College news, November 19, 1958

VOL. XLIV—NO. 8

ARDMORE and BRYN MAWR, PA., WEDNESDAY, NOVEMBER 19, 1958

© Trustees of Bryn Mawr College, 1958

PRICE 20 CENTS



Edward III Called
“Story Of People,”

Power, Suffering

“If a man. had no power over
other men, there could be no suf-
fering such as Edward knew.”
“Marlowe’s) Edward II: Drama of
Power. and. Suffering,” was. the
title which Professor Clifford
Leech of Durham University gave
to the Ann Elizabeth Sheble
memorial lecture, which he deliv-
ered in Goodhart Auditorium at
8:30,, November 17.

To understand a play such as
Edward II, Professor Leech point-
ed out, it is necessary to keep in
mind the author’s “neutrality.”
Modern directors tend to pick out
one major point in a play and to
eliminate everything which con-
flicts with their opinion of what
the author meant; thus, audiences
go to the theatre to see “not
Shakespeare’s Hamlet, but the
Hamlet that a certain actor or
director. has decided to give them.”
While an Elizabethan dramatist
probably was attracted to a sub-
ject in the first place by its affinity
with his own: outlook on life, in
the process of composition his
interest was held by the story it-
self, and he might introduce other
ideas, even those contradictory to
what scholars would consider his
theme. Edward II is “a story of
people, not a demonstration of the
Tudor Myth,” and belongs to its
characters as much as to _ its
dramatists.

Foreshadowings of Marlowe’s
treatment of power and suffering
may be found in his earlier play
Tamburlaine. The quality of opin-
ion to the character of its hero—
for some, the personification of

~~ Marlowe’s own aspirations and



three . times.
x

therefore a sympathetic figure; for
others, a monster, at whose down-
fall one should rejoice—is bound
up with Marlowe’s conception of
the nature of power. At times
Marlowe does come close to identi-
fying with his hero, and Professor
Leech believes that the play sub-
ject first appealed to him as an
opportunity to dramatize his am-
bitious dreams. But the play also
shows a great fascination with
man’s ability to inflict and endure
suffering. Insofar as Tambulaine

Continued on Page 6, Col. 1



Calendar

Wednesday, November 19: Final
Marriage — Hygiene Lec-
ture.

Thursday, November 20: Miss
Elizabeth Hoppin of Mademoiselle
Magazine will meet persons inter-
ested in the College Board, Art,
and Fiction Contests at tea in the
Deanery.

Friday, November 20: Bryn
Mawr College Theatre and Haver-
ford Drama Club present “King
John”, directed by Robert Butma.

Saturday, November 22: Second
performance of Shakespeare’s
“King John.”

Sunday, November 23: 7:80,
Music. Room, chapel, Rev. Robert

James of Temple University will
speak, chorus.

Monday, November 24: 7:30,
self-government exam for fresh-
men.

Monday, November 24: 8:30 p.m.,
Ely Room, Wyndham, Kurt Latte
of the University of Gottingey will
present the Lily Ross Taylor £46
ture on “The Development of the
Roman Legend.”

Tuesday, November 25: Mr. Fer-
rater Mora will present the last
in his series of lectures, “What
Happens In Philosophy.”

Wednesday, November 26:
Thanksgiving holiday begins after



the last class.



Ferrater-Mora: Philosophy Requires
More Publicizing, Less Vulgarizing

Having discussed philosophy
from the inside and outside, Mr.
Ferrater Mora in his third lecture
undertook to treat what happens
to philosohpy or: the state of
philosophy in conemporary society.
To describe his conception of this
society, Mr. Mora imagined three
huge figures on a canvas which dif-
fered among themselves but pos:
sessed in common a’ backrgound
and a frame. These, he said, were
analogous to contemporary society,
considering his three previous di-
visions.

No matter which society we

Roman Legend Is
Theme Of Lecture

Kurt Latte, Professor in the
University of Gottingen, will de-
liver the annual Lily Ross Taylor



Lecture on Monday, November 24,.

at 8:30 p.m. in the Ely Room
Wyndham.

The subject of his lecture will
be “The Development of the
Roman Legend”’—Professor Latte
will discuss the development of
the peculiarly Roman qualities
which formed the basis of national
“ride in Augustan times.

Now at the Institute for Ad-
anced Study in Princeton, Profes-
-or Latte is a scholar of wide
range in many fields of Greek and

Roman studies.



Added Understanding Of Turkish City

Result Of Past Season’s Excavation

by Diane Taylor

The University Museum’s current
exhibit of Phrygian art from
Gordion, Turkey, and a further
clarification of Gordion’s place in
history are the latest results of
the past seasons’ excavations at
“the capital of King Midas.” Miss
Machteld J. Mellink, Associate
Professor of Classical Archaeol-
ogy, continued her excavation ‘of
the Lydian mound and fortifica-
tion walls—undaunted bythe neces-
sity of digging “underwater” with
a pump—in an effort to fill in
Gordion’s history between about
700 and 550 B.C.

After the Cimmerian attack at
the beginning of the seventh cen-
tury, resulting in the overthrow
of Midas’ Phrygian kingdom, the
main city mound was left desert-
ed. In the course of the seventh
century the smaller Lydian mound
to the east was settled and forti-
fied’ with a mudbrick wall, set on

_ stone foundations and strength-



Excavation of the








protecting Lydian tumulus_ re-
vealed the full 12-meter height of
the wall—120 courses of mudbrick;
evidence of further attacks on
Gordion after the initial Cimmer-
ian invasion, and perhaps of a
surprise attack around 550 B.C.

(dated by Lydian pottery), was
supplied by hundreds of bronze
arrowheads found’ embedded ‘in the
wall. Dr. Rodney S. Young, direc-
tor of the excavations, would like
to connect this battle at Gordion
with the war between Cyrus the
Great of Persia and Croesus of
Lydia.

‘Miss Mellink’s primary concern
in this season’s and next summer’s
excavations is to trace the forti-
fication wall as it dips beneath the
alluvial clay and the present water
table, to find out whether it once
connected with the main city
mound or whether the Sangarios
River, now to the west of Gordion,
perhaps once flowed between the
city et and the Lydian mound.

Canstaiiad on Page 6, Col. 4



choose today we find certain basic
characteristics which all have in
common, and Mr. Mora believes
these will be enforced in the fu-
ture. Three divisions are useful:
Unification, Massification and
Technification. All three are close-
ly related; each one is supported
Continued on Page 4, Col. 1

Common Treasury
Reports On Dues

by Sue C. Jones
Common Treasurer

For what may possibly be the
last year, the Common Treasury
dues for 1958-59 will again be
$6.50 per student. Half of this
amount will be charged to each
person on the next payday and the
remainder on March 11. This
money represents the students’ con-
tribution to the financial support
of the major organizations on cam-
pus. A detailed breakdown of the
total budget, which amounts to
over $4350, has been posted on
the bulletin boards in each hall.

Of the $6.50 per student, $2.49
will go to Undergrad, to pay for
such various items as the salaries
of the hall announcers and payday
mistresses, Parade Night, May
Day, Curriculum Committee, Open
Houses, and many others, Anoth-
er $1.44 will go to A.A. to pay for
food and transportation for the
teams, Awards Night, and club
support. Self-Gov will get $.79
and League $.62. The Alliance will
receive $.97, most of which will
be spent on speakers and a major
conference to be held in the spring.
The remaining $.19 will go to
Arts Council~for concerts and
poetry readings.

The total budget figure of $4350

Continued on Page 5, Col. 3

Lafuente To Give
Spanish Art Talk

Dr. Enrique Lafuente Ferrari,
Director of the Museum of Modern
Art in Madrid, and Professor of
History of Art at the Escuela
Superior Central de Bellas Artes
de San Fernando, will lecture in
Spanish on Spanish art in the Art
Lecture Room in the Library on
Thursday, November 20th at
8:30 p.m.

Dr, Lafuente is a participant in
the Foreign Leader Program of
the International Educational Ex-
: cé of the Unit
States “ Department of State.





by. Alison Baker

The Bryn Mawr-Haverford co-
alition has put a great deal .of
thought, work, and_ inspiration
into the production of Shakespeare’s
King John, slated for this week-

“lend. The curtain rises at 8:30

‘Friday night, and .7:30 Saturday
night in Goodhart Auditorium.
Jinty Myles, president of College
Theatre, says that as far as she
knows this wii! be the first time
that King John hes ever been done
without cuts by anateurs.

