College news, March 26, 1958

VOL. XLII, NO. 17

ARDMORE and BRYN MAWR, PA., WEDNESDAY MARCH 26, 1958

© Trustees of Bryn Mawr College, 1958

PRICE 20 CENTS



Left Wing Intellectuals Discussed
By Mr. Howe At Alliance Lecture

“The party (Communist) want-

ed them because they were intel=

lectuals, but not _as_ intellectuals,”
remarked Irving Howe, during his
address, “The Left Wing Intellect-
uals of the Thirties: A Retro-
spect.” Mr. Howe, a Professor of
English at Brandeis University,
was presented by the Bryn Mawr
College Alliance on Monday,
March 24, in Goodhart Hall.

Mr. Howe pointed out that al-
though many writers joined the
party from a.sense of social des-
pair, by the end of the thirties and
early forties most of them were
no longer members. The writers,
according to Mr. Howe, paid a
“high price” for the experiences,
for -he concluded, “It is a terrible
thing to commit one’s hopes to a
cause that turns out not to be a
failure, but a falsehood.”

Because they were “susceptible
to criticism of the anti- Stalinists,”
many left the party. Another rea-
son, cited by Mr. Howe for the
exodus from the party, was that



Portuguese Art
Topic Of Lecture

Before the advent of Goncalvez
the most famous of Portuguese
painters, not too much is directly
known about Portuguese painting,
began Carlos DeAzvedo in_ his
Class of 1901 lecture on Portugu-
ese painting in the 15th and 16th
centuries. This is partly owing
to the fact that not many paint-
ings of early periods have surviv-
ed; because documentary evidence
indicates considerable activity in
the field, mainly Gothic or Roman-
esque altar pieces and other cath-
edral paintings. Climatic condi-
tions, neglect and fire have de-
stroyed these works.

When we first see the works of

_ painters they are strongly under

the influence of a florentine master
who came to Portugal in the mid-
fiftenth century,and this Siennese
tradition is even more marked in
the early periods than the Flemish

influence usualy studied in con-’

nection with Portuguese painting.

One of the most famous surviv-

ing works of Goncalvez himself is
Continued on Page 2, Col. 5

in a monolithiey party no heresy
can be permitted. The party lead-
ers were unable to tell the differ-
ence between individual deviations
and an attack on the party. In
addition, the party ‘was unable to
keep the “intellectuals isolated
enough, and gradually they drift-
ed away.

Although there was much dis-
cussion during this time of “Pro-
letarian Literature,” Mr. Howe -re-
ferred to this term as “illusive
and ambiguous.” The usual novel
classified as ‘“Proletarian” fea-
tured a strike which would be lost
with: the leaders killed. Mr. Howe
said the strike had to be lost
because the party didn’t want the

people to think they were gaining|

anything with the union system as

it existed then. Mr. Howe pointed

out that the novels of that period
Continued on Page 4, Col. 4

Reserve Shelves
Being Considered

Sally Twiggar, Chairman of the
Library Council, has heard so
many irate comments about books
which mysteriously vanish from
the reserve shelves that she has
‘proposed along with others, a new
system which would be a modified
version of the closed-shelf method.

Such a system would involve
having still another student. at
the door of the reserve room, to
check books when they are going
out. This would avoid or at least
reduce the brief shelf life of many
reserve books.

Students would then be compel-
led to take only themselves into
the room, leaving other books be-
hind, to simpily checking for the
book “warden.” In addition, at-
tempts will be made to eliminate
other people taking books one
signed for, etc.

Altough this has not yet been
passed, Dodie Stimpson, outgoing
president of Undergrad, has been
busily taking informal polls in the
various halls; so far, an over-
whelming majority has been ex-
pressed in favor of the idea. If
this new policy is to be passed,
it will go into effect after Spring
Vacation.



ice Cream’s In A

Name, That’s What

Not designed to compete with
to.

“Sava-Face,” but perhaps
share the same founts of creative
energy, is the new “Name the
Student Center” contest. This
long-awaited phenomenon is about
to become a reality—but while it

dfgtinguished—an_ official opening
under these circumstances is hard-
ly cricket. A-name is needed, re-
quired,. sought. Surely some:

-.amongst. the local inspired..popu-

lace will submit just a word or |
phrase—a “descriptive qualifying

epithet or appellation.”

_All products of diligent and
even accidental cogitation should
be sent to “Student Center” Den-
bigh by campus mail not later
than March 28. After vacation,
superior, wit and imagination will
be, rewarded. First. prize is ice



.cream up to ‘the satiation point, or|

beyond, if so desired. And the win-
ning name will be used.

obscure, un-| archaeology.

Prof. H. J. Kantor

To Diseuss Levant

“Ancient Art of the Levant” will
be the topic of an_ illustrated
lecture given by Professor Helene
J. Kantor in the Common Room
at 8:30 p.m., Thursday, March 27.

Professor Kantor, now at the
Oriental Institute of the Univer-

|sity of Chicago, is a specialist on
remains unnamed it is in the realm:

of the illegitimate,

ancient Near Eastern art and

relations of the Aegean and the
Orient, The Aegean and the Orient
In the Second Millennium B.C.
(1947) is studied at Bryn Mawr
by members of ancient history and
Aegean courses. Artist as well as
author, she illustrates her own
books with pen drawings. The
“Journal of Near Eastern Stud-
ies’ and the “Oriental Institute
Museum Notes” frequently publish
her work.

The Bryn Mawr Classics Club
will provide refreshments after
the lecture, |
auspices 0
ter of the Archaeological Institute

lof America.



