Summarizing, Mr. ‘Wallace. said
that the function of the creative

writing teacher “comes after the
work of the student but is always
pointing to the future, With 15
students in a class you’re really |'
teaching 15 different courses; you
can’t really help all of them fully






I hope,|



bilities of shape will be used gen-
erally to enrich, not disguise, the
purity of form in modern archi-
tecture.

In all the years in which I have
worked as a sculptor I have never
felt boredom, itfoiiotony nor a real
sense of uselessness, although
there are times when the last
comes very near. I live by a rou-
tine which reserves my best hours
for the studio, and am able to so
shape my days because of an in-
terested and sympathetic husband,
and no children. As a modeller,
rather than a carver, my technical
requirements are simple. I work
in plastelline or directly in plas-
ter with an ultimate bronze in
mind. I do my own casting in
plaster and enjoy the problems of
technique because here they are
not repetitious. In fact casting,
building armatures, mounting and
framing drawings, are a relaxation
from the tensions of creation. As
for the work itself it is toward
abstraction. I draw a. great deal
from nature, landscapes and ani-
mals, I have also derived ideas
and shapes from ruins, both an-
cient and modern, and from moun-
tains, plains and islands as seen
from the air..There are.many per-
iods of discouragement when the
“instrument” is inadequate; there
are ithe rare and wonderful mo-
ments when one works way beyond
oneself. The test lies in the long
solitary hours in the studio. I
exhibit a great deal with other art-
ists as I am interested in the work
of my contemporaries, and like to

*“‘We do not have any super state
to enforce the principles of inter-
national law; yet there is law in a
real sense.” ‘This was the reply
of Professor Richard Gardner to
his own question, “Is there such a
thing as international law?”

Professor Gardner lectured
Tuesday night in the Ely room on
“Law-and Lawyers in Internation-
al Affairs: Problems and Possibili-
ties.” (He pointed out, in support
of his assertion that, “Courts in
the United States apply interna-
tional law with regard to citizen-
ship, ete.”

Professor Gardner, a Professor
at Columbia University - Law
School, maintained that a -very
broad definition of law mwas desir-
able. Law, according to him, con-
sists of three elements in the in-
ternational field: the classical law
of nations, i.e., the legal doctrine
covering laws of treaties between
states, etc.; international organi-
zation, including not only the
United Nations but also all the spe-
cial agencies connected with the
body; and finally the law of inter-
national trade and investment, i. e.,
laws of government concerning the
movements of goods between na-
tions,

He pointed out that since the





measure my own.
I am grateful to Bryn Mawr for |

the aristocracy of its standard of |
culture, and for enlarging my |
framework of reference. I am
specifically most grateful to Miss
Swnidler for her course on Greek |
Sculpture, (Her appreciation of
the archaic was my introduction to
art as symbol rather than as phys-
ical verisimilitude. I believe now,
as I did then, that the Hera of
Samos is one of the great sculp-
tures of the world.

Sincerely yours,

Rhys Caparn i.

(Mrs. Herbert Johannes

Steel)

No Play

Continued from Page 1, Col. 2

made the poetry come alive, her
movements were stylistically apt,
and her beautiful hands were im-
mensely expressive.

~ The two priests, Nikita Lary

and Scott Morgan, made an inter-

esting contrast of voices and were |,

nearly always convincing. The
chorus, Mary Lou Leavitt, Joan
Paddock, and \Alice Turner, 'were
clearly understandable and cer-
tainly deserve commendation for
accomplishing this difficult feat.

The background music, written
by Sarah Shapley, and played by
Kitty Hoover, flute, John Hayter,
recorder, and David Rosenbaum,
drums, sustained the feeling of
tension and shadowed the voices.
and actions very effectively. The
fine set and costumes completed
this most successful complement
to the play.

Seami, son of Kwanami, said
that the three ways to success in
N6 are “by the eyes, by the ears,
and by the heart.” The Arts
Night production of “Sotoba Ko-
machi” touched its audience in al!
these ways and gave it an unusual
and exciting theatrical experi-
ence.



_.... Notice
Haverford College announces
"a lecture by Professor Carl
- Rogers of the Departments of
' Psychology and Psychiatry of
_ the University of Wisconsin:

Move Into
Batten House

Most of the twelve students slat-

‘ed for Batten House moved in to-

day, ‘although the minor changes
in the building necessary to turn
a residence into a dormitory were
not as yet completed. Tomorrow,
Deanery fresmen will move into
the halls; freshmen now in the In-
firmary will not be resettled until
after Christmas, at their own re-
quest.

All four classes are represented
in Batten House. Julie Ann Motz
and Helen Davis, both ’60, are
moving from the Deanery. Mar-
guerite Parker, *60, Carolyn Er-
lich, °60, Frances Krauskopf, ’62,
Dayle Benson, ’62 and Martha
Birnbaum, ’62 leave Denbigh.
From ‘Pembroke West come Alison
Baker, Beatrix Preyer, and Karen
Willner, all ’62. Doris Porro, 62,
lived in Radnor, and Cornelia
‘Wadsworth, ’60, in the Deanery. ~

Engagements
Elsie Cummings ’59 to Kornelis
J. Walraven. / oe

Cynthia Grieg 60 to Sargent
Bush.