King John is usua:iy conceived
of as an historical play, but the
basic intention of College Thea-
tre’s interpretation is not to so
restrict it, but rather to emphasize
its universal truth by removing
the definite period setting in favor
of one more symbolic. Thus inter-
preted, King John becomes a mor-
ality play, transcending the limita-
tions of any fixed time.

The posters advertising King
John are a preview of the playing-
card motif which is used on a
larger scale in the set, to under-
line the basic currents of symbol-
ism in the play. Two thrones are
the only furniture, one on each
side of the stage, with a playing-
card in back of each, These cards
distinguish the French and English
kings by a fleur de lis and a lion.
The English royalty will fit the
pattern in robes of red, black,
gold and white; their French
counterparts will wear blue, black,
gold and white. Of the other char-
acters, the landsmen in beige
show their kinship with the earth,
and characters such as Constance,
who represent neither the French
nor the English, will wear black
and white.

At the back of the stage, be-
tween the two thrones, there
stands a series of five Tarot cards.
These are fortune-telling cards of
Egyptian origin, and have a power-
ful symbolism in relation to King
John, ‘The first is death, one of
the strongest currents in each
character’s thoughts and speech.
The second card, depicting a wom-
an holding open a lion’s mouth, is
representative of force, The lion
reminds us of Richard Coeur de

Lion, ‘whose influence is felt
throughout the play. The third

is the House of God, and the fourth
the Pope. Pandulph amply displays
this power by his two-facedness
and angry threats of excommun-

-transcribed by

College Theater to Present
‘King John’ This Weekend

ication. The Wheel of Fortune,
which is the fifth of the Tarot
cards, with.a beggar on the. bot-
tom of the wheel and a prosperous
man ‘on top, is referred to most
specifically in the Bastard’s speech
on Commodity. In painting these.
cards for use in the set, Jinty and
her helpers made a special effort
to reproduce the older-looking cql-
Continued on Page 5, Col. 3

Ormandy To Lead
Tri-College Chorys

The Three College Chorus of
Bryn Mawr, Haverford and
Swarthmore will sing with the
Philadelphia Orchestra on Decem-
ber 5 and 6 at the Academy of
Music in Philadelphia. Mr. Eugene
Ormandy will conduct the student
chorus in the “Magnificat” by Jo-
hann Sebastian Bach. Approxi-
mately 300 students will take part
in the concert. Times are 3:00 p.m.
Friday, December 5, and 8:30 p.m.
Saturday, December 6.

This is the second year in a row
the Tri-College Chorus has sung
with the Philadelphia Orchestra.
The chorus has had two rehearsals
with Mr. Smith, Ormandy’s assist-
ant, and will have three with Mr
Ormandy, two of these in the
Academy with the orchestra.

The program is all Bach. The
first piece will be the “Chaconne”
Louis Gesenway,
and performed by the orchestra.
This is the first time this selection
has been presented.with this_.ar-
rangement. Second will be the
“Magnificat.” Soloists will be Patti
Jean Thompson, Soprano; Ethel-
wyn Whitmore, Soprano; Anne
Stackhouse, Contralto; Wayne
Conner, Tenor; and Barry Hanner,:
Baritone. The third selection will
be the “Brandenburg Concerto No.
2.” Soloists from the orchestra
will be William Kinkaid, Flute;
John de Lanci, Oboe; Gilbert John-
son, Trumpet; and David Madison,
Violin. For its fourth number the
orchestra. will play a Suite from
“The French Suites” transcribed
by Arthur Honeggor. The program
will conclude with the “Toccata,

Intermezzo and Fugue in C Major”

transcribed by Eugene Ormandy.



Tickets can still be had by writ-
ing to the Academy.



The Bryn Mawr College Friends
of Music will present the Philadel-
phia Brass Ensemble in a weekend
of workshops and concerts at the
college on December 8 and 9.
Members of the ensemble partici-
pating are Samuel Krauss, trum-
pet; Seymour Rosenfeld, trumpet;
Mason Jones, horn; Henry C.
Smith III, trombone and Abe Tor-
chinsky, tuba.

The first of the two abies
will be held in the Music Room on

concerns the techniques and mech-
anics of brass instruments. The
second workshop, a survey of the
literature and the history of brass
instruments and a demonstration

Friends Of Music Schedule Concerts,
Weekend Workshops At Bryn Maur

4:00 and 5:30 p.m,

On the evening of December 9
the ensemble will give a concert in
Goodhart. Auditorium at 8:30 p.m.
Tickets for this event and the oth-
ers will be available in the office
of public information on the second
floor of Taylor during the week of
December 1,



the 8th from 12:10-1:00--p.m..and|| _

: Finding Lists Now on Sale
Office of Public “Information
Charge $1.00

_. May be put.on Payday ..}-





rehearsal will take place in the
Music Room on the 9th between























Page Twos,

THE

COLLEGE

NEWS

Wednesday, November 19, 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

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Member-at-Large ..6..... csc ec ceeceeecesceeeesenes: Barbara Broome, ‘60

EDITORIAL STAFF
Gail Lasdon, ‘61; Lynne Lévick, ‘60; Lois Potter, ‘61; Gloria Cummings, 61;
E. Anne Eberle, ‘61; Sue Shapiro, ‘60; Alison Baker, ‘62; Yvonne Chan, ‘62;
Marion Coen, ‘62; Tigda Davis, ‘62; Sandi Goldberg, ‘62; Judy Stuart, ‘62.

~ BUSINESS BOARD
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Freiman, ‘61; Melinda Aikins, ‘61.

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Subscription Board: Loretta Stern, ‘60; Karen Black, ‘61; Gail Lasdon, ‘61; Lois
Potter, ‘61; Danna Pearson, ‘60; Lisa Dobbin, ‘61; ‘Sue Szelkey, ‘61; Elise
Cummings, ‘59; Sasha Siemel, ‘62; Doris Dickler, ‘60; Kate Jordan, ‘60;
Jackie Goad, ‘61. ’

Subscription, $3.50. Mailing price, $4.00. Subscription may begin at any time.
Entered as second class mafter at the Ardmore, Pa., Post Office, under the Act
of March 3, 1879.



Ars Longa

Before discussing specifically the common interest that
the News and Arts Council share in the state of criticism
on the student level, we would like to commend Arts Council
on its organization and presentation of the recent Arts Night.
A. diverse, representative selection of performances which
were for the most part polished could only be greeted with
enthusiasm, and certainly made it clear that Arts Council is
a vital organization, proceeding in the most serious and ef-
ficient maner to the fulfillment of its objectives.

Accurate and creative handling of such an event.in a
constructive critical review is actually more to the interest
of the News than to that of Arts Council. This task, if as-
signed to one person would demand a wide range of interests
and a great body of specific knowledge. An omni-competent
critic would be as unusual as a performer who could partici-
pate in dance, drama and music and also contribute to the
display of plastic arts. Thus we have in the past split the
Arts Night review into four cumbersome parts, hoping to
bring to the task four interested and qualified persons.

If members of the staff cannot fill these roles, it has

‘been our custom to invite qualified non-staff members. The

quality of review which we hope to gain may be exemplified
by another review, that of the Curtis musicians, printed on
the first page of the issue in question. Unfortunately one
person so capable, while she is a regular staff member, is not
universally available.

Since the terms of Arts Council’s criticisms were only
suggestively specific, we have been presuming that they re-
ferred to only one review and rightly so. We would like to
defend the other three, drama, reviewed by a capable staff
member; dance, reviewed by a non-staff member with. per-
sonal experience in the field, and the art exhibit review,
which by an unfortunate printing slip lacked the initials
which would have acknowledged its authorship. We presume
all three authors subscribed seriously to the opinions which
they expressed.

This then brings us to the discussion of the musical sec-
tion of the’ program, undoubtedly the most important, and
the weak point which Arts Council has indicated may be
seen to extend to the campus as a whole. Our policy, as stated
above, has been to invite qualified non-staff members to
undertake such reviews, and in this particular case ten such
persons were approached, and for various reasons all felt
themselves unable to contribute.