Her book about the

which is under the|



Reviewer Praises Cohesion, Total Effect;
‘Dark’ Is Termed Really Good Production

Pamela Wylie and Jinty Myles



in “The Dark Is Light Enough”



President Hugh Borton Analyzes

Modernization Problems In Japan

On Wednesday, April 9, Dr.
Hugh Borton, the president of
Haverford College, will be the
speaker at the graduate assembly

Combined Choral
Groups Will Sing

Anyone who plans to ‘be in
Washington this weekend is cord-
ialy invited to hear the Bryn
Mawr Double Octet and the Hav-
erford Glee Club perform there
Saturday evening at 8:00.

According to-Ellie Clymer, Pres-
ident of the Chorus, the girls are
planning a busy weekend. They
will leave Saturday morning in
cars from Bryn Mawn, and Haver-
ford. There is a rehgarsal Satur-
day afternoon in Washington, the
concert is that night @
followed by a ‘party afterwards

They will be staying at the
homes of Bryn Mawr alumnae
until Sunday.

The concert is scheduled to be
at the Archibold Estate on Reser-
voir Road in Northwest Washing-
ton. It’ is near the Georgetown
Hospital.

Included in the Bryr. Mawr
selections are: “Dem Das Gesetz”

from Bach’s “Jesu Meine Freude,”
Hasslets ‘“‘Cantate Domino,’ Kod-
lay’s “Ave Maria,” “Magnificat in
the 8th Mode’ by Guilaume Duf-
ray, and “As Torrents of Summer”
by Edward Elgar.

Colles

Thursday, March 27: Helene J.
Kantor will speak. on Ancient
Art of the Levant, under the
auspices of the Philadelphia
chapter of the American Insti-
tute of Archeology. Common
Room, 8:30.

Friday, March 28: Spring vacation
begins after last class—April 8.

Saturday, March 29: Doub Octet











Assembly at 12:00 os Hu
Borton will speak.

in Goodhart. Dr. Borton, who was
at one time Director of the East
Asian “Institute and Professor of
Japanese at Columbia University
internationally
on

and who. is
knowr
affairs, will speak
“Problems of Modernization as
Exemplified by Japan.”

The assembly, which will take
place at noon, is one to which all
undergraduates are invited and en-
couraged to come. Another high-
light of the assembly will be the
of the “graduate
scholarships and fellowships for
thé coming year. Among them will
be the Fanny Bullock Workman
Fellowship awarded annually to a
candidate for the degree of Doctor

of Philosophy for a year of study
or research abroad.

an
authority Japanese

on the topic

announcement



Notice

The Arts Council is pleased
;; to announce the election. of
Cathya Wing ’59, as its chair-
man for next year.







by Gretchen Jessup

Doubtless it was (if not mere
then) an_ ele-
mental shock of recognition which
gripped most people in the audi-
Goodhart last Saturday
night, as they read in their pro-

gentle curiosity,

ence in
grams “The weather was stormy;
the sky heavily clouded; the dark-
ness... profound... ” Recogni-
tions of other sharper sorts,
feelings of high value, remarks of
great pleasure and of critica] in-
terest, — were as widely present
after the end of The Dark Is Light
Enough. It does not seem neces-
sary to fill the air with the catch-
praises of “splendids” ‘superbs,”
and “wonderfuls” which sometimes
riddle the breeze after local thea-
trical. efforts, because one feels
for Dark one can afford the more
honest acclaim of naming it a
really good production. No ad-
jectival bombast-blankets or cover-
sins are needed. The Bryn Mawr-
Haverford drama groups and their
director should feel rightful pride
at having presented so finished
and satisfying an evening of
theatre as this one was.

Despite several outstanding per-
formances, it is as a whole pro-
duction and not as a vehicle for
a few actors that I find I remem-
ber the play. The various elements
of both acting and staging seemed
unusual in their degree: of attent-
ion to total effect and ability to
augment each other, and this gave
at once subtlety, depth and con-
trolled coherence to the whole.
These qualities are the more for-
tunate, given one’s feeling that
a relatively minor excess in em-
phasis could damage Dark badly.
Such factors as the excellent act-
ing of the leads provided the vital
spark any performance must have.

The play itself is a curious and
interesting one. It is a play which
would like openly to be morally
didactic, would be sentimental if
it could, could easily become rack-
ety (one would think) with so
much ready wit wisdom and whim-
s§cal word spinning waiting to
talk endlessly from a sitting posi-
tion at the mere drop of a hat
pin or click of a drawing room
door. Yet it does really avoid
offending by these qualities, even
though rather narrowly at times.

That it does so is of course most



Continued on Page 2, Col. 3



On TV Quiz Show

Enthralling a coast to coast au-
dience of millions (plus a couple
of hundred faithful Bryn Mawr-
ters), Gracie van Hulsteyn and
Betsy Nelson starred as guests on
the television quiz program
“What's My Line?” Sunday night
at 10:30.

As the makers of Savaface (bill-
ed modestly as nose warmers on
the program) causally remarked,
“There.was-very. little to.do,.actu-
ally.” They arrived at the studio
an hour before the show for in-
doctrination, which included ‘in-
structions for entering the room
and playing the game. Despite
warnings to deposit the chalk in
the tray before shaking hands with
John Daly, the moderator, . Betsy
ttempted this feat in general con-
aon. Ct
panel didn’t take long to guess



beng.



Betsy’s and Gracie’s product. The

|Makers Of Savaface Star As Guests

“What's My Line?”

actual appearance was quite pain-
less—the studio audience wasn’t
frightening, and the cameras
weren’t obtrusive (the cameramen
grinned at them).

Backstage they met Anita Ek-

ing her—she took up all the room
there was!” Stirring Moss was
whisked’ away before they had a
chance to say hello, but they did
chat. with an. English..lady.-major,
another contestant, and after the
show talked briefly with the panel
members.

