College news, October 14, 1959

al



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VOL. XLV—NO. 3

ARDMORE and BRYN MAWR, PA., WEDNESDAY, OCTOBER 14, 1959

© Trustees of Bryn Mawr College, 1959

PRICE 20 CENTS



Juilliard String Quartet Honors Mann
Reviewer Admires from Vantage Point

by Alison Baker

For the musical half of last Fri-
day’s program in commemoration
of Thomas Mann, a concert by the
Juilliard String Quartet, the seat-
ing capacity of Roberts Hall was
expanded by a few additional rows
of seats at the back of the stage.
Have you ever sat behind a string
quartet, close enough to concen-
trate on the bowing of the cellist
and to read the second violin’s mu-
sic? Yes, the question is rhetoric-
al, but so was the experience alto-
gether delightful,

The content and order of the
evening’s program couldn’t have
been more successfully compiled.
. The players opened with a trans-
parent and sprightly early Mozart
quartet (in B flat major, K. 458),
named the “Hunt” quartet because
of its use of intervals which typ-
ically belong to pairs of hunting
horns. Next came Mendelssohn’s
Variations and Scherzo (Op. 81).
Although much of this, to my
mind, is rather saccherine, and sub-
stanceless, it does provide an ex-
cellent opportunity for observation
of the individual string instru-
ments, as they are exploited in a
relatively soloistic setting. A
stormy quartet movement by Schu-
bert closed the first part of the
program—very Romantic in spirit
and with strong dramatic con-
trasts.

After the intermission came the
real piéce de resistance: Beetho-
ven’s Quartet in A minor (Op.
132), a late quartet in five move-



Author Analyses
Novels of Mann

‘Author Glenway Wescott called
his lecture om Thomas Mann “WIli
Power and Fiction”, but, as he ex-
plained at the start, an alternate
might have been ‘(Love with a
Thorn in it”, an appropriate met-
aphor for the feeling of “interest
... combined with restlessness and
discontent” with which-he regards
Mann’s works. In his address, the
first. in this year’s Phillips series
and part of the Thomas Mann
Commemorative program held Fri-
day in Roberts Hall, Haverford,
Mr. Wescott examined some of the
enigmas of Mann’s work and the
character of the author himself—a
quiet, orderly manj- devoted hus-
band and father, “lifelong burner
of midnight oil”, who nevertheless
became the spokesman for disor-
der and a guilty conscience.

Mann’s Will Power

Perhaps the reason for this con-
tradiction lies in Mann’s “Will
Power”, which, Mr. Wescott main-
tained, had an unusually strong
influence on his work. He was
“staking out a claim in an area
of conduct in which he knew him-
self to be least developed and least
authoritative.” Certainly there is
much that is autobiographical in
his. works, but also much that is
misleadingly so. In “Death in
Venice’, for example, it is as if
the author had deliberately .em-
bodied some of his own traits in
the author-hero, Gustav Aschen-
bach, in order to “prop up” his in-

credible story of sexual aberration.

Proceeding to an examination of
The Magic Mountain, his favorite
of Mann’s novels and the one which
has been most successful in this
country, Mr. Wescott pointed out

_ Continued on Page 2, Col. 1 —

ments with extraordinarily great
musical range and content.

The Julliard quartet itself, as a
performing group, is undoubtedly
far beyond any evaluation, let
alone criticism, on my part. The

Continued on Page 6, Col. 1

Alumnae of ' 06
Present Addition
At Deanery Fete

\A tea to mark the opening of
the Adelaide Neall Room was giv-
en this afternoon in the Deanery.
The formerly unused porch adjoin-
ing the back of the Deanery and
the gardens has been closed in
with movable glass panels and
screens. It will be used for large
parties and faculty, colloge and
alumnae affairs.

The Deanery, former residence
of President Thomas, is now an
alumnae house. The late Miss Ad-
elaide Neall was for many years
chairman of the Deanery Commit-
tee. The money for this room was
given in her memory by friends
and classmates and raised by
Deanery Sales, a practice which
Miss Neall instigated in her work
at the Deanery.

The tea was given for friends of
(Miss Neall and members of her
class since 1906. In the receiving
line were Mrs. Francis J. Stokes,
chainman of the Deanery Commit-
tee; Mrs. Edward C, Lukens, chair-
man of the Deanery Management
Committee and Mrs. ‘Sidney Rep-
plier, sister of Miss ‘Neall. Pre-
siding at the tea tables were Mrs.
E. Baldwin Smith, president of the
Alumnae ‘Association, Mrs. C. Pad-
gett Hodson, Miss Evalina Waal-
baum and Mrs.:-J. Stinson Scott.

“The room,” said Mrs. Scott,
publicity chairman, “is essentially

Continued on Page 6, Col. 4

Self-Gov Clarifies
Dress. Regulations

by Susan Harris,
President of Self-Gov

The Advisory and Executive
Boards of the Self-Government
Association would like to remind
you that the Dress Rule stating
that pants or shorts must not ibe
worn on “main roads, in the vil-
lage, or on public transportation”
(of, p. 22 of the Constitution), has
been clarified in the following man-

ner:

Bryn Mawr resident students
may not wear pants or shorts in
the surrounding communities, on
well-traveled roads, on public
transportation, or in places of pub-
lie entertainment. Places of pub-
lic entertainment include all pub-
lic restaurants. Within private
homes and academic institutions a
resident student may wear pants
or shorts.

The Advisory and Executive

Boards ask you to be aware that

you and all other Bryn Mawr stu-
dents are on your honor to keep
this rule. If you wish to see this
rule changed, you may use parlia-
mentary procedure to bring the
rule up for campus consideration.
But until the rule is altered by col-

clarified will’be brought before the



Executive Board.

A very distinguished and quite
large audience gathered in Good-
hart auditorium on Monday eve-
ning to hear Dr. R, Ghirshman talk
on ‘the nomad invasion of ancient
Iran. Dr. Ghirshman, in this lec-
ture, discussed some very recent
discoveries in regard to the art in
question, and built his comments
around a carefully selected series
of color slides.