Despite our interest in criticism, we have no power to
create a similar concern among persons not regularly associ-
ated with us, and we are then left with another function of
journalism—to acknowledge the actual occurrence of the
musical numbers. We can only suggest that a standard of

eritical responsibility might be stimulated in some quarter

of the campus by those who consider themselves responsible
for the state of music, although we realize all too sadly that
the number of the qualified is limited. .

In contrast to our present policy of encouraging the
expression of student opinion, the News might well attempt
to provide for each performance a critic whose own perform-

ance would strike a level higher than that of the artist he}

was considering—in other words a faculty reviewer. Our file
will reveal previous efforts in this direction, but we feel that
except in occasional cases this practice is to be discouraged,
and that the campus should not expect it. Such criticism
can always be given privately, and then is apt to be more
analytical and helpful to individuals because of its specific
nature. We hesitate to offer to a faculty member a routine
task and the problem of a comprehensive survey of an
artistic production, since this activity can provide a nuded
with a valuable opportunity for developing something new in
her perception and abilty to articulate. .

Because we place reviewing on this level, and we think
this is the logical one here, we regard student reviews as
we do artistic performances—amateur, an opportunity for
personal development and a chance to make public a personal
ability and interest. A review is a creative undertaking, just

~-as creative as an artistic performance. This is our ideal, and |

the standard we should like to demand. If there is deviation,
there may be more to it than meets the eye, even as there

rn 4 Re 2
De) UTMance, 5

: ‘anything thins stimulate an interest in good reviewing, it is

good performance, and this, we repeat, Arts Council is pro-





Professor Cauchemar, the dis-
tinguished dream expert, visited
the Bryn Mawr campus recently
and delivered a short lecture on
sleep, followed by a _ discussion
period in which he interpreted
students’ dreams, followed by re-
freshments, consisting of warm
milk and sleeping pills. Despite the
large number of yawns observed
during the course of the lecture,
Professor Cauchemar said that he
found his audience unusually alert,
and commented favorably on the
high quality of Bryn Mawr dreams.

The position in which one sleeps,
declared Professor Cauchemar,
largely determines the type of
dream one will have. If you sleep
on the left side, where the heart
is, you will dream of love; on the
right side, if you are right-handed,
your dreams will take a literary
turn; sleeping on the back results
in noisy dreams, and also in being
awakened by the neighbors and
ordered to stop snoring; while, if
you sleep on your stomach, you
may awaken in the middle of the
night and find that you have bitten
a chunk of feathers ouByof your
pillow.

Professor Cauchemar went on to
suggest ways of calming one’s
mind before going to bed. “Think
about some restful, pleasant topic
—for instance, the influence of the
Tholos tombs of the Mesara on
the Philippeion.” Exercises of a
gentle sort help too. An extremely
pleasant one, the “Weeping Willow
Pose,” is as follows: stand on one
foot with knee bent and hands
clasped behind your head. Care-
fully lift the other foot and place
it behind your ear. Now try to
touch the floor with your tongue.

A still quicker result may be
obtained by the T-Square exer-
cise: stand about 1% yards from
the wall, with your body bent: at
the waist so that the lower half
is parallel and the upper half per-
pendicular to the wall. Take sev-
eral deep breaths in this position.

Tdle Told Bu...

by Lois Potter

body rapidly forward and try to
make your head go through the
wall. © “

Below are recorded some of the
more interesting questions and
answers from the discussion period.

Question: I seemed to be strug-
gling to get out of an enormous
‘sweater. Just as I was about to
choke to death, I said “Excelsior!
The square root of three!” and
jumped out the window. Then I
found myself dancing with an old
coat hanger on top of ‘Taylor
Tower. Just as I was about to ask
it who wrote Hudibras, I woke

up.

Professor Cauchemar: There’s a
lot of symbolism in this dream,
young lady. The coat hanger, of
course, is a professor or other
authority figure. Hudibras and the
square root of three must be your
personal symbols for the meaning
of life, a meaning which you pur-
sue even in the face of death, rep-
resented by Taylor Tower. That
sweater puzzles me, though. You
must have been knitting before
you went to bed. Next time, make
the neck bigger.

Question: First, everything was
sort of a purple color, and then
some funny people with iron hats
came running after me, but some-
body—I think it was Julius Caesar
—rescued me. I was going to thank
him, but he turned: into the ven-
erable Bede. An army of cavemen
went by, singing “The treaty of
Verdun was signed in 843!” and
church bells started ringing, but

‘they turned out to be the alarm.

Professor Cauchemar: Pizza and
history cramming don’t go very
well together, do they? ‘

Question: I was sitting at a long
table and there was a plate of
snakes in front of me. At least,
I think they were snakes, but
everybody. else was eating them,
so I did too. They tasted like
paste, but they didn’t move.

Professor Cauchemar: I hate to
tell you, my dear, but that was



Now bring the upper part of your

no dream. *



Brun Mawr

by Carolyn Kern

The Bryn Mawr girl’s attitude
toward men and marriage is best
expressed ‘by a report, drawn up
by a course in Applied Sociology,
as to the change in the relations
between the sexes since their
mothers’ generation, (College
News, 1928). They believed that
freedom and independence had put
‘women on an equal footing with
men and that getting married was
no longer her sole mission in life.

This effected an inevitable change
in male-female relations, which
meant that the old supercilious
flirtations, based on little but
beauty and the ability to please,
had given way to a real comrade-
‘ship based on mutual experiences.

Furthermore, instead of brood-
ing secretly and being ashamed of
perfectly normal impulses, men
and women were learning the value
of facing the sex question togeth-
er. Though they realized that,
where the new freedom was used
‘constructively, it resulted in a
definite enrichment of the individ-
ual life and of society. However,
the most acute problem faced by

ship with men is illustrated by a
joke from the 1925 classbook:
Suitor: What! They don’t let
you motor at night unchaperoned?
Suited: Well, they do, if you’re
engaged.

In answer to the ecousation that
all college women are “sexless”,



| the News offered this bit of cheery |

ae
os ge

the Bryn Mawrter in her relation-|

| §uitor: I call that putting the)



In The 20's

reassurance: “The maternal in-
stinct has really not been thwart-
ed by the intellectual life, but
merely transferred to towers.” They
were kept aware of the nature of
the changing ideal by the neigh-
boring Princetonians who labeled
Bryn Mawr Day as an “obsolete
anomoly ... for the worship of the
May Queen pertains to a status of
womanhood which has vanished
Continued on Page 4, Col. 3



Letter to the Editor

To the Editor:

Being seriously interested and,
for the most part, intimately in-
volved in artistic performances
and the organizations which ‘pro-
mote. them on campus, we have
been disappointed in the quality
of reviewing in the News.

We expect: .

1. that the reviewer shall atten
the performances she reviews;

2. that she be qualified to write
a review, possessing both knowl-
edge of that which she is review-
ing, and the ability to express her
views specifically and consistently;

8. that the reviewer be by-lined
and that all evaluations be at-
tributed to the correct source;

4. that facts and quotes be ac-
curate and complete.

The function of criticism is both
to provide an accurate record of
events and to encourage and main- ,
tain as high a standard of per-
fomance as_ possible. Criticism
demands an exceptional level of
responsibility, integrity and inter-
est. We ask that the reviewer re-
spect and fulfill these demands.

Yours sincerely,
Cathya Wing,
Chairman, Arts Council
Delia Wheelwright,
Vice-Chairman, Arts Council
Beth Carr,
Pres., Arts Forum
Renata Adler,
Co-Chairman, Philosoph
Club ing
Janet A. Myles, y
Pres., College Theatre
Laura Pearson,
Pres., Orchestra, and
Chamber Music
Lucy H. Wales,
Pres., Chorus
Anne B. Farlow,
Director, Arts Night

Interfaith ©

by Helen Ullrich

Robert James, the Protestant
minister to. Temple University,
will speak at chapel this Sunday.
Mr. James is an ordained’ minister
of the United Church of Christ,
and a Quaker.

At present Mr. James is chair-
man of the Advisory Committee
and co-ordinator of religious
activities at Temple.

A sociology major, Mr.-James
claims Dartmouth as his Alma
Mater. Preparation for work in the
ministry was obtained from Yale
University Divinity School.

Interest in college groups is
shown..by the fact that Mr. James
was the regional secretary to the

middle Atlantic region of the Stu-

dent Christian Movement. He was
also the advisor to the overseas
students of Yale.