A large crowd awaited Betsy
and Gracie as they emerged from
the studio; however, instead of
jumping up with screams of joy,
the crowd shouted, “Is she com-
ing?” Savaface’s manufacturers
waited anxiously’ all night for a

response to their appearance so
Continued on Page 5, Col. 1

“How. could you help -notie-—...—.

%
Page Two

THE COLLEGE NEWS

Wednesday, March 26, 1958



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-Chiet.



EDITORIAL BOARD

RE er aera iom to Eleanor Winsor, ‘59
Copy Editor .........6seececeteeeeeeeeeeeeneneneaees Gretchen Jessup, ‘58
Managing Editor ........-..-seeeeerrreeeeereeebeeeeeeeenes Janet Wolf, ‘59
Make-up Editor ...........ssseeeeeeereeeseeneeeeeeees Miriam: Beames, ‘59

Member-at-Large Betsy Levering, ‘61

eer eeeereeceseeeereeeeeseeeeeeeeseeeree

EDITORIAL STAFF
Barbara Broome, ‘60; Sue Goodman, ‘60; Frederica Koller, ‘61; Gail Lasdon, ‘61;
Lynne Levick, ‘60; oy Rennolds, ‘59; Susan Schapiro, ‘60; Judy Stulberg, ‘61;
Alex van Wessem, ‘61; Gail Beckman, ‘59, (Alliance reporter).

BUSINESS STAFF
Elizabeth Cox, ‘60; Sybil Cohen, ‘61; Jane Lewis, ‘59.
Staff Photographer
Business Manager
Associate Business Manager
Subscription Manager

Subscription Board: Alice Casciato, ‘60; Barbara Christy, ‘59; Susan Crossett, ‘60;
Elise Cummings, ‘59; Toni Ellis, ‘60; Sandy Korff, ‘60; Gail Lasdon, ‘61;
Danna Pearson, ‘59; Lois Potter, ‘61; Loretta Stern, “60; Diane Taylor, ‘59;
Carol Waller, ‘61.

Subscription, $3.50. Mailing price, $4.00. Subscription may begin at any time.
Entered as second class matter at the Ardmore, Pa., Post Office, under the Act

of March 3, 1879. rs

Just A Slip

Two weeks ago an untriggered Atom bomb dimmad
through the bomb bay of-a strategic Air Comand jet, and
fell in a farmyard near Florence, South Carolina. The TNT
encasing the bomb’s core of. plutonium exploded, excavating
a sizeable crater, caving in the farmhouse, and injuring the

owner and his family. As the bomb lacked the device or
decisive operation that would cause the TNT to “implode”
the nuclea reaction, the bomb as it fell was neither a super-
explosive nor a potential source of radioactivity. The fission-
able materials, not fissioned products, that were dispersed
by the minor explosion, are harmful only in direct contact
with the blood stream. The area was readily decontaminated
altogether.

On the face of things, this accident would seem no worse
than a rather messy neighborhood car wreck. But serious
and persuasive issues are involved here. A very basic one is
government overclassification of the sort that keeps from
the public the SAC’s. goal to have one-third of its total force
armed with nuclear bombs or warheads, and in the air at all
times. Alarming in terms of material damage is the demon-
strated possibility that such a bomb might drop or be jetti-
soned over a heavily populated area, in which case the toll
of the detonating explosive could be in terms of tens of lives.
Remote, but in the realm of the horrible in immediate effect
and probable cataclysmic consequences, is the event of an
accidental release of an armed A-bomb.

The crew of the jet reports having noticed the shock
waves radiating from the explosion below. This bomb seems
to have had somewhat of a metaphorical shock wave as well.
Britain, already teeming with complex pressures for the
abolition of H-bomb tests, has-been increasingly aware of
the numerous US planes that fly over the small country
carrying atomic devices in varying stages of readiness This
incident added new intensity to the demands that the British
government either press for a ban or unilaterally get out of
the nuclear race (the movement seems to be centered in the
univrsities—irate Conservatives call its technique “govern-
ment by undergraduate resolution”). West German news-
paperse voiced concern also, as the pressure for an atom-free
zone in central Europe (recently proposed by Russia) gains
strength. Radio Moscow did not ignore the event.

As an accident, the Florence explosion was minor;-as a
dramatization of the dangers inherent in nuclear stockpiling
adn the handling of nuclear weapons, in test explosions and
fallout, and in a no-holds-barred war, its importance is ma-
jor. This is particularly true in the light of the recent and
concrete proposals for disarmament made by the Soviet
Union. Even if our government is moved only by what it
considers Russia’s very effective propaganda, we hope that
before the Summit meeting some clear and intensive thought
will be given the question of banning the testing of nuclear
devices, not only until the debate over dangers to health has

Holly Miller, 59
Jane Levy, ‘59
Ruth Levin, ‘59

Peer eseseseesertoesesseeeeeeeeesee eee ees ve
meee e eer essere eeeeeeeHseeeHeseeeeeeeeeesees
eee ee

ere ceeeereeeeeesseeeeseetseseseeses







“been cleared up,

but as a-step away from a~bipolar—world--—-

where destruction hovers in a bomb bay, or rests with the
finger poised over a button. .





IN MEMORIAM

THE LANDSCAPE











teold “hearted academician should







In Elizabethan times (some of
us are told) double negatives wre
perfectly acceptable, and what is
more they meant exactly what
the term indicates, whatever was
bing talked about was doubly not
whatever it wasn’t. A certain
senator says this “cannot be by
no assay of reason,” and he means
it, or rather he does not mean
it. What can’t be, can’t be, nor
what can, can because reason is
not.