First, on a map of Iran, he point-
ed out the main areas of culture
from which the objects in the
slides stemmed.

Most of the objects discussed
had been found in excavated tombs,
and consisted of pottery, figurines,
and weapons or implements. Fun-
erary urns, of a very characteristic
shape, were most often decorated
with horses, since the horse was
believed to be the animal which

carried death. Human figures were
also used as decoration, and in
some cases menacing lions. The
figures were usually conceived for
the purpose of protecting and
guarding the liquid within the urn,
as is shown by their attitudes.

Dr. Ghirshman showed several
death placques, also predominant-
ly with .the horse- motif, “which
were found placed under the head
of the dead man. Other placques
and figurines wer eformed in the
images of powerful gods, particu-
larly one whose person included
both male and female, shown by
two heads.

Occasionally doubles of the dead
man himself would be left im the
tomb. These have their hands
raised with the palms turned out-
wards in a characteristic attitude
of supplication to the gods. Other





by. Judy Stuart ~

A delicate sense of showmanship
and careful casting assured “Aria
da Capo” and the Rhoads freshmen
of the winning Placque for 1959.

Edna St. Vincent Millay’s verse-
fantasy opens, on the classical
comic figures of Columbine and
Pierrot acting out a farce. They
are interrupted by the director
Cothurnus, who demands _ that
Thyrsis and Corydon should come
out and play their tragedy. At its
conclusion the farce is begun
again, leaving the forgotten tragic
figures still on the stage—as the
title means, “Over Again from the
“Beginning.” i

(Pauline Dubkin made a delight-
ful Pierrot. He was perhaps the
most —-diffieult,. figure .to portray
convincingly—tall, thin and rath-
er effeminate, characterized by the
white foolish mask of an idiot.
Pauline gave a light, funny but
rather wistful and unreal quality
to. this vain, amorous creature.
Columbine (Karen Christenfeld)
as Pierrot’s companion, was the
brunt of the humor im the silly
farce as one of the great preten-
sions but little wit.

Shepherds’ Play

When the gloomy Cothurnus
entered, the sets became just a
stage, but as the tender story of
the two shepherds progressed, it
was transformed into an idyllic
pasture. The two shepherds, Cathy
Trapnell as Thyrsis and Mary Lou
Levitt as (Corydon, enact the sim-
ple story of two friends corrupt-
ed by the presence of a wall be-
tweeen them which breeds first
envy and then hate. This scene,
though a little melodramatic, was
done sensitively and with. credul-
ity. The two friends slay each
other in fulfilling the maxim that
men are brought to disaster when
put in the sight of possessions and
power. The delicate simplicity of
the script was sensitively felt by
the actors, who created, from a
scene that could easily have been
overplayed,..a beautiful, moving
drama.

But to Pierrot is left the final
word—“Oh, the, audience will for-
get them in a minute’—as they
push the banquet table back in
front of the two prostrate bodies.
And he then begins again with the



Rhoads and “Aria de Capo” Conquer;
Difficult Poetic Play Well Performed

umbine? ({ will kiss you if it is
Tuesday.” :

The element that made it poss-
ible to perform such a delicate
and dream-like play was, I think,
that each player approached his
role with great seriousness and
the amateur nature of the pro-
duction was overshadowed by the
attitude of the actors,

Also added to the finished qual-
ity of the play was the imagina-
tive and effective stage set. One
could hardly recognize the white
bed covers in their roles as ‘back-
drop and tablecloth with the stark
black shapes on them. The cos-
tumes were interesting without
being distracting, although when

one wondered where the pin -was
located that held the lilac flowing
billows together.
Credit must go to both Toni
Thompson, the upperclass advisor,
Continued on Page 6, Col. 5

Columbine swept around the stage|



Ghirshman Talks on Nomads of Ancient Iran
Selection of Slides Illustrates Cultural Finds

figures represent the mourners, In
the tools and weapons particular-
ly, Dr. Ghirshman pointed out the
exceedingly pleasing and intricate
use of artistic forms within shapes
dictated by utility, The ancient
Iranian art on the whole shows
exceptionally great imagination
and richness of expression.

After this illustrated lecture,
much of the audience went on with
Dr. Ghirshman to the common
room, where he answered questions
and discussed his findings.

Workcamps Held
At State Hospital

Students from BMC will have
an opportunity to visit the Em-
breeville State Mental Hospital
this year as members of a week-
end institutional service unit.. The
purpose of this program, sponsor-
ed by the American Friends Serv-
ice Committee is to allow the stu-
dents to learn about mental ill-
ness, to be of service to the hos-
pital and to offer individual atten-
tion and human warmth to the
patients.

(Weekend umits, offered every
other weekend, beginning at the
end of October, will leave Friday
evening and return Sunday after-
noon. During htese two days par-
ticipants will spend a great deal of
their time in direct contact with
the patients.

All—interested~ should sign” on
Taylor bulletin board, as each
wekeend has room for only five.
Bryn Mawr girls.



Notice

(Even the most jaded subject can
come alive! Mr. Peter Bachrach,
Associate Professor of Political
Science, will give a Current Events
lecture Monday the 19th on “Power
and the Trade Unions”. Unortho-



doxy is certain.



Professor R. S. Young of the
University of Pennsylvania began
the second part of the 75th Anni-
versary symposium on the No-
mudic Impact on the Ancient World
after 1000 B.C. with an explana-
tion and slides of’ finds uncovered

the Phrygian levels of c. 700-900
B.C. Using illustrations of typ-
ical building plans, the megaron,
the masterfully-constructed city
walls, huge mounded tombs, pot-
tery, and minor objets d’art, he
demonstrated the relationship of
the Gordion finds to those of other
Near. East cultures. Links to oth-
er cultures were established by dis-
covery throughout Asia Minor of
Phyrgian-made fibullae, and in
Gordian of pails and cauldrons
styled and marked in Syrian and
Phoenician manners.