Mr. James has also had exprei-
ence in intergroup relations. He
has led several Quaker work-

Continued on Page 5, Col. 3



“Injured Heroes Of a Campus Cruel”
Seen By C. Kern As History Majors

Of books I sing and the worth of the majors in history
Injured heroes of a campus cruel, most grievously maligned:
To defend the sullied valour of those who,

Stalwart even against the lure of meat and drink,
Renounce the world of men by whom they are not understood.

LC

Buttressed strong by pillows firm,
They crouch ’neath green lights blazing brave.
Naught moves ’cept flashing penpoints proud.
They forsook their knitting in the days of yore.
At ten o’clock they moan and stir but,
Grafted to their chairs, must wrench
And weakly flail the fungus formed.
They watch the others run into the cold night wind.
What of the frail librarian’s flinch?
Or those who brand Book Battles base?

‘Ephemeral, transient, fleeting forms,

They need not spread their pallets ’neath a vaultless roof

til Comps.

Of books I sing and the worth of the majors in history:
_ Of the remorseless Reading Room which eternally encompasses

them,



their home;
- Tis they ‘who must endure, not be endured! <








we



‘first,

Wednesday, November 19, 1958

T

Z

HE COLLEGE

NEWS

Page Three



Critic Draises Antics Of Mr. Magoo,
Dramatic Filming Effects of Othello

by Alison Baker

Mr. Magoo and Othello have hit
Philadelphia—a fantastic combin-
ation! True, actors are not. pro-

‘claiming Shakespeare and Magoo-

isms simultaneously. The ming-
ling, except on posters advertising
the event, is purely sequential;
nevertheless, Orson Welles’ produc-
tion of Othello, preceded by an all
new Mr. Magoo festival, is one of
Philadelphia’s most irresistable at-
tractions,

Mr, Magoo’s antics confirm his
wide reputation; it suffices to say
that they range from an explosive

escapade in a newspaper office to
a projected cruise in which he
amazes German spy agents by the
force of his fraternity grip.
Orson ‘Welles’ production of
Othello is not a mere reproduction
of the stage version but is rather
an attempt to-use film techniques
to convey Shakespeare’s underly-

ing thoughts and character con-

struction, as well as plot and set-
ting. The photography is very
conscious of effects; it imparts an
aura of grandeur one associates
with Greek tragedy to the film as
a whole. This is intensified by care-
fully worked out visual patterns in
architecture, design and nature.
The setting, although composed of
very realistic period shots of Ven-
ice and Cyprus, is essentially sym-
bolic, for it makes extensive use
of large echoing castle halls, wild
seenes of nature, and occasional
noisy street revelry. Departing
silhouettes, shots taken through
the bars-of windows, and from all
conceivable angles add a _ purely
cinematic interest which contrib-
utes to Orson Wells’ interpreta-

' tion of the play. Texture is used

for emotional effect, and the char-

acters’ reactions are often paral-

leled. and thus intensified by shots
of nature or patterns of architec-
ture. The churning sea emphasizes
Othello’s anger and confusion at
Iago’s insinuations; his later rag-

_ing agony of certainty is symbol-

ized by jagged patterns of wood-
work; unconsciousness is followed
by a sky of mournfully crying
gulls; finally, having strangled
Desdemona and then realized her
innocence, Othello wanders madly
through castle halls, gazing up-

wards at a maze of spinning
vaulted ceilings.

Although the action takes plats
in one castle, the setting is im-
personal in that we are never giv-
en a clear idea of the general lay-
out, and feel no familiarity with
any aspect of the castle except
perhaps the bed chamber.

The character portrayals are
magnificently convincing, and it
is on this aspect of the play that
Orson Welles places the most em-
phasis. The predominantly close-

photography achieves a sub-



Notice

All persons wishing polio vac-
cine must sign up in the dispen-
sary not later th Friday, . No-
vember 21st. This ‘offer is open to
students, Faculty, staff and
spouses, employees.

Cost: $1.00 per dose, whether

second. or‘ third “dose. All
undergraduates and resident grad-
‘uate students may charge on pay
day; other please bring correct
change at time of each dose.
- Dates of inoculations: 1st dose
—Wednesday, December 3rd; 8:30
to 10:30 a.m. 2nd dose—Wednes-
dose, January 7th; 8:30 to 10:30
a.m. Those whose third dose is
due may come at either date.

----=Students_under_21. years _ of, age, |

tlety of expression and intimacy
which ig practically impossible on
the stage. A tendency to cut off
the tops of heads on the screen
was the only disturbing factor in
otherwise very dramatic photog-
raphy. In climactic soliloquies
the ramparts were useful in pro-
viding the opportunity of silhou-
etting™faces against the sky, and
in creating the unforgettable pic-
ture of Iago’s lank stringy hair
blowing in the wind, .

Physically, all the characters
were admirably cast; .Othello’s
blunt, strong, stormy features,
cropped hair and massive white
robe formed a vivid contrast to
Iago’s loose square features and
almost shoddy clothing. Rodrigo’s
repulsively idiotic face is tem-
pered to pitiableness by the intro-
duction of an appealingly furry
little dog.

There is great use of darkness
throughout the film, with luminous
face and helmet surfaces catching
a single source of light. In two
of the most climactic. scenes Oth-
ello and Desdemona are seen only

by their shadows on the wall, and
later we hear only Othello’s voice,
with no image at all on the screen.
The action becomes progressively
symbolic throughout the film, un-
til in Othello’s final soliloquy his
face is reduced to a complete mask.

A strong continuity and unity
are achieved in the film by the in-
troduction of the final funeral
scene at the opening, and also by
ta ballad-like lute at. the beginning,
telling the love tale leading up to

the marriage of Desdemona and
the Moor, and of Iago’s hate. This
lute reappears at appropriate in-
tervals to create the impression of
telling a continuous tale. Music
and sound, effects are used very
powerfully as tension builders.
Altogether I think that Orson
Welles, in his: sensitive reinter-
pretation of Shakespeare through
film techniques, has created a very

Dr. C. Frankel
Gives Address
At Bryn Mawr

“The professional school assoc-
iated with a university has a spec-
ial opportunity and a peculiar ob-
ligation to keep a_ profession lib-
erated from its own provincial-
ism and prejudices.” This state-
ment was made by Dr. Charles
Frankel during his address, Pro-
fessional_Education as University
Education, at the opening of the
Graduate Department of Social
Work and Social Research last
Friday afternoon.

Dr. Frankel warned ‘against the
“imperious pressure of vocational-
ism” which is the “besetting prob-
lem of American education at all
levels.” This pressure is concern-
ed with “making universities just-
ify themselves’ on _ practical
grounds.” The other’ influence
which is prevalent in America to-
day, according to Dr. Frankel, is

the “tradition which has associ-
ated ‘culture’ with uselessness,
and a liberal interest in learning
with an unmotivated. and. unspec-
ialized and leisurely interest in

learning.” As a result, Dr. Fran-
kel maintained that on many cam-
puses “the professional school is
the only place where something
clear, precise and difficult is de-
manded of students.”

In an attempt to “explain. the
special character of higher educa-
tion,” Dr. Frankel cited the “high
degree of abstractions and special-
ization,” its “interlocking and in-
depehdent character” and finally
the “necessity constantly to revise
and add” to it. These considera-
tions, according to Dr. Frankel,
“impose imperatives on _ higher
education which give it its special
shape.”

“Professional service,” as _ de-
fined by Dr. Frankel, “involves the
ability to make complex practical
judgments and to weigh conflict-
ing interests and values.” Although

ments comes from practicat~éx-
perience, Dr. Frankel warned that



exciting production.

Continued on Page 4, Col. 5

much of the ability to make judg/|



Ensemble Group to Perform Sunday;
Members Discuss Program, Practice

by BE. Anne Eberle

On Sunday, November 23, at 3:00,
there will be a student recital in
the Music Room, Goodhart. This
recital is planned as the first of a
series of student concerts to be
given during the year. As to the
origin of this performance,
one of the participants said, “It
sort of grew out of Ensemble re-
hearsals—what seemed to click we
kept.”

Ensemble in its present state
started last year when Mme.
Jambor came. Since then her reg-
ular Monday-evening sessions
with interested players of an enor-
mous variety of instruments has
produced the music which will be
heard next Sunday and at per--
formances later in the year.