If you.use a double negative
now, people either distrust you
or think you were badly raised.”
I have not got no book. "If any-
body. except a scolar said this, the
meaning would be perfectly ob-
vious. Poor girl, she, suffers
from lack of book. But is some

come along, he would prabably
try to prove by some assay of rea-
son that the lucky girl has indeed
plenty of book.

Scholars are biased though, and

‘Am What Am

by Debby Ham







the problem is not settled here.
If what she does not have is no
book, then the nature of no book
must be considered, or maybe the
essence of no bookness, and any-
way she does not have it. In that
case what does she have? Prob-
ably an illiterate or°a scholar for
for a teacher.”

Double positives might prove
more successful, but they present

-a technical problem that would

make scholars twitch they don’t
quite exist. Enthusiasts might pre-
tend they were using double posi-
tives by saying things like “she
will go, on yes she will,” but
there’s something phony in this,
and scholars might establish a
sophistical argument that she
won't budge,

Perhaps double neutrals...could
provide a semantic solution, but
it’s hard to imagine what they
would sound like. Maybe everyone
would be reduced to grunting.



Dark Is Light Enough

Review Continued
Continued from Page 1, Col. 5

obviously because Fry is a good
writer, but more immediately be-
cause of, against the first in-
stances, the firmness of the play’s
real attachment to the human sit-
uation at the individual and most
human level. Against the second
instance works a pervasive irony,
which is often in literature the
voice of world-wise idealism, and
the antidote to cloying goodness
(as such, it is here of especial im-
portance to the character of the
Countess).~Against the third ex-
cess stand both this humanity and
this irony; the frequent quality
of illuminative surprise found in
Fry’s profuse wit, which rescue it
from a glibness alone and just
entertaining; and, structurally,
the use of the character of the
Countess as focus for this talka-
tive play, and as explanation for
its subdued dramatic movement.
It is her method of progress we
see reflected in the larger shape
of the play: ... “lives make and
unmake themselves in her neigh-
borhood as- nowhere else,” but her
personality,—the cause of it all—
is one of intelligence, irony, lo-
quacity—and “divine non-interfer-
ence.” If one puts it in terms
theoretical (and hence perhaps a
little unrealistic so far as a speci-
fic production of Dark is concern-
ed), to see this ideally feminine
infiuence exert itself successfully
is the main point of the play.

All this seems to me generally
worth mentioning because the play
itself is intriguing in conception,
but even more because these as-
pects of it are relevant in. several
ways, I find, to my judgment of
this particular production.

In the first place, this rather
delicate balance of style and mood
needs good acting to come off at
all. Many, of the lines seem more
suited to reading than acting.
Touches of the portentious in
treatment of so much wit and
idealism would make an indigesti-
ble muffin of it indeed. But this is
where special tribute to the actors
in Dark che be called yatta d
a play parte. to “We citcaetehie
Those taking the leading roles are
most noteworthy for the complete-
[ness of their various interpreta-
tions, and the supporting actors
were in several instances proport-
ionately as pleasing, or if not of
so positive a virtue, then still of
sufficient intelligence in their res-
pective approaches, not to let the
play down.

In giving the leads the more de-
tailed treatment they merit, it is
impossible not first to mention
sai Lt a aoe the. Countess







aint timate



brought to it so sustained and so
thoughtful an interpretation, as
indeed to do her great credit as
an actress. My principle demur
in it must refer to the paragraphs
above, in wishing that it had been
possible on occasion to insert
something more, not of a less kind,
but of the less lyrical sort implied
in the ironic voice, into. her na-
ture. The Countess does require
at times a certain distance. The
achievement of this may be partly
a matter of age or lack of it.
However, age is one of the many
problems Miss Myles largely
overcame in other respects; a
number of her attitudes of hand,
and her speech in general, were
remarkably well suited to the
years of the Countess. In addition,
she possessed a clear authority
in holding the stage, and achieved
a variety in her speaking that was
not only a matter of emphasis but
of true emotional change. To move
from the grace of‘Poor Richard,
he is hunted,” to the fine emotion
of “Richard Gettner is the life.
you pray for,” to the physical
weakness of the last act, is great.
achievement in itself. It was, in
sum, a performance which I felt
emphasized the humanly concern-:
ed side of the Countess (certainly:
the basic fact of her personality,
with its difficult corollary,—the
need to seem emotionally capable
of deeply affecting the lives of
every other member of the cast),
and which was accomplished with
a sure ability quite unusual for a
Bryn Mawr actress.

As the principal disturbance of
the play and of the Countess’ har-

moniously agreed circle, as the
running’ man who refuses human
values as consistently as_ the
Countess’ accepts them, Kenneth
Geist (Richard Gettner) showed
all the force, stage presence, and
flair for the arresting line or gest-
ure necessary to the part. Mr.
Geist’s interpretation was proper-
ly sardonic (rather than employing
the more mild irony of the other
characters) and richly dramatic
throughout. One needs Gettner’s
impolite wrath and unorthodoxy
to make the play more than a
drawing room scene of mutual ad-
miration; this and the interesting
complexity of Gettner’s character,

. | Situation~and--dramatic relation to

the Countess, to whom he is bound |

by opposition (and attraction), as|-

well as his own unhappiness, make
the part of a fine one for any
actor, I think. Mr. Geist fulfilled
a great many of the possibilities
of this part most strikingly. It.
was very good and a treat to see |
him on stage always. There does
remain, however, a certain elusive
feeling that at some points Mr.
Geist rather-slipped into the emo-
tional flat in his interpretation of
Gettner.

Continued on Page 5, Col. 3

Letter to the. Editor

Student Desires Change

In Election Procedures
Dear Editor,

I am-at a loss to understand
why the, vice-presidents of League,
Alliance, and A.A. are elected by
the junior and sophomore classes
and the secretary of League and
Alliance by the sophomore class.
Even if it is felt that these offices
should be held by members of cer-
tain classes, it is not necessary
that they be elected by a class-
wide ballot.