Star IN. Kinstein ’60 to Alexan-
der Urban,

Myra Ann Rosenthal 60 to Leon
E. Simcoe,

Pamela ‘Sharp ’62 to Kenneth

Janis Weinberg °69 to Michaei
Brody.

Sandra Moore ’60 to Ronald
Weintraub.

Weddings

Ruth
Brown.

Ann Hutchinson (ex-’61) now

| studying at Barnard) to Charles

Smith on August 30.

Karen Northam (ex-’60—will at-
tend ithe University of Hawaii) to
Charels Tester on November 28.

Harriet Wasserman (ex-’61) to





Ann Cameron Lank °59 to Rob-







Deitelbaum ’59 to Shelley





International Law Is A Reality
Argues Gardner in Lecture Here

end of World War Il multitudinous
international agencies have come
into existence. As a result, today
the freedom of action of states is
limited by the agencies, In the
United States, according to Pro-
fessor Gardner, the International
Monetary Fund keeps exchange
rates stable. All of our domestic
policy is, as a consequence “condi-
tiéned by things happening
abroad.”

Even though. George Kennan
has argued that international law
does not exist, Professor Gardner
maintained that “this country has
always operated under the assump-
tion that—international_law does
existwe are to a considerable
extent governed by lawyers since
90% of our secretaries of state
have had some legal training.”

“International Law jis a very
practical thing,” Professor Gard-
ner declared. “It affects. the lives
of individuals,” he continued,
“since the real beneficiaries of the

organization of rights and duties.

between governments are the peo-
ple themselves.”

International law has the Inter-
national Court of Justice for en-
forcement; but more important,
according to Professor Gardner,
it has the sanction of public opin-
ion. “This body of principles, con-
stituting international law,” he
concluded, “helps to mold public
opinion. It plays a very import-
ant part in diplomacy.”

Fowle: On Art

Continued from Page 3, Col. 5

really succeeding in it, and al-
though he recognized his inability,
he wasn’t happy with it.”

Teaching Music _
Continued from Page 3, Col. 2

than their proper descriptive func-
tion. A quick, free sketch, done
without conscious reference to a
model or precedent may seem to be
‘creative’ iin its genesis—yet the
acts of. the sketching hand may be
of a most routine sort—essentially
repeating previous schemes and
habits. On the other hand, some
widely acclaimed artists (I think
of Rubens and Manet) were care-
ful students of the works of oth-
ers and were ardent copyists.. They
studied and copied in order to
learn, their vigorous copies are ad-
mired paintings—imitative in a
sense, yet creative, too. The re-
verse is probably more commonly
the case—that the supposedly
‘creative’ and ‘original’ is in fact
imitative and derivative. ‘Would
it do any harm to just drop that
adjective ‘creative’ and just say
‘art’—or, even more modestly and
specifically—‘painting’, ‘drawing’,
‘sculpture’ and so forth—splendid
old words, all of them.
. Yours,
James Fowle



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Wednesday, December 9, 1959

a t
4
- .

THE COLLEGE NEWS

Page Five



Reviewer Finds Music Program “Impressive, Tastefully Balanced”

Continued from Page 1, Col. 4, tham the latter, which has a more Alison Baker. They were: “Car-

power in some passages, so that |
although the quieter parts were | ello, the servant of Don Giovanni, |

In it, Lepor-

confined verse form.

carefully subdued, on the whole | recounts the awesome list of his

there was not enough dynamic
contrast. This aria is much more
demanding of the singer in vocal
control and range. of expression
than the “Papageno” aria; formal-
ly and expressively is more free

master’s amorous exploits — and

with great relish of the narrative.

In more antique mood were
pieces for recorders, played (in de-
scending order of pitch) by David
Rosenbaum, Edith McKeon, and





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| naito,” by Anonymous, “Fantasia,”
| by Lupo, and “Five Sinfonia a tre
| voce,” by Rossi—iworks of prob-
ably all Renaissance composers,
and for three recorders each;-and
a mountain tune called “Wendy’s
Last,” for soprano recorder, writ-
ten and played by David Rosen-
baum. This last was a lovely, wist-
ful tune, played with a very sweet
tone. In the other pieces, all three
instruments showed remarkable
togetherness in executing frequent
changes of pace and meter. Into-
nation diverged .a little with warm-
ing-up, especially in the “Fanta-
sia,” but not in the “Sinfonia.”