The program will be entirely
classical and entirely non-contem-
porary—Beethoven, Brahms, Han-
del, Schubert, and Mozart.
Members of the group claim that
no particular plotting was the
cause of the uniform program.
Ellen Greenberg, the _ bas-
soonist, suggested that, since this
program consists of those things
which the Ensemble has played
best at its regular meetings, one
reason for the lack of more mod-
ern pieces might be the fact that
it is often easier to perform one of
“the masters’ pieces” with ‘pleas-
ant results, after running through
it a few times, than it would be to
do a more modern number whose
newer rhythms and harmonies
“take a little getting used to.”

The program which will be
presented is as follows:

Beethoven’s Trio No. 1, Opus 1,
played by David Hemmingway,
Marcia Leigh, and Steve Flanders;

Brahms’ ’Cello Sonata in E Mi-
nor, first movement, played by
Steve Flanders and accompanied
by Jane Hess;

Handel’s “O thou that tellest
good tidings”, from The Messiah,
sung by Marian Willner, contralto,

as



D. Riesman Discusses Future Of Women’s Education
As Sixteen Colleges Converge At Sarah Lawrence

by Sally Davis

Last Saturday, November 15, I
had the pleasure of representing
Bryn Mawr at a conference on
“The Future of Women’s Educa-
tion at Sarah Lawrente College.”
David Riesman, prominent sociolo-
gist and author of The Lonely
Crowd, was chairman of the con-
ference at which sixteen colleges
and universities were represented.

At the opening panel discussion
Linda. Clark of\Vassar pointed out
that the woman of today is expect-
ed to play a double role—that .of
mother and career,,woman (Soci-
ologists predict that by 1965 one-
half the housewives will be work-
ing outside their homes). Three
suggestions were offered for mak-
ing college work more applicable
to the job one may hold. Students
might be urged to choose their ma-
jor at the end of their freshman
year. Professors might be made
aware that the practical job advice
they can give is often obtainable
nowhere else. Lastly it was.sug-
gested that colleges invite their
alumnae back for panel discus-
sions that might benefit certain
undergraduates,

‘Christopher Jencks of Harvard,
former editor of the Harvard Crim-
son, attacked the basic principles
of women’s education as it is to-
day. For a man, almost all edu-
cation is vocational now; it is his
college which gives him the knowl-
edge and values he needs to be
a leader in business or govern-



_ who have never received any polio

‘vaccine, must have written per-
mission from parent or ‘guardian

ment, to become a leader ofthe,
“elite”. This social-elevator sys-,
tem is the main function of the



before first dose is given.

college today.

Since women are not meant to
be this type of leader—the great
majority have no such desire—
why do they insist on having the
same type of education as men?

He noted the two main types of
woman scholars. The first spends
four years absorbing a leisure

time education, taking culture
courses, “conversational fodder for
cocktail parties.” The second

type spends great time and effort
becoming an expert at Anglo-
Saxon or Icelandic sages—most
of these never use what they learn
afterwards. Mr. Jencks noted as
have many others, that consider-
ing the lack of teachers and the
great expense involved the whole
thing is quite impractical. He did
not oppose all ‘woman’s education,
but rather the patterning of wom-
an’s education on men’s,

Janet Sanflilipo of Sarah Law-
rence stated in her speech that
the main point of women’s educa-
tion is to help the student find
ways to develop her own abilities.
Thus she suggested creative arts
courses in addition to academic
courses.

Later several interesting points
were made at a panel meeting on
“Reform of the College Curricu-
lum”, Freshmen get brighter
every year. Research has proved
that the average verbal aptitude
of this year’s “class was higher
than that of the faculty.” Yet
| phe —same- percentage - undertake}
honors every year, and grades as
a whole do not improve. A means





to draw the best work from each

student must be devised through
the curiculum.

There was much discussion of a
reading period—one or two weeks
of extra reading, either free or
reported, before exams. Wellesley
and Goucher also reported systems
by which one day each ‘week was
also free for reading and indepen-
dent work. Independent work was
reported to be the most important
and valuable part of the whole
college education, and careful
preparation for it was considered
in many cases from freshman year
on.

Problems of expansion were dis-
cussed; early choice of majors was
again suggested. It was mention-
ed that there is general feeling
that exams are a very poor way of
testing what one learns or should
learn in college. Too often results
depend on cramming. capacity,
twenty-four hour memories and
the ability to write beautiful prose
on the spot. Many felt that papers
were a much better test, or any-
thing rather than examinations.

Mr. Riesman stated that in his
opinion the best women’s colleges
were slightly better than the best
men’s institutions. As a reason
he suggests that women’s colleges
have reached a point where they
the beginning to question them-
selves and to take steps towards
adopting themsleves to the pres-
ent. In conclusion he pointed to
the growing amount of mechanism
and leisure time. He stated that
“in. twenty.or thirty years the

the only singer on the program,
accompanied by Jane Hess;

Schubert’s Octet, Opus 166, the
first movement, played by Marcia
Leigh, Laura Pearson, Alison Bak-
er, Steve Flanders, Dayle Benson,
William Fullard, Ellen Greenberg,
and Monica McGaffey;

played by Marita Viglione oon
Jane Hess;

Handel’s Trio Sonata for two
’eelli and piano; played by David
‘Hemmingway, Robert Martin, and
Steve Flanders. —

The variety of the program
suggested that ‘the
themselves might have
comments, and this proved to
be true. Jane Hess, the busy pi-
anist involved in three different

participants
varied

numbers, helped clarify ideas of
just what this Ensemble was all
about. Though one might suspect
that such an informal “class” with-
out required attendance might find
problems in a different group of
people and instruments turning up

each week, Jane said, “Actually,
we're getting a pretty steady
group. And good combinations

too—violins, violas, basses, clar-
inets, bassoon .. . Of course we
practice the music on Monday
nights, and then we do it on our
own, too, in practice rooms.
“Sure, there are differences,
though. With this for instance—

well, with orchestras you have a
conductor who makes the beat and
makes the decisions. In this you’re
not’ so much accompanying, you
help work things out. That’s the
fun, trying different things, and
if it doesn’t work you try some-
thing else till it does, that’s all.”

Jane added that the music the
Ensemble plays comes partly from
the Music Department and partly
from the students the
bring music they fay have for
various combinations of instru-
ments.

Marian Willner is the one per-
son involved who could produce her
music sans the use of fingers. Com-
menting on how one chooses music
to do at any performance, she said
simply that she had always wanted
to do this and had never had the
opportunity.

Marian said the ustal method
for getting used to each other
musically was to practice the mu-
sic individually and then keep go-
ing over it together—‘“and if you
hit rough spots—and you do—you
go back and go over it again.”

On the subject of the recital in
general, Marian said this series of

| student presentations was suppos-

ed to have started last year, but
only one had resulted. She ex-
plained the better early results
this year simply: “Same people,
more organization.”

The one bassoonist in the crowd
is Ellen Greenberg, who says she
loves rehearsals, but, being the
only bassoon-player, “it’s rather
obvious if I don’t come.” Speak-
ing of her instrument, she quoted
someone, she wasn’t quite sure
who, saying “the devil made the
fingering for the bassoon.” Play-
ing it is a real challenge—I mean
it’s like trying to pat your head
and rub your stomach at the same
time ... But it is not the clown of
the orchestra,” she said with such
force that it was not hard to tell
she’d been fighting a long battle
over that one.

Ellen said that bassoons ‘i
get very melodious parts in or-
chestra music—“but very often,
too, we get parts like the string



world wil be so drastically differ-
ent that no education as I know it
will be nearly~ sufficient.” = ~~

but who really likes the oomps



the oomp-p-pas 2

Mozart’s Sonata for Four Hands,

-

ves, who °

bass—I mean I don’t complain, ~~~




Page Four

THE

COLLEGE NEWS

Wednesday, November 19, 1958



G. Freund Supports Compromise
Disengagement Policy In Europe

“Germany as the Center of
European Conflict” was the official
title of Mr. Gerald Freund’s Cur-
rent Events talk on Monday night,
but, in fact, Mr. Freund discussed
the whole problem of disengage-
ment in Europe. Disengagement
in its fullest sense would mean
the withdrawal of NATO and So-
viet military forces from Europe
on a reciprocal basis, bringing
about a change in the status quo
of continent divisions. 4

All of the various disengagement
proposals run counter to the
established U. S. policy. Disen-
gagement is not an absolute or
perfect solution, but by very defi-

nition involves compromise. Ameri-|

cans have never been willing to
compromise on their ideals. U. S.
foreign policy has combined a
towering moralism, renouncing
force, with the apparently contra-
dictory attitude of conceiving of
national power entirely in terms
of military force.

