4

Pege Four

“THE -COLLEGE NEWS-°

Wednesday, ‘March: 10,:1960°



Letters to the Editor, Continued. .

‘Continued from Page 2, Col. 5

over the course of tne year, often times two ex-
cellent. lectures will conflict, or if there is no such
conflict, there is, in many cases, a definite absence
of publicity for an event at the other college.

Realisticaily, this is the type of waste which is
most re for it is tne easiest to correct.
Eo in: of stromger relationships and more
er and utility, I pe propose that -repre=—
sentatives of your Undergrad and our Students’
Association meet for the purpose of providing for
some.type of liaison between our colleges so that
this duplication and lack of communication may be
eliminated and replaced with a sensibie, organized
and oveneiiated program of events.

- : : Sincerely,
Philip S. Krone, ’62
Haverford College

Constitutional Change

Continued from Page 2, Col. 3

same end, witaout formaiy setung tais dangerous
precedent, But, alas, it was six o’ciock, and people
were tired. So they changed the constitution.

Granted, the constitution itself is no “sacred
cow.” Yet, there is something basic to be said for
the fact that the constitution stands for more tnan
expediency. There is innerent danger in setting a

with an awareness that is only to be expected of
our student body. 3) There must be careful thought
on the part of the members of Legislature concern-
ing the underlying values implied im a constitution.
4) There must be thought along the lines of making
the constitution less open to snap judgments,
‘through further strengthening of the constitution,
itself, with due consideration to situations which

might arise 5) A Parliamentarian other than the

Continued from Page 1, Col. 3

ure is a “perversion of the sys-
tem,” and since it calls for a fif-

usual simple majority, it not only
has no legal provisions for Write-
In candidates but also would put
them at a marked disadvantage |



vice-chairman for the meetings of Legislature must
be instituted, to provide for the chairman’s relin-
quishing of the chair if she should wish to express
her opinion, as is customary,

_ The above changes are necessary to raise the
Legislature to a level of functional responsibility.
Perhaps in this way we can avoid the kind of deb-
acle that occurred on Sunday.

-\Amn Levy, ’61
Jane Franzblau, ’61

New Course Sought

To the Editor:

After hearing Gilbert White talk about the need
for examining material resources and combining
knowledge with principles action, I would propose
a Bryn Mawr-Haverford interdepartmental econ-

presiding officer must be specially delegated. 6) A

precedent whose implications contradict this.
‘With the reorganization, the Executive Board
was made, and rigatly so, very powerful.

ent, the Legislature has acted as

feel that this is an important role.

can perfonm’ its function properly,

must be. made: 1) The participants must become
familiar with the rules under which this body con-
2) The issues brought under
discussion at the meetings must be considered fully,

ducts its meetings.

possible.
At pres-

its check. We
But before it
certain changes

raphy—seventh

ally broadening



omic geography course to be offered as soon as

(Most of us know little about the world’s geog-

grade often saw the end of it.

Learning economic geography would offer a way of
understanding the
governments and their policies as well as realistic-

various forces which influence

our intellectual horizons.
(Margaret A. Norman ’62



Mr. Nahm

Continued from Page 3, Col. 3
“The world now is not one in

Mr. Lattimore
Continued from Page 3, Col. 3

claim that criticism does not flour-

hich th mn syanbol
w me om Se aneearrtish ina time of great and healthy

The poet must express him
intelligibly. Great poetry is cre-
ated through the capacity of man
to express his individual thoughts
in a way that is communicable.
This becomes more and more diffi-
cult“ as language becomes more
abstract and complex.

“There is a challenge to the
critic to make criticis;n into an art
that makes art intelligible. The
function of the critic is to inform
us amd to achieve a kind of au-
tonomy within his art.

‘We are now in a world where
we think that the clearest and
most profitable explanations are
to be found in the’ principles of
mathematics, physics, and ~ logic.
Today what the poet expresses
must have to do with the compli-
cated problems of today’s world
and the abstract answers to them.

“The critic must know about
the mature of man and yet must
deal with the poem or the product
in front of him, It is true that
criticism is a branch of philosophy.
The critic must compare state-
ments about the nature of man
and the nature of art. The crit-
ical attitude exists even in poets.
The poet inevitably tells us about
the nature of man and the world.
The critical and poetic attitude
always exist together. They can
work together and have. Poetry
isn’t immediate experience but is
experience. which has been given
form by a critical attitude.”

Algeria
Continued from Page 1, Col. 2

fire has been carried out, and the
Arabs remain firm in their insist-
ence that some guarantee first be
given that the national plebiscite
promised to the Algerians in four
years will be held.

The Algerians have been inform-
ed that the French government
shall have to approve whatever
decision the Algerians eventually
make concerning their national
status before it can go into effect.
This considerably dims Algerian
hopes for nidependence, especial-
ly in the light of De Gaulle’s re-
cent statement insinuating that

Algerian independence. .
Until the Arabs are provided

art. “Theré*is criticism all through
Attic comedy and tragedy. In the
tragedy it is implicit, rather than
explicit as in the comedy.”