(Miss Ellen Kohler, recorder of

the Gordion excavations and edit-

or of the publication of the Uni-
versity Museum, discussed the min-
iature wood and ivory animal carv-
ings of the Nomads and their lera-
tion to miniature sculpture found
in a tomb at Gordion. The Nomadic
designs, smal] enough to be whit-



tide in transit, develop from ani-





a

inane voice, “Is it Tuesday, Col-

in his excavations at Gordion in,

Archeologists of Gordian Excavation
Discuss Arts of Former Nomad Tribes

mals, to characteristic features of
animals, and eventually to fantas-
tic chimeras synthesized from an-
imal parts, ee

‘Miss Machteld Mellink, head of
Bryn Mawr’s Near Eastern and
Classical Archaeology Department,
summed up the afternoon’s pro-
ceedings, noting that certain as-

Continued on Page 6, Col. 1

Woodwind Quintet
Holding Workshop

The Philadelphia Woodwind
Quintet, with Agi Jambor, will give
a concert on Tuesday, October 20,
at 8:30 p.m. The program, to be
presented in Goodhart Hall, is the
first this season sponsored by the
Friends of Music of Bryn Mawr
College.

_On the afternoon preceding the
concert, from 4:10-5:30 p.m., the ~
Quintet is going to hold a work-
shop which will include a discus-
sion of the history of woodwind
music. The next day from 12:00-
1:00 pam Mr. Schoenbach will head
a workshop on ‘woodwind litera-



’ Continued on Page 6, Col. 2












Page Two

THE COLLEGE NEWS

a

Wednesday, October 14, 1959



THE COLLEGE NEWS

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The Professor and The Paper

Surely the most creative facet of the curriculum here is
the writing of semester papers. In a number of courses, the
student seems to expend almost as much time and energy

on the semester paper as on the rest of the course.

Now,

undoubtedly the scholarship involved, the process of handling
a body of material, and the use of the language itself have

intrinsic value.

In other words, a student should benefit

from writing a paper, whether or not anyone sees what she
has written. But professors do have a habit of reading as-
signed student papers, apparently with the purpose, not only
of evaluating them, but also of giving the student the benefit
of a broader knowledge of, and experience with, the subject
material. In any case, papers invariably return with grades

and often with comments.
except for bookkeeping

The grades are fairly useless,
purposes.

Comments can be more

helpful, if they advance beyond the adjectives “good”, “bad”
and “indifferent”, and if they are pertainent to the ideas
embodied in the paper (if any) as well as to the mechanics
of it sconstruction. Most professors are, in fact, admirably
conscientious about the nature and extent of the comments
they append to a returned paper.

But even considered and copious comments seem to us
highly unsatisfactory. It is both an intellectual and an emo-

tional letdown for a student,

who has carefully developed

what she hopes is a convincing and perhaps even original
hypothesis, to have communication with the one person who
could give a comprehensive critique of her work limited to
cold black sentences on white paper. If there is going to be
real point to the professor’s reading the paper, there should

be oral discussion of its merits.

The professor brings his

powers of criticism to bear; the student defends. Who knows?

This might well be the most valuable

writing process.

part of the long paper-

We are constantly reminded that the ratio of students

to faculty here is about 7-1 and that most classes have less |:

__than-15-students.— All the brochures say so at any rate. If
this is true, it seems to us not reasonable that in some cours-
es with some professors arrangements for a dialectical treat-
ment of student papers might be worked out. If, for instance,

papers were staggered in an

advanced class of small size,

would it not be possible for the professor to prescribe an
hour’s discussion of each paper with its writer? We recog-
nize that in many instances such an arrangement is simply
not feasible; in others, different arrangements could hav?

the same effect.



Wescott: On Mann

Continued from Page 1, Col. 1

some. of ‘its disturbing themes—
the past as “weakness”, ibi-sexual-
ity, and the inter-relatedmess of
love and disease. The young hero
of the novel, Hans Castorp, is Ev-
. eryman, [Wilhelm Meister, Faust
» (with two Mephistopheles instead

of one), Tannhauser on the Ven-
- usberg, and even Parsifal. World
War I looms at the end of the nov-
el as a “recurrent disease, seem-
ingly less curable ‘than tuberculo-
sis . . . Mann began to write The
Magic Mountain in 1913. I often
wonder how it would have been if
there had been no war.”

minute” novel are its length and

tleties of reason much of the pres-
tige they once enjoyed. For his
part, Mr. Wescott regards abstract
reasoning, except in the field of
science, as a “necessary evil’. “The
philosophical novel falls between
two stools.”

Mann never ceased to develop
his ideals and techniques during
the course of his later novels—to
attack the “walls between novel
writing of the past ... and the
manuscript in progress at his
desk.” .»At the end of his life, ac-
cording to the testimony of his

‘essay on Checkhov, Mann seemed

aobut to begin again on a different
scale: the author of the “great,
towering novels” had decided that
“genius can be bounded in a nut-



by Katherine Tiernan, ’61

I embarked on my trip to the
Soviet Union this summer with
the sound of Bikel’s Russian Gyp-

| Sy music beating in my veins and

a vision of (Don-cossacks with
frost-stiffened beards flashing in
my mind, My ffirelight vision of
Russia withstood the shock of a
“realistic briefing” at the Carnegie
Foundation, but it began to deter-
iorate when I arrived in Russia.

I immediately had the’ suspicion
that my bearded (Cossack was in:
reality a clean-shaven, rejuvenat-
ed “soviet” (citizen— not neces-
sary) who was more interested in
discussing the increase in grain
production during the last ten
years than in exchanging stories
around the campfire, Seeing that
my antiquated vision was incom-
patible with present day reality, I
tried to conceive of a new, all-en-
compassing image with which I
might replace the old one.