There have been several disen-
gagement proposals, varying as to
particular provisions, but all
based on a compromise solution of
compromise. To the-question as to
whether American interest would
be served by disengagement both
Dulles and Acheson would answer
“no,” and Dulles would probably
add an emphatic “never.” Dulles,
said Mr. Freund, epitomizes the
moral arm of American policy,
and adheres as well to its military
standpoint. Acheson has referred
in one of his speeches to disan-
gagament as the “new isolation-
ism,” and insists on the success
of the present policy. In _ this
speech, made in April, 1958, Ache-
son foresaw peace, prosperity and
the downfall of the Communist
world. Mr. Freund pointed out the
absolute factual opposition to this
optimistic outlook.

A much smaller group of Amer-
icans would answer the question of
possible disengagement in the
affirmative. The most prominent
of this group is George Kennen,
former ambassador to Russia. An-
other adherent is Mr. Freund him-
self. The West cannot afford to
ignore the Soviet military threat
but, according to Mr. Freund, the
imminence of a possible attack has
been exaggerated; Russia’s main

Ferrater-Mora

Continued from Page 1, Col. 3
by others.

The tendency toward unification
is demonstrated by the fact that
although all societies today are in
frequent. conflict none is. indepen-
dent of others. The most signifi-
cant examples can be placed be-
side the greatest, and emphasized
by the fact that men feel this in-
fluence as never before and are
kept in a constant state of aware-'
ness of interdependence.

Massification, which Mr, Mora
denotes an ugly word. still sum-
marizes the incorporation of
masses of people into fields which
were once the province of minori-’
ties. This process, which began
in highly developed countries, gain-
ed momentum in so-called back-
ward countries, Revolutions have
testified to the vigor with which
the masses have emerged as a
strong element in public life and
assumed places of responsibility.
Public opinion has the power to
make and obtain demands as: nev-
er before even in totalitarian
countreis,

Technification in the third place
is so obvious that it is often called
the sole characterizing feature of
our times. Invention has been al-
‘ways among man’s outstanding ac-
tivities ‘and in the last three dec-
ades has not been confined to in-



dustry or communication but ex-|

tends to social organizaion.

pid That these statements might be|

\plies, and the French busy

threat is_political and economic.
However, the very real military
danger precludes the question of
whether we should exercise mili-
tary power, and poses that of
how and where we should exercise
it, and with what sort of weapons
and weapons distribution. In the
preparation of the European
nations for their own defense, Ger-
many is forced to take the lead,
since the English are short on sup-
in
North Africa.

There ig very little hope at the

moment that the Soviets will agree
to any disengagement at all, but
the West would gain by putting
forward the proposal, if only by
demonstrating Russia’s responsi-
bility in the present stalemate.
The West Germans would interpret
the move as a proof our our sup-
port of reunification of Germany,
which would improve our stand-
ing even if the actual reunification
were blocked by Russia.
In order to make the reunifica-
tion of Germany a practical -possi-
bility -there would, according to
Mr. Freund, have to be two major
changes in U. S. policy: doing
away with the insistence on free
elections, and reconciling ourselves
to a unified Germany which would
be militarily neutral.

Bureau of
Recommendations

MADEMOISELLE
cordially invites all who are inter-
ested to tea in the Deanery, Thurs-
day, November 20th, at 4:30. Miss
Hoppin will talk about the College
Board, the Fiction, and Art Con-
tests, and will answer any ques-
tions you may wish to ask.
* * *

Reminder :

Applications close November
29th for the Professional Qualifi-
cations Test for positions with the
National Security Agency at Fort
Meade, Maryland. The recruiter,
who will be coming later in the
year, will interview only students
who have taken and passed this
test.

Booklets and further information
at the Bureau of Recommendations.
: * * *
THANKSGIVING
BABY-SITTERS

Please leave your name at the
Bureau of Recommendations if
you expect to be in the neighbor-
hood for any part of the Thanks-
giving vacation and are willing to
baby-sit. There will be many calls.

* * *

Odd Job now Open: Please see
Miss Farjeon.

Haverford: Reading aloud: Sat-
urday morning, $.75 an hour.

Jobs for Next Year: Please see
Mrs. Crenshaw.
‘Teaching positions in the public
schools of Plainfield, New Jersey.
Full Education requirements for
New Jersey are desirable but pro-
visional certificates may be given
in some cases.



Kern: Bryn Mawr In The 20's

Continued from Page 2, Col. 4
utterly from the face of this broad
land.”

But, on the serious side,. the
Bryn Mawr girl was faced with a
new and startling problem; ac-
cording to the News, college was
training them to marry college
men, but a young man just grad-
uated from college would not be
able to offer the girl a salary that
would provide for their college
standard of living. Furthermore,
marriage ‘would mean an abandon-
ment of all their theories on Tol-
stoi and Beethoven and the begin-
ning of a struggle with the mater-
ial principles of kitchen chemistry,
a struggle which they were -not
trained to meet.

The Bryn Mawr girl took a per-
fectly normal ‘interest in the
styles” wie times, but then, as

aids, such as Colgate’s Compact
Powder, “Flowers from the Ori-
ent” perfume, pasteurized facial
cream, and open pore paste took
up a large percentage of the
space. The revolution was com-
plete, however, when Coca-Cola,
Erskine Six, and the Cigarette ads
took over around the end of the
decade. The College News had
jumped on the “Prosperity Band-
wagon!”

The “Bryn Mawr culture” is not
something timeless _and—immut-
able; it is not the same today as it
was in the 1920’s; and it is never
completely isolated from the sur-
rounding culture. It is not ‘the
same today because it takes people
to make up a culture, and people,
are different \now than they were
in the .1920’s. It can never be com-
pletely isolated because the people
who contribute to the college cul-
ture are also participants in and
representatives of the larger cul-
ture. But all who have been a
part of the college community have
been deeply influenced by its un-
ique emphasis on the primary im-
portance of “things of the mind.”

now (with’ the important excep-
tion of Aressing up “stylishly”
for the evening meal), she only
dressed up “stylishly” when she
went off campus. For classrooms
a “modification of the Oxford Bach-
elor’s gown... preferably stain-
ed with candle’ grease” ‘was



Frankel Address.

Continued from Page 3, Col. 3

‘being practical’ frequently seems
to me to mean simply a willingness
to over-simplify a problem in the
interests of personal convenience
or administrative efficiency.”

Dr. Frankel stressed the im-
portance of the “liberal charac-
ter” in a professional education.
The professional school, Dr. Fran-
kel held, should give a student
“the habit of keeping in touch
with significant developments in
theoretical research bearing upon
his field, and some ability to ap-
praise its--usefulness and validity.
A professional school should not,

he maintained, “teach anything
which a student can reasonably be
expected to learn on the job.”

“If the non-professional arts and
sciences are the heart of a uni-
versity,” he concluded, “the pro-
fessional schools are its eyes on
the world ... no. professional
schools are better fitted to serve
this function than the schools of -
social work.”



all the rage during the spring
of 1925, and even in 1919 the “‘bat-
tle-scarred middy blouse” ‘was
considered the campus favorite,
though “seriously rivalled by the
T-shirt for evening wear.” The
aura of good sense was always
present, however, in the Bryn
Mawrter’s approach to the shift-
ing world of higher fashion, and
it expressed itself in editorial form
through such slogans as “Cogi-
tate Before You Cut”, or “Let us
realize the good round price we
pay for the new slim figure!” (in
terms of sallow cheeks and brittle
tempers).

The Bryn Mawr girl’s contact
with the outside world as estab-
lished by the medium of advertis-
ing underwent a steady change
throughout the period. At first
she found advertising space com-
pletely monopolized by flower
shops, riding academies, and jewel-
ry stores, with a dash of variety
furnished by a new Whitman’s

THEATRE:
and Rosemary Harris.
Broadway mystery-comedy.
Rice.