Shapiro-also stated that “a
temporary art must be taught to
adults before it can be enjoyed
is sick.” This, Mr. Lattimore re-
plied, is “only true if the poetry
has to be taught before it can be
enjoyed at all; them you could call
it mistakenly obscure. I would not
use the word ‘sick’, as I don’t
really understand what it means.
A lot of good poetry is very diffi-
cult. I don’t think that Hamlet
Was ever easy, even at the time it
was produced; not to mention Sha-
piro’s favorite, Blake.”

Mr. Lattimore objected to Sha-

piro’s “choosing to ignore some-
thing that is going on because he
doesn’t like the direction it is tak-
ing. He never even mentions Ran-
som, Jeffers, Cummings, Wilbur,
Aikens, Bishop, or Lowell, all very
good and absolutely established
poets. There are many newcom-
ers too. When all this is going
on, you can’t just ignore jt.
- “I expect we'd ibe bourd to dis-
agree,” Mr. Lattimore’ added. . “I
don’t care for Whitman, Blake,
Lawrence, Frost, or Thomas. He
isn’t justified in Jamping them to-
gether, except, ff course, just as
they are all modern poets.”

Student Recital —

Continued from Page 3, Col. 5

himself at the piano. This was
perhaps the highlight of the af-
ternoon. From the opening bars
of the fantasia, the virtuosity of
the performers and the fineness
of the composition ‘were evident.
The pavane had a slow, strong,
almost mournful feeling, but the
musette was sheer exuberance.
Brahms’ Sonata in E™ “minor,
Op. 38 concluded the program in
high style as performed by Rob-
ert Martin, ’cello, and David Hem-
ingway, piano. The two different
qualities of tone in the instru-
ments was particularly noticeable
and a good contrast. The music
itself alternated furious, strong
passages, in which Mr. Martin



| seemed almost to attack his ’cello,

with sections of quiet, beautiful



melody, first stated by the piano.

Class Night

Continued from Page 2, Col. 4
and providing a connective link in
short transition passages. John
Gould as Dean Lockwood amply
deserved his award as best actor.

A magnificent opening and good
framework go far towards making
a ‘Class. Night show, but it needs

“la more tightly- organized filling

than that supplied by the juniors.
Individual bits of dialogue and
characterization were the best on
the Class Night program, but. the
general impression made by the
show was scattered and marred
by its prevailing bitterness.

The seniors had a great deal of
polish, a good deal of imagina-
| tion, music, and warmth, all of
which combined to produce a con-
sistently pleasurable show. Their
theme was expansion, removed
from its immediate campus sur-
roundings to the Comet.

The music succeeded in convert-
ing what might have been rather
flat dialogue into quite clever lyr-
ics. The acting was on the whole
not as good as in the juniors’
show, if such a comparison serves
any purpose. Huey, however,
made the warmth and personal
touch of the old (present) Comet
a very lively reality.

This warmth and the consistent
briskness of pace, as well as a very
creditable script, pushed the show
well above its competitors. The

most delightful moment in the ac-
tion was perhaps the charts, show-
ing swastikas, trends, and possi-
‘bilities with future expansion.
Here, as_in-the show as a whole,
it was ensemble and timing which
brought success,



me
Notice

In recent years there has been];
growing interest in eloping a
social psychology of the education-
al process, Investigations show
that at so-called “highly product-
ive” colleges—such as those with
a lange number of Ph.D.’s—stu-
dents have different attitudes to-
wards their college environment
and its demands and incentives
than those at less “highly pro-
ductive”. institutions.

An attempt is being made to
standardize on Bryn Mawr an in-
strument developed elsewhere that
tests the student’s perception of
the college. Next week a random
selection of students will receive
letters asking them to help this



”

Linvestigation-by-spending a couple |.
-|of hours answering true-false
ee ee et ots Biers, meet but he is in-

should they run.

With this information in mind
members of the Board and non-
voting Hall Presidents reconsider-
ed the issue and split into two
clearly definable camps. The pro-

the privilege of expanding a slate
is a basic legal right and tradition-
al to the democratic election, Those
opposed protested that the grant-
ing of the privilege would consti-
tute a change in the election sys-
tem, and that the right to expect
stability in the laws of a proced-
ure for the duration of that pro-
cedure is as essential as the right
to add a cadidate to an existing
slate.

A motion of the second camp to
nullify Write-In ballots and keep
the issue from the campus was
defeated seven to six; a modifica-
tion of this proposal in the form
of a second motion to nullify the
Write-In but to communicate this
decision to the student body via the
Hall Presidents satisfied enough
of the Pro-Write-Ins to be passed.
It should be emphasized here that
the decision was based not. on the
inherent qualities of the Write-In
ballot or on a denial of its legal
“rightness”; Executive Board vot-
ed to nullify the Write-In because
it did not feel justified in effecting
a change in voting procedure dur-
ing the course of an election.