(My first reaction was to go to

the other extreme—lI’d look cur-
iously at the people*on the street
contemplating whether they were
in the Delta, Epsilon or Alpha cat-
egory.. My nomadic ‘Cossack gave
way to a mechanized, thought-
controlled robot whose idea of bliss
was a two-week vacation in a state
health sanitorium in Sochi. Need-
less to say, every subsequent at-
tempt I made to categorize the
Soviet. citizen proved ‘equally un-
acceptable and I-required only one
day to see that sweeping general-
izations were something that would
have to tbe fongotten during the
trip.
At the beginning of our trip we
were warned that we might en-
counter some “activisti” types
who would take advantage of our
halting Russian and embarrass us
by asking politically complex ques-
tions. Our second day in Lenin-
grad all twenty of us were stand-
ing in front of our hotel waiting
for a bus to take us to the theatre,
when a fantastic crowd of Russians
eagerly encircled us and complete-
ly blocked traffic for a block. They
began to divide themselves up into
smaller groups arid encircle each
of us individually.

A crowd of twenty-five or more
began to ask me general questions
about myself and my education.
Suddenly a small man stopped in
front of the others and, waving a
copy of Pravda in his hands, he
began to answer the crowd’s ques-
‘tions himself... I must have looked

next to me gave me a knowing
pat on the shoulder as suddenly
two robust types standing next to
her edged their way in front of
the intruder and with a muffled
scrape of feet he disappeared en-
tirely!

On the following day I was
‘walking down the street when a
voice from inside a shop shouted,
“Katya, wait a minute!” I turned
around and saw an old man who
had been in this same crowd the
day . before.
throughout the whole conversation
except for asking me my name as
I got on the bus.

One of the supreme tests put on
my language training this summer
was the opportunity to angue in
(Russian which TI received in a
grocery store. Russian stores have
a system which is quite strange
in comparison with ours, in that
you pay for your foods before you
receive them, obviously question-
ing America’s contention that “the
customer is always right.” You
also receive no salesslip from the
saleslady when she-hands you your
package; therefore any problems
arising over mischarging can be











fairly perplexed because a woman.

He : had* been. silent | °

handled only by a personal discus-
sion with the saleslady who help-
ed you.

' On the last day of the trip I
bought some Georgian tea and
when I returned to the hotel I im-
mediately found that I had not re-
ceived two of the packages for
which I was charged. ‘When I re-
turned to the store the saleslady
who had helped me had already
left and the manager told me
there was nothing he could do
about it, ‘He impatiently dismiss-
ed the incident as if it were the
workings of a feeble mind, but

added up.the price of all my tea
due. to the proddings of the cus-
tomers Who had gathered, ‘When
he saw that his calculations sup-
ported my claims, he said casually,
“They have a tourist rate anyway,
what difference does it make?” At
this point’ the whole store went
into an uproar, for I began to yell
at him in my pure, university Rus-
sian, while the Russian housewives
who were witnessing the affair
screamed at him in slang.

I knew there was no chance of
my getting my tea but the very
futility of the whole thing made
me fight all the more ferociously.
Although nothing was gained, or
I should say earned, -materialisti-

Student Trip to Russia Shatters Former Ideas

my tea for the three embraces,
four claps on the iback, and one
furtive “God bless you”, which I
received as I went out the door.

The Jast experience I had in the
Soviet Union was one of the most
interesting because it contradicted
any other . generalization that
might have been. forming in my
mind twithout my knowing it. I
met, along with another student
from the group, four English ma-
jors from the University of Lenin-
grad. We spent all of our last two
days with them, and they took us







cally speaking, I’d exchange all

to classes, dinner, the theatre and



finally to a little gift shop so that
they could buy us going-away
presents. 'We all chatted continu-
ously and every minute I expected
a question like “How many unem-
ployed do you have?” to creep into
the conversation. The subject. of
politics ‘wasn’t mentioned once
and they seemed to be interested
only in art, literature and music.

We iaughed all the time and
weré continually getting lost on
subways and busses and spending
most of our time finding each oth-
er again. It happened that on ex-
actly the day we met them Russia

had sent up her first moon rocket,

and I, having been reminded of
this fact a hundred times by the
Continued on Page 6, Col. 3



by E. Anne Eberle

The Student Committee on Sub-
versive and Underground Activities
met recently to ponder the ques-
tion foremost in everyone’s mind:
‘What in earth are they doing in
front of the library? The findings
of the committee are naturally
top-secret in the grand tradition
of all committees on this campus,
but certain hints’ were disclosed
by members.

We asked the Chairman for a
general picture of the situation.
She said, “On the hole, I think
. + -? and then ran off to another
meeting. ‘We approached another
member and asked, “Could you
please give us a perfunctory ex-
planation of the excavation under
consideration?” and she said, “I
don’t dig you.”.

A rather grubby student wan-
dered by and we asked if she could
help us. (She looked glumly at the
hole. “I don’t kmow,” she said
wearily. “I fell in and I’m still in
the dark.”

Sources close to the committee
disclosed that there ;were alternate
plans on how best to use the holes;
now that we have them dug we
can go ahead and decide what use





_Youths Probe Deep, Earthy Issues

lated to last year’s void in Merion
green which was so poorly planned
as to actually leave some grass
available for the Mayday frolick-
ing.

Various groups on campus are
making plans to utilize the new
facilities. The physics dept. claims
the holes are only clever ruses to
attract attention away from the
more important piles; they are
hoping to find enough atoms soon
to have an atomic pile. The phys-
ical education dept., on the other
hand, answering the ever-increas-
ing demand for a major in deep-
sea diving, is hoping to acquire
the spot for dry runs which retain
that sinking feeling. The curricu-
lum committee is hoping to be able
to utilize the project somehow to
instill a new depth in the liberal
arts program. And the Adminis-
tration, of course, is considering
the excavation as possible living
quarters for freshmen.