Abbey Playhouse: The Boyfriend,
twenties.

McClellan.
MOVIES:
Midtown: South Pacific
Stanton: The Defiant Ones
Arcadia: House Boat
Viking: In Love and War

Randolph: The Last Hurrah
Stanley: Cat on a Hot Tin Roof
Studio: The Case of Dr. Laurent
Boyd: Windjammer

World: Mitsou

Lane: The Red and the Black

Events In Philadelphia

Walnut: The Disenchanted, a new drama starring Jason Robards Jr.
New Locust: The Gazebo. Walter Slezak and Jayne Meadows in a pre-
Forrest: Cue for Passion, a new play written and directed by Elmer

Shubert: Whoop-up. Fuer and Martin’s new. musical comedy.

a hit musical a la mode roaring

Abbey Stagedoor: The Great Sebastians, with Jane Kuran and Parke

Goldman: The Old Man and the Sea



sundae or an educational General
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But as time progressed, such down-
to-earthy items as Ladies* Safety
Razors began to creep in, and by
the middle of the decade beauty

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ition. Mr. Mora countered by in+|,

Continued on Page 5, Col. 1







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Wednesday, November 19, 1958

THE

ay
F

COLLEGE

NEWS

Page Five



Ferrater-Mora: Philosophy Lecture

Continued from Page 1, Col. 3

sistence that they were the most
general definition; that historical
tradition, religious thought, politi-
cal and psychological conceptions
were the distinguishing, not the
uniting characteristics of modern
society, and while these and other
factors of the human condition, as
the will to power or thirst for the
absolute are all-pervasive, his
three divisions are peculiar to this
age,

In such a society philosophy
might seem to have only a modest
role, and the mournful thinkers
mihgt compare their prestige in
the past with their present confine
ment to one specific department of
universitly education. Certain
qualifications might be affixed to
this view of the relation between
philosophy and the social struc-
ture. First that philosophic thought
‘has always been considered’ a
prerogative of small groups and
secondly that in the past this
group was the nitellectual ruling
minority.

Now that this minority has lost
confidence, and the whole body so-

‘cial has impinged on its province
it is the business of the philoso-
pher to communicate thought to
the public and on his success de-
pends the whole place of his pro-
fession. Never before have so
many studied philosophy as a dis-
cipline valuable in itself, and nev-
er before has it been so uninflu-
ential.

. One basic change in the position
of this branch of learning is that
now it is considered able to sub-
sist by itself not merely to serve
as a means to some other end.
The products of this philosophical
thinking when communicated
should not be merely an academic
discipline, however, but
encompass fundamental

SPARKLING

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should

attitudes. Philosophy, Mr. Mora
emphasized, need neither be de
based by popularization nor stifled
in an ivory tower, but like any
other creative work should be un-
derstood on varying levels of com-
prehension in varying degrees.
Thus this communication is a de-
sirable enterprise in which many
people can participate, a shared
treasure, shared in varied propor:
tion,

Philosophers as- participants in
this activity must abandon preoc-
cupation with unimportant issues,
either small techniéel.details or
questions so general they are no
more than ideological weapons.

Movies

Anthony Wayne Theatre

Wedesday- Tuesday The Ten
Commandments — Charleton Hes-
ton, Yul Brynner, Anne Baxter,
Edward G. Robinson, Yvonne De
Carlo, Judith Anderson. Every
evening 8:30 and Saturday Mati-
nee 1:10.

Bryn Mawr Theatre

Wednesday-Saturday Big
Country—Gregory Peck, Charleton
Heston, ean simmons, Carroll
Baker. »

Rate - Tuesday — The Vikings
—Kirk Douglas, Tony Curtis, Ern-
est Borgnine.

Wednesday - Monday — Danger-
ous Exile—Louis Jordan. Belinda
Lee.

Tuesday—Lucky Jim—from the
prize-winning novel by Kingsley
Amis. With Ian Charmichael, Terry
Thomas, Hugh Griffith, Boadicea.

Suburban Theatre

Wednesday - Saturday — Indis-
creet —Cary Grant, Ingrid Berg-
man.

Saturday - Monday—I Married, a
Monster from Outer Space, TH
Blob.

Tuesday only—The Seven Hills
of Rome—Marion .Lanza.

eer aoe

Engagements

_-Meredith Morris ’59 to Edwin
Anthony Newton, |.
Marcia Levy ’60 to David Fram.





BEAU & BELLE
Breakfast
Lunch
Dinner
Late Snacks
Open Seven Days
Next door to Bryn Mawr P.O.



King John
Continued frmo Page 1, Col. 5

ors of the original medieval play-
ing-cards,

In order not to violate Shakes-
peare’s intentions of continuity,
there will be’ no scene changes in
the play. This eliminates the us-
ual imposition of breaks on a text
which derives much of its power
from overall effect and concep-
tion as a whole. There will, how-
ever, be an intermission, and an
exceedingly intricate lighting sys-
tem will clarify the usual act and
scene divisions.

Common Treasury

Continued from Page 1, Col. 3

was achieved only by means of
reductions from the amounts orig-
inally requested by the organiza-
tions, and by the removal of some
funds from the surpluses in the
Alliance ‘and A.A. bank accounts.
Unless these surpluses are reduc-
ed still further, it is difficult to
see how the dues can be maintain-
ed at $6.50 for the year following
this, in the face of steadily rising
expenses for speakers, food,
Awards Night, and other items.
Even if the surpluses, which could
be perhaps better utilized for long-
term projects, are used up, the
problem will still have to be faced
sooner or later; either the dues
must be raised or activities must
be curtailed. Luckily there was
no need to decide one way or the
other this year, but serious ¢con-
sideration will have to be given
to the issue at some point, perhaps
including a revaluation of the
principles behind ipso facto mem-
bership.
4

Interfaith

Continued from Page 2, Col. 5

camps. At present he is a mem-
ber of an experimental’ interracial
cooperative homestead community
and of the Inter-campus Commit-
tee. of the National Conference for
Christians and Jews.

Mr. James and his_ wife will
have Sunday supper at Rhoads
Hall. All those interested in having
supper with them. should sign up
on the Initerfaith bulletin board.
There will be discussion after the
service, ‘

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Have You
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Thanksgiving Cards
At Dinah- Frost?

DINAH FROST
Bryn Mawr







John Demos Of ‘Harvard Crimson’
Notes ‘Sense of uniqueness’ at’BM

by E. Anne Eberle

A serious case of lowering the
proverbial thick academic glasses
and peering over ‘them to analyze
“the others” seems to have hit a
number of eastern schools lately,
vis. Swarthmore’s article by a for-
mer Bryn Mawrtyr, articles on
Sarah_Lawrence in both the Bryn
Mawr and Smith, papers; case in
point: article on Bryn Mawr in
the Harvard Crimson and an ar-
tiéle on that article in the Smith
Sophian!

BMC People generally seem a
bit touchy about the differneces
between their school as “outsiders”
see it and as they “know” it—not
only ‘touchy but also a bit gloat-
ing perhaps. The article in the
Crimson, is fairly typical of the
former view. :

Mr. Demos carefully introduces
the college in an atmosphere of
historic background, including
highlights of M. Carey’s personal
career, early Bryn Mawr “radical
steps,” and a “persistent crusade
to prove women the ‘equals’ of
men, and to broaden the range of
activity in which respectable ladies
might be allowed to indulge.” (A
photograph of a BMC folksinging
fest, which accompanied the
article, suggested that the range
had been successful broadened.)

The Harvard article goes on to
state, “One thing that Bryn Mawr
definitely does retain from its
early days is a sense of its own
uniqueness.” Although Mr. Demos
doesn’t explain this statement
further, it’s not unlikely that a
lot of BMC people would agree
with him, though perhaps not al-
ways in the respects he had in
mind!

Judging from the article, the
Cambridge visitor had the usual
tour of the mill—stroll around
campus, meal in a dorm, flash de-
scription of traditions and organi-
zations, and a handbook deposited
in his hand. The stroll] must have
happened on a chill rather than
damp day (there being only two
varieties of fall weather), for he
observed, “The girls there wear
camel’s-hair coats instead of rain-
coats” (inferring that our camels
are not water-proof; or what?)
“and they will set their hair in a
permanent wave, rather than wear
it long and stringy, as is the
fashion around Harvard Square.”
Maybe we should just leave good
impressions alone and smirk
through our locks of “long and
stringy” hair.