League, Alliance and AA despite
“ipso facto” membership, are ad-
mittedly organizations of rather
specialized interests. That their
Presidents should be elected by a
college-wide vote is generally ac-
cepted, if for no other reason than
their place on College Council and
Undergrad Council, That all
Undergrad and Self-Gov positions
should be college or class elected
is also sensible for these organiza-
tions’ concern all students and do
not have boards in the same sense
that the other Big Four Organ-
ization do.

I do not doubt the importance
of the vice-president and the sec-
retary to their respective organ-
izations, but I do think that their
election should be in the hands of
the boards. Under the present sys-
tem, seniors and freshmen who are
vitally interested in an organiza-
tion have no voice in the selection
of these officers, while many peo-
ple who are not interested in the
organization and who have inade-
quate means of judging among the
candidates are practicaly pressur-
ed into voting. I am quite willing
either to delegate my vote for the
vice-presidents of these organiza-
tions to my hall .rep, or to attend
a board meeting if I am interested
in having a direct voice in the
election.

When the organizations concern-
ed reexamine their constitutions,
I hope they will carefully consider
the above suggestion. If the pre-
sent method is continued, the or-
ganizations should be required at
least to present suggested candi-
dates for these offices as they do
for the presidency.

Sincerely,
Natalie Naylor ’59

1901 Lecture

Continued from Page 1, Col. 1
an ‘altarpiece of debatable subject
but fairly definite origin. The sub-
ject has been believed to be St.



| Vincent, the patron saint of Lis-

bon; however, the collection of
symbols about the main figure in
painting are not the definite ones
usually associated with the legend
of the saint.

Goncalvez however is the embodi-
ment of Portuguese originality in
painting; he presents strong fig-
ures, sculptural faces, rich, bold
colors, and a command of light
and shade effects. His portraits,
which are part of the background
of religious paintings, present the
entire national character from
simple fishermen to high church-
men, and display the energy of
the people and the spirit which
was in their navigation and ex-
ploration,

In later paintings stemming
from Gonsalvez’ tradition _ there
are the same strongly sculptured
faces. An interest in the new
world that was being laid open
by exploration in which the Por-
tuguese were leaders, even leads to
the inclusion of actual ships in
‘the background:—

In the aliens senha both
the Italian and Flemish influence
on Portuguese work became
stronger, owing in the latter case
to commercial relations between
the two countries and Flanders
was a market for Portuguese art.

Often also several painters
would collaborate anonymously
on paintings of a religious nature.

This anonimity with its empha-
sis on the whole work rather than
individual fame reveals a strong





terized paintings.

rand-sinesee.-desotion.that.chamite




a

Wednesday, March 26, 1958

THE COLLEGE NEWS

Page Three





by Gail





Say Darling is the play to see
if you are looking for light and
relaxing entertainment. There is
no ‘moral or deep inner meaning,
the entire value of the play (writ,
ten by Abe Burrows and Richard
and Marian Bissell) lies in the en-
joyment gained during the show.

The play is a vehicle for David
Wayne and shows him to best pos-
sible advantage. Wayne extremely
versatile, plays a man in the “sash
and door business who got lucky
with a book.”

Act One starts out) weakly at
an airport in the “corn country.”
Constance Ford as the _ typical
Iowan wife is unconvincing in her
first appearance in the play. .This.
is.,anfortunate, as her part is

limited and does not allow any .of

her talents to come to fore.

An introduction to a producing
team, who want to make a play
out of the book is enlightening for

- Jordan (Wayne): and enjoyable for

the audience. Jerome Cowan, the
experienced half of the team, gives
a competent performance. Robert
Morse, who plays the young just
graduated-from-Princeton-and-I’
going - to - be-assuccess-overnight-
type, gives an excellent perform-
anc, His mannerisms, dress and
dialogue compose one of the most
entertaining characters in the
show,

Vivian Blaine works weil with
what material she has, in a script
which “has no part worthy of her
talents. Her best moments come
mainly during her songs. For what
her voice lacks, her'acting and
gusto more than compensate. The
costuming for Miss Blaine is un-
believable, One could hardly say
it- is Subdued. It fits Irene Lovle
(Miss Blaine) perfectly, as she
portrays the modern actress, viz,
Marilyn Monroe, Jayne Mansfield.

Johnny Desmond as Rudy Lor-
raine, a song writer, does passably

From The Balony



Lasdon





well. He is primarily known as a
singer, but then Say Darling
leaves that statement open to con-
tention, The ‘music offers him no
assistance at all, but that was
made poor intentionally, or was
it?

Other worthies in the show were
Horace MacMahon, who plays the
public relations agent for the pro-
posed show. In addition to his act-
ing, which was well done, he does
a spontaneous dance which has to
be seen to be believed. Cheryl Mer-
rill, who plays a bit part during
the audition scene is excellent. Her
facial expressions are the high
point of her audition, which was
the most entertaining one’ in the
scene,

The dancing is of a competence
unusual in a show not technically
a musical, as Say Darling is not.
The unfortunate part is that it
does not last longer. Matt Mattox,
who is the choreographer and lead
dancer, deserves special mention.

The musical moments which are

“|most enjoyable, although ephem-

eral, are the ensemble piece and
Vivian, Blaine’s songs. But if any
number from this show will endure
it is the title song which has the
best chance of doing so.

The dialogue is the most out-
standing part of the show. It re-
veals the talents of the author of
Guys and Dolls, Abe Burrows.
The banter is witty and fast mov-
ing without sounding contrived
and using local jokes (Does any-
one live in New Rochelle?). Well,
it does have its weak moments.