The rationale for the clause re-
quiring communication of the de-
cision to the student body was a
willingness to see it revoked if
campus opinion-so-decreed. Since
a petition of 10% of the student
body can call a Legislature, and
Legislature can “in turn override
decisions of the Executive Board,
it was felt that grass-root agita-
tion, if present, would determine
the issue.

A petition for an Emergency.
Legislature was drawn up shortly
after the meeting but by members
of the original pro-write-in camp
rather than grass-root agitators.
In a few hours they collected 138
signatures, considerably more than
the necessary 10%, and a Legisla-
ture was called “to over-ride a
measure” which was felt to un-
dermine a “basic legal right.”

Saturday .afternoon a third Ex-
ecutive Board meeting was called
to omece again air views and clar- |
ify issues for Sunday’s Legislature.
Since it had become Obvious that
validating write-in votes would

Miss Woodworth

Continued from Page 8, Col. 3
the



great artistic flourishing,
Renaissance and the
era at the end of the 18th century,
the level of art of criticism was
very high with new innovations

in both fields. Criticism keeps pace

- | with any vital art. It is an active,

creative movement in literature
along with poetry and playwrit-
ing.

The purpose of the critic is to
recreate the production of the ar-
tist. Part of good criticism has
to be analytical but this problem
has been approached differently |
by critics of different ages.
the 18th century, critics were most
concerned with the artist’s genius
and his personal source of inspir-
ation. They attempted to free the
artist from the bondage of the
past and placed their emphasis on
the creative powers of the indi-
vidual, -The modern ‘New Critics’
have put new life into criticism.
They look at a work of art for its
own sake, rather than as a product
of a particular individual. Each



evitably affected by his own age.



teen vote plurality rather than the’

——— ~~ pe pee

write-in contingent argued that

Romantic |

In’

the various approaches and devel-

Board Splits, Two Camps Debate

necessitate a constitutional change .
allowing for victory with a simple
majority, the issue evolved into a
question of the legality and wis-
dom of changing the system in the .
course of electioms. The petition
for this movement was considered
technically invalid because it pro-



of “over-riding”, mathe than. dis-
cussing the measure and because
it was based upon the assumption
of a non-existent “legal right”.
The Executive Board, therefore,
| closed_its_third—two-to-three-and-
a-half-hour session. with the pass-
ing of a motion that Legislature
be called “to discuss the Election
System”, both camps unanimous
in their approval of leaving the
resolution of the problem to this
langer body.

Under he guidance of parlia-
mentition Mr. James Kweeder,
Program Vice-President of NSA,
a full Legislature, showing little
indication of the agitation whose
alleged existence had prompted
the original Executive Board ac-
tion, almost immediately passed
a motion to allow Write-In votes.
The arguments against this action,
articulated convincingly enough
to carry the Executive Board two
days. before, were only sketchily
presented, and Legislature mem-
bers already familiar with the
ipro-write-in case, seemed to find
little difficulty in voting,

A second motion to strike opt
the requirement for a fifteen vote ©
plurality met with more opposi-
tion. The arguement in favor was
that the requirement had in the
past necessitated revoting and with
the additional candidates in a
write-in contest would prove even
more cumbersome. The angument
opposed, agaim that of timing, was
given emphasis by Mr. Kjweeder’s
comment on the undesirability of
‘setting a precedent which might
one day be-used as the justifica-
tion of changing the system im-
mediately prior to an election to
suit the whims of a particular in-
terest.

An ammendment to tht Second
Motion which called for a proviso
that it not be put into effect until
after the present elections was de-
feated; this ammendment would
have made the motion acceptable ,
to the opposing camp but would
have left unresolved the problem
of counting write-ins in this year’s
elections.

Despite a rather vituperative
accusation from the floor that “the
legislators do not know what they
are talking about” they at this
point seemsd to know enough to
fight their way through parlia-
mentary procedure to pass the
Second Motion. sans amendment,
making feasible by dinner time the
write-ins they had legalized earl-
ier. M. C.

Print Exhibit
Continued from Page 2, Col. 3

man mind associates with death
and terror. This work is not pure-
-lyrepresentational and is calm
and composed in-form; however,
it’ succeeds in communicating
terror to a far greater degree
than its more tortured neighbors.
In contrast, the “Benign Images”
concentrate on the human and nat-
ural elements of life. The works
in this alcove have titles such as
“Fountain of Youth,” “Morning,”-
“Summer Bird,” and “Summer.
Day in Central Park.” The use
that contemporary art makes of
the eternal symbols of youth,
morning, children, and nature as
a means of saying -something
pleasant was exemplified here.
The artists represented in this
exhibit have succeeded in over~
coming the difficulty of mak-
ing their work intelligible while
maintaining the originality of
contemporary art. No print in



frustration that is the result of
the failure of an artist to com-
municate with his audience.

comes