The flash descriptions of the or-
ganizations must have left’ Mr.
Demos a bit aghast, as he felt
moved to write, “Athletics, re-
ligious affairs, social work, and
political activities all are man-
aged by separate groups of stu-
dents; and there is even one or-
ganization “to handle everything
that isn’t taken care of by the
others.” . . . (Self-government) is
administered by not one but six
powerful organizations of under-
graduates, arranged in a_hier-
archy too complicated for an out-
sider to fathom.” Come to think
of it, strictly as an insider, what
is the difference between College
Council and Coordinating Council?

The Harvard reporter, in search-
ing for an: over-all adjective for
Bryn Mawr, chooses “quaint”:
“Most. striking of all to a visitor
from Cambridge would undoubt-

















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| details and an appointment.

edly be the great number of tra-
ditional rites and customs which
Bryn Mawr celebrates faithfully
each year. It is worth mentioning
some of these, since herein lies (at
least to foreign eyes) the most
tangible evidence of that quaint-
ness which seems so characteristic
of the place.” With this introduc-
tion he goes on to describe Lan-
tern Night and May Day in some
detail (being immensely fair in
quoting the Handbook when it
would be so tempting to give a
humorous if inexperienced aura to
our “quaintnesses”) and mention-
ing Senior Tree Planting, Parade
Night, Sophomore Carnival, and,
most elegantly, the Lantern Man
(perhaps being afforded more re-
spect if not more fondness in be-
ing capitalized than he often re-
ceives here). In respect to the
Lantern Man, Mr. Demos “quaint-
ly” states what seems to be a tru-
ism for BMC: “This last is a time-
honored Bryn Mawr institution in
himself, and is living evidence of
the College’s propensity for mak-
ing even the most mundane task
into a bit of a pageant.”

Early in the article, the Cam-
bridge visitor paints the usual dry
picture of Bryn Mawr: “It sticks
to its simple aim of providing a
superior education for women—
when girls at other colleges have
attempted to move beyond this,
feeling uncertainty for such
things as greater independence
from the acepted social custom in
the areas of dress, speech, travel,
sex-life and so forth.” But later
he seems to mellow a bit, and his
typical Bryn Mawrter can’t be
quite as stodgy as all that when
he says, “It’s girls practice hula-
hoop, go out with Haverford and
Princeton men and young Phila-
delphia business executives, and
they don’t have to be in: before
2 a.m, either. And of course they
study a great deal.”

Then, as though fearing he had
frightened readers who had just
begun to like BMC in spite of
themselves, he adds, “Once you
get a little bit acclimated, you’re
liable to find them quite pleasant.”
So there!

The Smith paper, The Sophian,
duly notes the attention paid by
Mr. Demos to student government,
the honor system, “teas ‘held from
time to time’,” the dear old graci-
ous living again, and concludes:
“This atmosphere of social culture
seems to have dominated the at-
tentions of Mr. Demos quite
thoroughly. As a matter of fact,
so thoroughly that he overlooks
Bryn Mawr’s academic culture
completely. No mention is made
of faculty, courses, intellectual-
ism, or lack of it, he only tells us
it is good. Why or how, we never
know.”

Hmmmmm, Can anyone think
of a good all-’round adjective for
Harvard? - - quaint—no...





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Page Six

THE COLLEGE NEWS

Wednesday, November 19, 1958



Continued from Page 1, Col. 1

is cruel to others he is a monster;
insofar as he himself suffers. he
wins our sympathy.

Shakepeare’s Henry VI, parts II
and III, also shows a certain re-
semblance to Edward II. Both
plays are concerned with a weak
king who is deposed and finally
murdered; the interest is diffused
among several characters, who be-
come sympathetic figures at the
moment of their deaths. But Ed-
ward is more. important to the
plot of the play than Henry,-and
Edward. II -is “a more personal
play.” The action is spread over
a wide territory, but, instead of

creating an impression of the woe-}

ful state of the country as a whole,
the rapidity of movement in the
latter part of Edward II empha-
sizes the fact that the king is
being driven from one place to
another, then from one prison to
another, “until even that motion is
stopped, and he is still at last.”
England and her sufferings, which
take such an important place in
Shakespeare’s play, were of little
interest to Marlowe.

_ “In Tamburlaine, Marlowe con-
templated power and found that
it was bound up with suffering.”
In Edward II, it is suffering itself
which’ dominates.

None of the characters make a
very favorable impression at first
sight. By the end of the first act
it is apparent that Edward is
doomed, for he cannot control
those around him, or his. own
passions. Yet he suddenly and un-
expectedly. arouses sympathy when,





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asked why he so dotes upon his
favorite, Gaveston, he replies,
“Because he loves me more’ than
all the world.” For a moment he
becomes a symbol of the human
need for love.

In the revolt of the courtiers
which begins the second movement
of the play, Isabella, Edward’s
wife, finds herself on the side of
Mortimer against the king. Isa-
bella is Marlowe’s first attempt to
probe a woman’s character, and
some, critics find the transition
from a wronged but loving wife to
an accomplice in her husband’s
murder too rapid, and a blot on
the play. Professor Leech pointed
out, however, that “woman’s love,
rejected, can turn rancid,” and
that the change in her character
has already been foreshadowed in
Isabella’s awareness of her power
over Mortimer and in Edward’s
taunts and reproaches — at the
time, unwarranted—of infidelity.

Even when fortune has gone
against him and he is defeated and
deposed, Edward cannot believe
that it is “the gentle heavens”
which are punishing him. Profes-
sor Leech sees in this a denial of
divine intervention which is con-
stant throughout the play: “The
conflict is on a purely human level.
. . . The heavens, whether angry
or gentle, have ,it seems, nothing

Leech: Marlowes Edward II

to do with this.”

Although no stress is laid in the
abdication scene upon the sacred
character of the monarchy, Ed-
ward seems to find in the pos-
session of the crown a sort of pro-
tection, and indeed, it is after he
has resigned the crown that he is
forced to begin his “long journey
to death” which leads him finally
to the cell where he is murdered.

The particularly brutal manner
of Edward’s murder, which Pro-
fess6r Leech calls “nearly the ulti-
mate humiliation “for a_ tragic
hero; was in his opinion what fas-
cinated Marlowe in the story, for
it is in the depicting of Edward’s
sufferings and death that he rose
to his greatest powers, and it is
Edward’s suffering which is the
final impression of the play.

Marlow does not ask his audi-
ence to like Edward; there is
“barely a redeeming element in
the long presentation of his con-
duct.” What we feel for this fool-
ish king is sympathy, but it is
sympathy for a fellow-sufferer who
happens to be a king.







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Miss Mellink And Gordon —

Continued from Page 1, Col. 1

water table.involves constant
pumping, but is considerably aided
by the fact that the mudbricks
have turned baby blue. Inside the
wall, houses dated 550-40 B.C. by
Black- Figure miniaturist cups
were abandoned as the inhabitants

of Gordion moved to the newly

laid-out city on the main mound,
and these dwellings, together with

the tomb beneath the Lydian

tumulus, should help to clarify the
Lydian period when they are fur-
ther excavated next- season.

The exhibit at the Universit
Museum includes not only Phefg-
ian art from “Gordius’ tomb,”
opened last year by Dr. Young,
but also objects from the Hittite
cemetery excavated previously by
Miss Mellink, and Phrygian graf-
fiti soon to be published by Miss



Lang. Bronzes from Gordius’ tomb
include one of his three great
cauldrons, two and one-half figures
on the handles, omphalos bowls,
fibulae, and the spectacular lion-
headed situla with inlaid eyes—
the first of its kind actually to
be found.

A model of Gordius’ tomb, vases‘
in the shape of animals from “the »
a pains-_

little prince’s tomb,”
takingly-done reconstruction ° of
one of the earliest mosaic. floors
known (from a large building on
the main city mound), and Piet de
Jong’s reconstructions or East
@feek™. wall paintings—the only
ones known from about 500 B.C.
besides: Etruscan tomb painting—
are just a few among the many
important objects found at
Gordion. On loan from the Turkish
government, the exhibit will tour
other: museums after November.





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