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From the point of view of control,
recorders are difficult to play; I
was impressed with the agility
and smoothness with which. this
group played many rapid passages.
Group Sings Madrigals

A group of madrigals, in the first
and weleome appearance of some
of the madrigal group, concluded
the first half of the program.
“Death is a long, long sleep,” by
Haydn, was sung perhaps a little
too fast. “Alpril is in my mistress’
face,” by Morley, should certainly
have been, if not slower, at least
more continuous and lyrical: I felt
that diction and the flow of the
melodies was somewhat sacrificed
to speed and accurate rhythm.
“Signor Abbate” is a delightful
piece of nonsense in the form of a
round (and a good round too) by
Beethoven, for his dentist; it is
half in German and half in Eng-
lish, With respect to performance,
the last song was perhaps best; it
was “In these delightful, pleasant
groves,” by Purcell,” and sung vi-
vaciously as it deserves.



* College Week
1960

will be the GREATEST!

e As always, the ‘‘Mixer’’ — College
Day at the Beach.

e And the All-Day Cruise to an an-
cient fort with calypso, luncheon,
gombey dancers,and native bands.

AND FOR THE FIRST TIME

© INTERCOLLEGIATE JAZZ
SESSIONS, with competition be-
tween jazz combos of leading men’s
colleges.

e COLLEGE WEEK REVUE—
amateur college talent (YOU?),
directed by a professional.

e Barbecue Luncheon and Games
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e Special TROPHIES for Fishing,
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Bob Martin’s performance of the
Fantasy Pieces for ‘cello by Schu-
mann, was musically the dutstand-
ing feature of the program. Tech-
nically the work is difficult, But it
was played with precision and ex-
cellent intonation, and with little
apparent effort. As in others of
Schumann’s accompanied solo
works, the piano part is almost as
important as the solo instrument;
both ‘cellist and accompanist, Jane
Hess, played with considerable
rhythm and expression, but yet
with sureness of ensemble, demon-
strating each instrument alternate-
ly.

The first and last movements of
the Beethoven F Shanp Major So-
nata were played by David Hem-
ingway._In--mood, this is one of
Beethoven’s happier sonatas. It
was played accurately and ex-
pressively; I thought, however,
that the articulation sometimes
lacked clarity (very possibly, this
muffled effect was the fault of the
piano).

To conclude the evening, Delia
Wheelwright sang a group of folk
songs: First-was-‘The Bonny~Earl
of Murray,” sung very effectively
in mixed Scotch accent, with guitar.
“Katie Cruel,” also with guitar,
was a more boisterous interpreta-
tion of that song than I have
heard; and the same is true of
“Look down that lonesome road,”
and “Sweet William,” (both played
with banjo), Remarkable rhythmic
vitality and good diction contribute .
to carry off this enthusiastic style
with fine effect. Also, the problem —
of coordinating singing and accom-
panying was not evident at all. The
last song, a Guadalupan song in a
French dialect, was melancholy in
contrast, and was sung expressive-
ly with well-sustained tone.







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;

ee Six

THE COLLEGE NEWS

Wednesday, December 9, 1959



~

Art of ‘Arts Night’ Reviewed

Continued from Page 1, Col. 4

*Bach of her nudes was an echo of

the one before. Her water-color
of a woman, however, was very
pleasing with its vibrant colors and
liveliness. Of the nudes, the India
ink one was good but lost out
through the effect of its copies.

Ann Wood also exhibited a num-
ber of nudes. Hers were done
with a great deal of subtlety. They
were expressive and were done
with a pleasing sensitivity of line
and possessed a nice feeling of
movement, Ann Wood’s tempera
painting was also very nice.

Most of the work in the show
was light. There was an all-per-
vading atmosphere of charm to
which the majority of the remain-
ing artists contributed.

Lucy Beebe’s four flower draw-
ings ‘were pleasing and ‘were

mounted with ingenuity. Her pic-
ture of a stained-glass window
was also very successful. (Cisca
Duran-Reynals’s work was also
very charming. In general it had
a New. Yorker-like quality. A
drawing of an island seemed to
transcend mere charm and attract-
ed the interest of this reviewer.

Margaret Williams’s work also
falls into the category of “pleas-
ant but not very striking or par-
ticularly interesting work” with
the exception of her portrait of a
girl which was excellent.

‘Liza (Moore contributed a lin-
oleum cut, and Trudy Hoffman, one
of her fairyland creatures. Mar-
lene Bronstein gavé a large cia-
yon composition, It was careful
and pleasant, perhaps a little bit



Hargrave was an asset to the show.



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stiff. The photography of Frances| .

Continued from Page 1, Col, 5

their preoccupation with the story,
that they were /writing allegory;
one does not have to read story
and allegory’ as two separate
things, as for example in Spenser.

The Protestant character of the
17th century version is shown in
its transformation of. the pilgrim’s

a conventional ecclesiastic, thus
discarding the implied symbol of








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guide and instructor, “Méses”, into |



Miss ‘Tuve Lectures Here

Nature is represented not by a
completely impartial being’ but as
part of an order dictated by God.

Scholars are uncertain whether
Bunyan. himself was acquainted
with Deguileville’s allegory, but
the comparison of life to axpilgrim-
age had been used before his time,
by Spenser for example. In the

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