The sets and staging are well
designed and executed, The un-
usual factor about the staging is
the use of the “close in” effect
instead of a curtain, and the use
of two revolving stages for this



three act, fifteen scene play.





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Food Committee
Reviews Menus,
Preferred Dishes

by Lois Potter

Thanks to the efforts of the
newly formed Food Committee,
students in some halls can butter
their own toast at breakfast. This
first step towards making Bryn
Mawr a gourmet’s paradise was
the result of heated discussions
in the halls, with the Toast Re-
formers calling the Conservatives
lazy, and the Conservatives pro-
testing that the toast was so cold
by the time it got to the table that
buttering it was a major effort.
Some halls have already been
getting butter with, not on, their
toast, but in Pembroke it is an
innovation, and students may now
be seen smiling blissfully as they
spread their toast with a layer of
butter one inch thick. Rumor has];
it that tuition will have to be
raised. again to cover the extra
amount of butter used every morn-
ing.

The Committee, presided over by
Miss Charlotte Howe, is composed
of the hall vice-presidents. At the
first meeting, members were ask-
ed to draw up a set of menus for
a two-weeks’ period, so that they
would appreciate the difficulties
faced by the college dietician, and
so that any special preferences
could be brought up at the next
meeting. Menus, they learned, are
the same for the whole campus,
but the quantity of food ordered
each week depends on the hall
manager, and the quality depends
on the hall cooking staff. Every-
thing must be listed on the menu
or it cannot be on the table: if
pickles are not listed, the result
is pickleless hamburger.

The Committee’s chief difficulty
in arriving at a knowledge of
campus preferences is the amaz-
ing difference in tastes. When
something new, like apricot souffle,
is tried, half the students love it
and the other half turn green
every time it is mentioned. So far,
popular demand has been for more
soups, more vegetables in the Irish
Stew, and more chocolate on
everything (even the much-mal-
igned cottage pudding is welcomed

‘!when served with chocolate instead

of lemon sauce). Hamburgers and
hot dogs are liked because they
are easily recognizable, but a
chorus of agonized voices has de-
manded the abolition of French-
fried ravioli, Fish, which must be
served once a week, is one of the
least popular dishes: everyone
agrees that it is necessary, but no
agreement has been reached on the
best way of preparing it.

Two special factions have made
suggestians to the Committee: the

| Traditionalists, who want lenion

with fish, applesauce with pork, and
mint jelly with lamb, and an en-
thusiastic minority who want
dishes listed on the menu by the
names the students give them.
This presents a problem, as some
names vary from hall to hall:
stewed tomatoes are “train-wreck”
in one hall, “plane-wreck” in an-
other.

Knowing that the college oper-
ates on a tight budget, students
have not been asking for Chateau-
briant or Canard a |]’Orange. On
the whole, the Committee reports,
they agree that the meals are
varied, and most requests have
been for an old favorite served
oftener, rather than for the addi-
tion of a new one.



Basketball
Elections

The Basketball team announc-
es the election of Binney White
as captain and Ann Eberle as



| manager for the following year.





Mrs. MacCaffreu:

by Isabel MacCaffrey

Storms, croughts, clouds of dust
(though no blizzards): the oppres-
sions of weather hang ‘over this
issue of the Revue. Correlatives
for the weather of the heart? At
any rate, these writers, in their
stories, find atmosphere what they
can devise best. Atmospheres ling-
er, when one has closed the maga-
zine; individual characters, for the
most part, do not, although there
are plenty of vivid gestures. An
exception is the haunted little
colored girl in Elizabeth Nelson’s
“The Mothers,” certainly one of
the most satisfying stories in this
collection. Miss Nelson has man-
aged a really stunning final sent-
ence—not a “surprise ending,” but
a close well-timed and unsurpris-
ing, with the story’s whole weight
behind it: “And there were these
two women once again together,
and neither had a daughter.” As
Yeats said of a good poem, “It
comes right like the click of a
box.”

At their best, as in “The Moth-
ers,” these authors are not afraid
to make their characters confront
each other dramatically; a sign of
incompetence in fiction is to
smother action in rhetorical nar-
rative. On this score, Frank Con-
roy’s “Spring for Alison” must be
commended. The story treads on
the edge of cliché but frequently
evades it; and it makes points
through action. A complex theme
is compressed—perhaps over-com-
pressed, for some opaqueness re-
mains—into several well-imagined
scenes. The ability to dramatize is
a necessary lesson that has been
learned by several other Revue
writers, and it is good. to find
among their stories some memor-
able sharp scenes: for instance,
the tobacco barn and chicken
slaughter of Elizabeth Gott’s “The
Catfish,” and ‘the swimming hole
scene in “The Bone Tree” by Mar-
garet Gordon. In “The Catfish,”
too, comedy and atmosphere com-
bine in happy proportions. Not all
stories can be thus contrived, of
course, and of those in a less dra-



Art Films Feature
‘Modern’ Masters

The two short films on Braque
and Utrillo, shown Wednesday,
March 19, under the sponsorship
of the French Club, illustrated
two different approaches to the
interpretation of an artist’s work.

The Braque film showed the art-
ist himself in his studio, making
pen-and-ink drawings, leafing
through his sketch-book, picking
up his sculptures and then walking
along the beach looking for shells
and pieces of chalk to use in his
work. The camera tried to give an
understanding of the creative
mind, to make one see things
through the artist’s eyes. There
was sometimes a feeling of con-
straint in Braque’s movements, as
if he were obeying the directions
of the photographer instead of
acting on his own, but there was
also the fascination of watching
him at work. The many paintings
and sculptures shown on _ the
screen would have benefitted from
color photography.