Undergrad is thinking of mak-
ing its own doughnuts now that
half the materials—the holes—are
readily available on campus. Inter-
faith feels it should do something
with the holiest spot on campus
but can’t decide quite what. And
Self-Gov, suddenly faced with the

the form of the Settembrini-Naph-| shell.” That the dying soul should Errata to put them to, One suggestion is| problem of the holes being an oc-
tha arguments, is responsible for|have wished to start anew is, to The News regrets the use of that this project is Plan 209b to casion of “after dark” at all hours
both, - “Believing in belief”, “cere- ‘Mr. Wescott, “a kind of thing that the “words “On ‘as dovant- relieve the Reserve Room situation. | of the day and night, is hastening
bration for its own sake”, have al-) inclines me to believe im immortal- tories” in the last ma e, and rec- It’ is not entirely clear whether|to have an Advisory Board meet-

_mays been more common. in Ger-lity .. . It is hard to conceive of! jenizes that the expression ia ||>0°ks, wayward borrowers, or the | ing.
many than elsewhere, but their in-|the body as not dying, but it is inaccurate in both fact and con- other 208 Plans would be imterred| We ourselves have no opinions,
ability to solve even the simplest easy for the mind to conceive it- notation. ¢ here. There is some speculation|as the subject is much too deep

_ world problems has lost the sub-| self as continuing to live.” | Abo ia as to whether this digging is re- for us,




Wednesday, October 14, 1959

THE COLLEGE NEWS

Page Three



Freshman Play Marathon Sparked by Variety



Androcles and Lion Saved from Chaos
By G. B. Shaw with Love from Reviewer

by Lois Potter

Rockefeller’s Androcles and the
Lion suffered from several unfor-
tunate and unavoidable disadvan-
tages—first, /n_coming at the end
of a long evening of plays; sec-
ond, in following Aria da Capo;
third, in the temporary disappear-

‘ance of its heroine, which made

actors and audience alike nervous.

It is hard to imagine what the play
would have been like under more
favorable conditions, but it seems
likely that a number of good
points, noticeable even in the midst
of chaos, would have been more
striking than they were.

High Level of Acting

The acting was generally on a
higher level than one would have
expected from so large a cast.
The three, or possibly four scenes
which ‘Shaw demanded were easily
evoked without waste of time by
the walking scenery—the forest
(played by Tree Less, who was ob-
viously type-cast) and the sign-
post (Ginger McShane). Finally,
Androcles and the Lion is a good
play, and a play by ‘Shaw, and
takes to cutting better than most
Shaw plays. True, the cutting took
out everything Shaw was trying
to say about the nature of perse-
cution and martyrdom, but it also
showed that Shaw, stripped of. his
ideas, is still an extremely, fury

playwright, and his play . / still’

gives a much more engaging’, and,
sympathetic impression of the
early Christians than all the
works of Lloyd Douglas combined.

Christians Divergent

The four (Christians, who divenge
as widely in their Christianity as
in their-attitudes. toward martyr-

-- dom, were played by Geeti Sen, as

a gentle and appealing Androcles;
Sharon Mossman (briefly under-
studied by Mac Schoellkopf) as a

very pretty (Lavinia; Kris Gilmar-

tin— extremely funny, whether
consciously or: not—as Ferrovius
and Sue Gabor, as Spintho, prob-
ably the most. disgusting character
Shaw ever created, and a rather
frightening example of the kind

_.-ef-person-who-may attach himself

to even the best-intentioned rev-
olutionary movement.

There were a number of good
characterizations in minor roles.
Martha (LLearson (Metellus) was
delightful in her brief scene with
Ferrovius. ‘The centurion’s brisk
‘Move along” seemed very natural
as delivered by Sue Travis. As
the menagerie ‘keeper, Angela
Sehrode made her lines sound even
funnier than they were by growl-
ing them out as if she had almost
become a lion as a result of caring
for them so long.

Caesar “Haughty” .
Ani (Polishuk’s (Caesar was
splendidly haughty and self-pos-

sessed—especially in her delivery
of the curtain line. Barbara Hein

was most attractive as the second

of the two title figures: as Shakes-
peare would say, “Well roared,
Lion!” With Androcles in the first
scene, Megaera (Ginger Mc Shane)
nagged ‘and blustered amusingly
and had, of course, about as much
effect as a boxer might have on a
rag doll. Nancy (Culley played the }
Roman captain 2 as the representa-

"Notice

The News is happy to an-
nounce the creation of two new
editorial positions, News Editor
and Associate Editor, and the
election to these positions of,





and E. Anne Eberle, ’61.





respectively, Marion Coen, ’62, }



tive of commonsense and a class-
ical austerity.

The rest of the large cast in-
cluded Hinda Greenfader as the
Editor, Louise Burlant as the Call
Boy, Pam Smith and Jana Hnilicka
as the gladiators, and Frances
Cassebaum, Lee Cooper, and Sar-
ah Pattison as the Christians. Di-
rector Connie Schaar, whose only
fault was letting the actors hide
at the sides of the stage too much
(for the dragging tempo was prob-
ably only the result of general ner-
vousness), ‘Stage (Manager Liz
Williams, and advisor Ellie Levin-
son were in charge of the produc-
tion.

Pem East Gives.
‘Happy Journey’

by Freddie Koller

The Happy Journey by Thorn-
ton ‘Wilder was Pembroke East’s
entry in the annual freshman hall
play competition. In the Pembrok-
ites’ capable hands the production
lived up to its title—it was indeed
happy.

The play portrayed the journey
of a family of four from Newark
to Trenton, their reactions to each
other and the changing scenery,
with most of the action taking

| place in the car (two chairs on the

floor and two on a box represent-
ed the car). With almost no scen-
ery or props available an added
burden was placed on the actors.
All of them were, however, quite
proficient at pantomimie; a great
deal of the comedy in the play re-
sulted from the gyrations of the
family en route with stops for a
funeral, hot dogs, etc.

Mother Outstanding

Ann Kneeland was particularly
good as Mother. She was the dom-
inant character—the pivot about
whieh the rest of the family re-
volved. Although she -couldn’t
quite pass for the “old bag of bones

from Newark” she proclaimed to|

ibe, Miss Kneeland was skillful
enough and the audience didn’t
really mind the fact that mother
and daughter appeared to be the
same age.