Color would have been an un-
necessary addition to the film bio-
graphy of Utrillo, in which the
black and white photography skill-
fully recreated the bleak, tragic
atmosphere of the artist’s life and
work, Shut up in his room, in a
hospital, or a rest home, Utrillo
seemed to spend his life moving
from one cel] into another, and
every building he painted resemb-
led a prison. In contrast to the
first film, which showed how the
artist worked but told nothing
about him, Utrillo’s life story

‘made his — more under-



standable.





/*

a a

Revue “Good,”

Would Profit From More Variety

matic, more lyrical strain, Beta
Carr’s “The Road to the Sea”
(part of a longer piece?) seems
to hold up best. The theme here
is» better suited to Miss Carr’s
special style than is that in “The
Forming of the Rose’ — which,
however, is well constructed and
ends successfully,

As for poetry, it comes out very
well in this issue, One can find,
easily enough, good lines or pass-
ages among the poems in almost
any undergraduate publication,
but whole good poems are far
rarer. Here pains have been taken,
and well taken, especially in Ben-
ita Bendon’s “Plain Song,” Gret-
chen Jessup’s “Largo,” Cynthia
Lovelace’s “Notes on Beginning a
Poem,” and a successful exercise
in light verse, of all things appar-
ently the hardest to manage:
“Fish Story” by E. B. White. It
is particularly pleasing to find
that some of these poets have a
mature sense of “the music of
poetry”; Paula Dunaway is one,
her ear revealing itself best in the
delicate “Voyage.” One cannot not
mention Cynthia Lovelace’s
“Tale,” which wins us with its in-
triguing and original metrical
scheme, Other poems, promising in
“idea,” are marred by technical
failures, particularly stumbling
metrics: Miss Jessup’s “Flourish”
and the poems of Timothy Sheldon
provide examples, but not the
only ones.

The over-all impression made
by this issue of the Revue is good;
it is more continuously interesting
than some instances in the past,
though one has a feeling of great-
er variety in the poetry than in
the prose. To construct a well-
balanced, variously appealing
magazine, editors must have a
wide variety of contributions to
choose from and this, one suspects,
is a radical problem. The present
and incoming editors cannot be ac-
cussed of lack of energy in this
matter but talent is often over-
modest. Campus writers are urged
to take boldness for their friend
and assure for future Revues a
broadly representative range of
the college’s best,

BMC Chess Club—

List Tourney

The Chess Club has announced a
five board match to be played with
Penn. University on Wednesday
the 26. Bryn Mawr team
will consist of Barbara Mof- ~
fat, Mrs.. Robert Wallace, Corrie
Starks, Val Petris and Jeffrey
Larson, The match will be played
at 7:30 at Bryn Mawr. (The exact
place is to be decided.)





The Admissions Office ‘ is
eager to obtain colored slides
of college activities such as
sports, dances, and plays, and
of informal groups in the halls.
If you have any slides which
you think we might like, would

you bring them to the Admis-
sions Office in Taylor so that
we can have copies made,





e
Notice
The newly elected members
of the Executive Board of Self-
Gov Association are:
Vice-president—
Ruth Deitelbaum ’59
Secretary—Marty Faust
1st Sophomore— —
Elizabeth Lynes ’61
The new president of the
League is Lynne Kaplan ’59.

The new president of the
Alliance is Judith Minkin ’60.

The new president of the
Interfaith Association is Eliza-
beth Rennolds ’59.

The new president of the
Athletic Association * Weecha
Buse 0.

’60




















i cepted a bouquet of American

Page Four

THE COLLEGE NEWS



Wednesday, March 26, 1958



Hasty Pudding Club Nomes Katherine Hepburn Woman Of
Year, Offers Roses and Scroll for Tailored Anecdotes

The following article is reprint-
ed from The Radcliffe News:

“Katherine Hepburn, ariving five
minutes early at the Hasty Pud-
ding Club, Tuesday, stood unob-
served for a moment, watching her
host primp for her arrival. The
tasseled Latin American danseurs
dropped their , cigarettes and
quenched smoke rings as she
coughed. And she accepted the
proferred hands of welcome from
the Hasty Pudding Institute of
1770 to their Woman of the Year.

“Miss Hepburn graciously ac-

Beauty roses from John Damon
59, chairman of the event, Glanc-
ing down at her light beige, man-
tailored slack suit and holding up a
dropping bouquet, she remarked, ‘I
guess I can’t wear these on my
coat.’

“Accepting the suggestion of a
nervous Pudding man who asked
if she would like to look at” the
posters, she promptly handed him
the bouquet. Holding the roses,
‘he followed her about, answering
the rapid fire questions she fired
at him about the club shows.
Maintaining the spontaneity that





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characterizes her, she nevertheless
seemed to pose continually for the
cameramen around her.

ed by last year’s producer, William
Field, Miss Hepburn commented,
‘I don’t particularly believe in
awards, but I was very, very cur-
ious about this one. I realize that
the award is given to someone very
young, or who has endured a, long,
long time or to someone in town.’

“Miss Hepburn entertained a
ring of a Harvard men with enec-
dotes during luncheon. Her Har-
vard hosts were able to edge in
with a few questions and stories
too. When asked about The Afri-
can Queen with the late Humphrey
Bogart, she said some of the se-
quences were filmed in territory
uninhabited and unexplayed; she
had to keep her baggage down to
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‘Many of those present felt that
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contrast to former Women of the
Year (Carol Baker. Others who
have received the award include
Ethel Mereman, Debbie Reynolds,
Gertrude Lawrence, and (in the
words of H. Marshall Schwartz,
68, who presented this year’s
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hower.’ ~

“Summing up the evening for
those present, Miss Hepburn cooed
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Howe

Continued from Page 1, Col. 2

which have lasted were those
“written out of personal rebellion”
rather than those written “under
Stalin’s nose.” :

The Stalinist critics failed to
be effective because, according to
Howe, a critic must look at the
work and see it through the eyes
of the author and then evaluate
it; this the party members were
unable to do. He said the Stalin-
ists study each work in relation
to their dogmas and can see no



Lecture

further than that.