Pa “Resigned”

iPa, in contrast, was less loqua-
cious and seemed resigned to his
“lot in life’—Kathy Middleton
conveyed this nicely. Penny Pot-
ter added able support as (Caro-
line, and Judy Brown as Arthur,
the mischievous younger (brother,
was highly amusing.
playing Beulah the older daughter,
had what was by far the most seri-
ous role in the play. She handled her
assignment successfully, manag-
to elicit the proper amount of
sympathy from the audience dur-
ing the last scene. The cast was
rounded out by Joan Paddock as
the man in the garage (she yn
ly pantomimed the adding of
ter to the radiator) and Shirley
van Cleef and Sue ‘Potter as off-
stage ‘voices.

Tempo Slows Down

The play seemed to slow down
a bit im the middle, but fortunate-
ly the actors were able to speed
up the tempo and finished strong-
ly. In any case this minor diffi-
culty did not in the least decrease
the audience’s enjoyment of the
production.

Congratulations are in order for
the director, Susan Schroder, and
for the actors ‘who so successfully
captured the spirit of The Happy
Journey with delightful results.

Willa Dawvis,.

conditional





Eprror’s Nore: Unmentioned~
elsewhere, but definitely to be
‘credited for their part on the
production end of the freshmen
hall plays are Sue Chaffee, gen-
eral director; Barbara Toan,

Make-up; and Ellie Levinson and
Marianna Pinchot, lights.

“Un-Kick Chorus”

Renders Narrative
With Adaptations

by E. Anne Eberle

East House, Infirmary, and Col‘
lege Inn combined to bring on a
tunic and tight-clad kick chorus
which did not kick, but did repre-
sent a very clever adaptation of
Ludwig Bemelmans’ “Madeleine.”

Realism was represented in the
play_by—real’live-ivy onthe -cur-
tain at the beginning, to represent
a dorm, and at tthe end by a noble
recreation of (Mr. Miserable, com-
plete with lantern. -Im between,
symbolism twas the thing—(un-
dressing was accomplished iby mod-
estly removing tunic-belts before
bedding down, at which time a male
sigh was heard in the back of the
audience).

With a ten-hour rehearsal limit,
narrated plays are very practical,
and the narrating in this one was
well done, coordinated with the
almost-precision action of the non-
kicking chorus, and especially well-
joined with the few speaking lines
by people in the play.

Lines Not Lengthy







Since there were no lengthy
lines for anyone to learn, those
breathless blanks in memory were
eliminated, and since the focus
on any one character in the line
lasted only a few secofids, no high
drama or lack of it was risked.
The title-actress herself disap-
peared up the darkened aisle of
Skinner midway through the play
and only reappeared at the very
end—no prima-donna here.

Perhaps satire on Bryn Mawr
themes is a little oft-repeated and
considered a sure way for a laugh,
but they did get the laughs, and
three weeks is hardly enough to
learn of former attempts at local
humor. East House & Co. cer-

| tainly did a good-job-of-represent-1-

ing the dither resulting from the

frantic communication of ‘ward-

ens, managers, presidents, etc. in
Continued on Page 4, Col. 1

|Radnor Manages

Scottish Brogues

by Freddie Koller

The Old Lady Shows Her Med-
als was Radnor’s offering for Sat-
urday evening. ‘Despite the fact
that this play is a very familiar
one, the Radnorites, by virtue of
their excellent performance, gave
it a new dimension. Credit for
such a fine showing belongs alike
to director (‘Ann Witman) and
cast.

‘Cynthia Rosenberg showed her-
self to be an accomplished actress
in her portrayal of Mrs. Dowey;

“lIMiss Rosenberg was able to cap-

ture the spirit of her character
successfully and then transmit it
to the audience. She also de-
serves credit for her mastery of
the difficult highland accent; this
added a note of realism to the pro-
duction.

Kelly Shull, playing Kenneth
Dowey, the orphaned highlander
who at first resents and then final-
ly welcomes (Mrs. Dowey’s at-
tempts to adopt him, was almost
as good, Miss Shull’s character
evolved; she was able to commun-
icate the character’s early appre-
hensions and thenfi finally, his un-
acceptance of Mrs.
Continued on Page 5, Col. 5

a aa

Pem West Attacks Moliere with Glee,

Stylized ‘Precieuses’ Joyful but Jerky

by Lois Potter

In the final performance of Fri-
day night, Pem (West proved that
Les Précieuses can be as Ridicules
in English as in French, To point
up the timelessness of (Moliere’s
pen-pointing of human _ foibles,
stage manager Sam Miller left the
stage timelessly, spacelessly, scen-
erylessly bare, and decked the act-
ors in delightfully fantastic cos-
tumes—the ladies, in particular,
looked like a cross between Colom-
bine and a modernistie mobile.

Cutting Beneficial

The play was well translated
and judiciously cut, but perhaps it
might have been helped by further
cutting, so that the actors could
have’ spent less time on learning
lines and more on speeding up
their tempo, which dragged to-
wards the end. -It was evident,
certainly, that the direction (An-
nette Eustis, ’63, Bee Kipp, ’61,
and Trudy Hoffman, ’60) had been
more than competent—but it was
too evident: the actors were still
in the marionette stage, and their
movements often seemed to be the
result of an invisible jerk on the
strings. A few more rehearsals
would probably have given them
enough polish to carry off the high-
ly stylized acting more smoothly.

The two rejected suitors, Du
Croisy and De Grange, suffered
less from this jerkiness than most
of the rest of the cast, though
they had the advantage, in their
opening scene, of an uncluttered
stage, Abby Thomas in particular
showed a glittering command of
gesture, expression and movement
which, when contrasted with Deb-
by Goldberg’s quiet, rather cynical
manner, -started the play off in
dashing style.

Mascarille Important

The success of Les Précieuses
must depend, inevitably, on Mas-
carille, and Betsy Fox who, to be-
gin with, looked exquisitely like a
17th century fop, romped through
the gaudy role with the enthusi-
asm it deserves. Under the cir-

cumstances, it is obviously irrele-|-

vant to object that Mascarille is
too effeminate a character to be
played by a girl.

‘Laura ‘Schneider and Roberta
Downs made the two précieuses
alike in their silliness but different
in character. (Roberta, as the more

précieuse of the two, was charm-
ing in her long speech about the
“adventures” of love, and turned
out to be as graceful as picking

her less talkative cousin, Laura
uttered every banality in a deep
passionate vocie (rather like a/hun-
gry lioness about to spring’on the
conversation) and made Aer sli-
ences almost audible.

Solid Characterizations

Jodelet (Kitty “Murphy) and
Georgibas (Banbar Bizur) did their
best to establish solid character-
izations within the narrow frame-
work of their lines. Crabby, bour-
geois old age proved. too much for
Barbara to suggest, though the
belligerence of her manner was
quite agreeable. Much of Kitty’s
(part had been (understandingly)
cut, but she made up for that with
a quiet sympathetic look which
seemed—not realizing that Mas-
carille was having the time of his

Continued on Page 5, Col. 1

Denbigh Apollos
Amuse Reviewer

by Isa Brannon

The Apollo of Bellac is a com-
edy which revolves around a very
simple theme: that all men are
handsome; but the play is by no
means a simple one to present.
However, Denbigh and the Dean-
ery did an admirable job of acting
out the Giraudoux piece on Friday
hight.

The story revolves around a girl
named Agnes, played by Alex Ut-
goff, who is trying to find a job.
As she moves up through the hier-
archy of a large company, she win-
somely tells each man that he is
handsome. Although Alex’s man-
ner was very unassuming and sim-
ple, she capably delivered many
funny. lines, such as her assertion
that she could not practice her line

mustache.” (Following this was

tache.

Another factor contributing to
the credibility of the piece was
that none of the men was hand-
some. The reason for this is that
as a rule girls,- however attired,



Continued on Page 5, Col. 2



Alter-Egos Blend with Poised Selves
To Insure High Level in Merion Play

by Marion Coen

Perhaps the nicest aspect of
Merion’s Overtones is that. it was
underplayed. Lest this sound like
a somewhat negative compliment,
let it be remembered that overplay-
ing is probably the greatest pitfall
of the amateur actor and a drama
that is underplayed is generally
played very well indeed.

Setting the tone of the produc-
tion at the evenly high level which
it sustained throughout, Mangaret
Cardwell (Harriet), from her open-
ing parries with her shady self to
her verbal ping-pong over the tea
table, combined a completely un-
freshman-like poise with a surpris-
ing degree of dramatic wit.

Marjory Hilbert, (her electrical
alter-ego), must be lauded for re-
markable restraint in playing what
might have been a horrendously
heavy role. She handled the role
gracefully and followed Harriet
so artfully that by the end of the
one-act presentation they had ac-
tually begun to look alike...

Julie Heileman (Margaret), al-



in her delivery, presented a good
interpretation of the proud, if fam-
ished wife, and created with some-
what stock lines a highly believ-
able character. Fused with her in
the image of the viewer almost to
the point of indistinguishability is
her second-self, Gail Levy. Like
Marjorie Hibberd, Gail must be
commended for this adaptability

to the mold and manner of the -

more decorous self. Though her
pitch was rather unrelievedly rau-
cous, her carriage and stage move-
ment more than aaa: as
tools of expression.

Unreservedly, however, the pees
exemplary feature of Overtones
was the staging and costuming.
The tea scene in which the navy
and white-clad ladies exchanged
pleasantries flanked by their bawd-
ier counterparts in more vibrant
hues was cleverly and artistically
contrived. ‘The silent, black-clad
spectators (Jane Kennnison, Mary
Ann Amdur, Susan Erskin) added
without distracting. Credit and
plaudits for direction must go to
Karen Mellinger and advisors Judy



though slightly flat and too even



Nn re a a



Stulberg and Nahma Sandrow.



_—

r

up dropped lines as Mascarille was...
at picking wp her handkerchief. As

on a statue because “He has a -

her consternation when one of the .
officials appeared with a mouse _____




SY |

Page Four

THE COYLEGE NEWS

Wednesday, October 14, 1959



May Day Inspires
Madrigal Singings

by Catherine Lucas, ’61

In the spring of 1959, in keeping
with the medievalism of May Day,
there was born the hope for a Ma-
drigal singing group of Bryn Mawr
and Haverford students. Dave Ro-
senbaum, ’60, Toby Langen, ’61,
and Catharine Lucas, ’61, laid the
groundwork at that time.

As the idea was publicized, the
innovators discovered three con-
current plots in the embryo stages,
and efforts were combined. All
fears of failure passed when we
found thirty-seven voices eager to
audition for the twelve-voice group.
Eighteen students have been noti-
fied of acceptance, but there will
be changes before the final group
emerges, because of difficulties in
scheduling a rehearsal time,

The group will sing together
one hour a week, for its own en-
joyment. “Our repertoire will be
Elizabethan and Medieval Court,
Church, and Countryside music.

The Madrigal Singers were rot
onganized with the idea of per-
forming, but rather_for the sake
of the members, who will . togeth-
er choose repertoire and decide
whether or not to prepare eventu-
ally for the public if the occasion
should arise.

“Madeleine”

Continued from Page 3, Col. 3
Self-Gov’s ‘Chain Reaction Plan
to nab wandering students after
2:00.

The director and her green-clad
cohorts are to be praised for an
enjoyable performance and ‘should
never have offered any apologies
to: (Mr. Bemelmans.



e
Notice
The College Bookstore would
like to remind students that the
deadline for free exchange or
return of new textbooks is
Monday, October 19.









In Quita Woodward Room, Alumnae Authors
Discuss Their Work, Bryn Mawr Experience

More activity than the Quita
Woodward Room has seen for
years took place last Sunday after-
noon. In the first event of the
anniversary year since the convo-
cation, a display of books by Bryn
Mawr authors, which will be up
until Christmastime, was officially
opened.