The party required those join-
ing to surrender everything, in-
cluding their idealism — their
values and beliefs. Gradually it
became more dogmatic; the Marx
system, Mr. Howe remarked is a
“closed system.”

Finally, “most of the people in-
volved in this movement left it,”
Mr. Howe said. For many, this
had. been the one adventure of
their lives; now perhaps they ask
themselves what it had all meant.



















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esday, March 26, 1958

THE COLLEGE NEWS

Page Five



sels on their noise cosies.

It was fun being recognized in
LaGuardia and 30th Street Sta-
tion (“Do you make nose warm-
ers?”), and yesterday morning
a sub-freshman was thrilled to

Savaface On TV

Continued from Page 1, Col. 5

far is a letter from the Tinsel
Trading Company, suggestir.g that
they use tinsel thread for the tas-

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Dark Is Light Enough

Continued from Page 2, Col. 4

cause of his various reprobate
ways, Gettner is basically a sym-
pathetic character; what-seemed
an overemphasis on Gettner’s phy-
sical cowardice, for instance,
somewhat obscured his main, and
mental, flight. However, Mr.
Geist’s fine delivery of such pass-
ages as his opening “Gettner, by
God”; the later “Is there another
Word in the language so unneces-
sary As ‘fail’ or ‘failure’?”; and
certain scenes, particularly the

scene with Gelda (who was there
equally good) in Act Two, remain
firmly fixed in admiring memory,
and assert his uncommon excell-
ence as an actor.
Colonel Janik (Harvey Phillips)
4

their lines was particularly pleas-

represents, to my mind, the fullest
posisble development of what .is
definitely -a lesser role than are
either of the first two. Great polish
and resource marked Mr. Phillips’
expert performance, and he was
certainly a most important contri-
butor to the success of the play.

To complete the fortunate
quartet of good leading actors in
Dark, comes Gelda (Pamela
Wylie)..Though at times restrain-
ed to the point of appearing to
stand outside her role, she none-
theless brought the sort of poise
and assurance to the stage that is
always invaluable.

Other supporting roles were
variously but on- the whole capa-

bly filled. The general alertness
of the actors to the meaning of











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ing, and is not by any means so
universal a virtue ‘as one might
hope. Especially deserving of men-
tion were Kassel and Bella, though
the contributions of the incompat-
ible friends Belmann and Jakob

were also worthy.

Unfortunately, an unexpected
shortage of space and an adaman-
tine printer forces me criminally
to condense further points. Some
reference, however, must be made
to the excellence of the blocking,
with its groups reflecting the at-
tachments and tensions involved
on stage; the interesting sets
(particularly that in II); the
superior. costuming and appropri-
ate lighting; and most important,
the comprehensive, imaginative,
and obviously fine direction of
Robert Butman. —

Altogether, despite some flaws
in a somewhat stiff and hurried
early Act I, a tendency of the
actors not to allow time for their
laughs, some audience difficulties
in hearing, and some inability to
relax on stage, one must acclaim
hard work, a fine Act II, and a
whole performance which provided
high degrees of both tne pleasure
and stimulation possible to an in-
teresting play.





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Page Six. THE COLLEGE NEWS Wednesday, March 26, 1958
e the Water with Glenn Ford,} and Jean Seberg. Ann Francis.
Movies Anne Francis. Greenhill Sunday, March 30—Tuesday, April Engagements
Sunday, March 27—Tuesday, April 1—Bonjour Tristesse. “one Ryan to Ge Ol
Bryn Mawr i—The Steel Bayonet and The| ednesday, March 26— Wednes- | Wednesday, April 2 — Sayonara Ax Te eg an aca
d Aut OA ai 8 ith ‘th Marl B Martha C. Heath to Matthew
Starting Tuesday, March 25 —j| Golden Age of Comedy. ai. ee wide = arlon Brando. Wiencke.
Doctor at Large with Dirk] Wednesday, April 2—Sayonara. Alec aitoceaiin Marcia Lockwood to John
Bogarde, Muriel Pavlo. lia slaits Anthony Wayne ‘“ Hincks.
Ardmore Wednesday, March 25—Saturday. Wednesday, March 26—Saturday, Marriage Sandra Pia Stoeger ’57 to John
Wednesday, March 25—Satur-| March 29 — Bonjour Tristesse| March 29—Don’t Go Near the| fjljzabeth Cox ’60 to James Williams Sullivan,

day, March 29—Don’t Go Near





with Deborah Kerr, David Niven

Water with Glenn Ford and





Cooper.

Grace Leona Bunker to Edmund
D. Lowney.





‘What does this fruit have to do with this cigarette filter?







j
4

VICEROY FILTER







THE VICEROY FILTER IS MADE
FROM A PURE, NATURAL
MATERIAL FOUND IN ALL FRUIT

-and it gives you Maximum Filtration
for the Smoothest Smoke! |

© From the same soft, pure material found in the rich pulp of
nature’s healthful fruits, modern filter scientists have created the
greatest cigarette filter ever designed . . . the Viceroy filter. For the
Viceroy filter gives you the maximum filtration for the smoothest

smoke of any cigarette. More taste, too. . . the pure, natural taste
of rich, mellow tobaccos. Yes, Viceroy gives you more of what you~

change to a filter for!



a a gn hi niatieggta

New crush-proof
flip-open box or
famous familiar pack.

PURE, NATURAL FILTER. ..
- PURE, NATURAL TASTE

©1958, Brown & Williamson Tobacco Corp.