The work of Miss Agnew and
Mrs. Nahm in assembling this col-
lection unearthed the fact that
there are about 300 Bryn Mawr
authors so far, who have produced
about 1500 ibooks—exclusive of
their astronomical number of pam-
phlets, translations, articles, and
newspaper writing. Thirteen liter-
ary prizes, including one Pulitzer
and one Nobel Peace Prize, have
also been awarded to Bryn Mawr-
ters,

Mrs, Manning Presides

‘Mrs. Helen Taft Manning pre-
sided and introduced three Bryn
Mawr authors who spoke about
their writing and about what they
owed to BMC.

The first of these was Mrs.
David Acheson, who has taught
American history and written
books on the subject for young
people. Mrs. Acheson majored in
European history while she was
here and later found that teachers
of American history were in far
more demand, so “I learned Amer-
ican history after I went to Bryn
Mawr,” she says, “but I knew how
to learn it because I had been
here.”

Ideological Enemy

She feels that we have today
not so much a military enemy as
an ideological one and that it
is a time to be conscious of our
past. “People who don’t know
what they’ve got are no match for
people who do,” she emphasized.

The most practical way Mrs.
Acheson felt she could help peo-







ple to “know what they’ve got” was
to write history for young people,
who are much more receptive at an
earlier age than most people sus-
pect. She is currently working
on a book explaining the Supreme
Court, “which is always presented
to everyone under 30 as a complete
mystery.”

Mrs. Vining Follows

The second author-speaker was
Elizabeth Gray Vining, perhaps
most noted for “Windows for the
Crown Prince.” Mrs, Vining said
she came to Bryn Mawr with the
knowledge that she twanted to
write and that a writer’s prepar-
ation and a choice of subjects are
what she found here.

“T ‘took all the English courses
I could, enjoyed them, and forgot
a good deal,” she says. She feels
that English Composition was her
most valuable course; it was
taught. with what she called the
“professional, rather than academ-
ic’ approach. She remembered
getting back a paper with no grade
on it at all, and pencilled at the
bottom, “One of spring’s occasion-
al lapses, I take it.”

From Latin Mrs. Vining got a
feeling of the structure and deli-



cacy of language. “Clarity and
lucidity are rather out of fashion
right now,” she says, “but I think
they’ll come {back.”

Mrs. Vining has a children’s book
set in Japan coming out this fall,
and one for adults in the spring.
This will be all on Japan for. a
while, as she has five novels on
her mind.

She finished by referring to the
College’s motto, Veritatem Dilexi:
“Education is essentially a search
for truth. The seeking itself is
good, and worth a lifetime of loy-
alty.”

The third speaker was Mrs. Jos-
ephine Young Case, “a poet, a real
poet,” as (Mrs. Manning introduc-
ed her. (Mrs. Manning mention-
ed that Carey Thomas had long

been looking for poets before she

discovered the first, Marianne
‘Moore—“The ‘Cloister was built
so poets could walk up and down.”

Writers Born

‘Mrs. Case, like Mrs. Vining,,
knew when she came here that she
wanted to write, and thus com-
mented that being. a writer is in
a sense born in. ‘“‘But being a poet
is the result of some flaw—incur-

Centinued on Page 5, Col. 5

Objective Views
To Be Discussed

A lecture concerning “The Basic
‘Principles of Objectivism” will be

(Houston Hall Auditorium of the
University of Pennsylvania..on a
}date in the near future set tenta-
tively as Tuesday, November 17,
at 8:30 p.m.

(Mr. Brandon, a psychologist, is
the major exponent of the philos-
ophy called “objectivism”— which
has been defined by Ayn Rand in
her books The Fountainhead and
Atlas Shrugged. The lecture, which
is sponsored by the “Pennsylvania
‘Literary Review,” will be followed
by a symposium led by members
of the University faculty from
the economics, philosophy, jpsychol-
ogy, and American civilization de-
partments.

In Miss Rand’s terms, the ob-
jectivist movement has among its
principles the belief that “reality
exists as an objective absolute,
that reason is man’s means of per-
ceiving it, and that morality is a
rational science.” The movement
deals with the “concept of man as
an heroic being, with his own hap-
piness as the moral purpose of his
life, with productive achievement
as his noblest activity, and reason



as his only absolute.”



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"

Wednesday, October 14, 1959

THE COLLEGE NEWS

Page Five



Pem W-Moliere

Continued from Page 3, Col. 5

life—to assure him that their or-
deal with the young ladies wouldn’t
last much longer. Out of charac-
ter, perhaps—but a nice touch.

Special notice should be taken
(and was taken) of Amy Chapen
as the slatternly comic maid, and
Susan Stephenson as the servant,

not heard but certainly seen. The
rest of Pem West, in a splendid
burst of hall spirit, filled in the
minor parts of chair bearers, mu-
‘sicians, dancers, and—so—on.





New Fall Clothes Demand
A New Hair Style
See
The VANITY SHOPPE
For Yours









_ Denbigh Deanery Present “Apollo”

Continued from Page 3, Col, 5

do not*create very attractive boys.
In this play they were at least
convincing, especially Donna Mil-
vanwhoplayedthelittl nm. When
Donna told ‘Alex that’ she must
have a new metaphor instead of
comparing every man to Rodin’s
“Thinker”, she snapped her fingers
and presented the fictiortal “Apollo
of Bellac”’ as if she had just
thought of it herself. Her extreme
stage presence showed through
especially well when she forgot a
line and dida_little jig around the
stage until she had recovered her-
self,

Another good male character
was the clerk, played by Leslie
Hartley. His gyrations while ad-
miring his shadow, his haughtiness
upon announcing that “no one sees
the Chairman”, (while people
trooped by into his office) and his



servility when presenting his su-
periors, all contributed to make a
very convincing impression.

The very fact that there were
So many characters gave the play
its only impediment. Not only is
Skinner not conducive to large
casts, but also ten hours of re-
hearsals are not enough to polish
a scene with a large number of
characters, such as the scene with
which the play ended. But this
section does contain two of the
brightest characters and some of
the cleverest lines in the comedy,
such as “If he were the richest
man-in the world I would still tell
him he was handsome” and “What
you’re trying to say is that your
features are ugly, but the way
they go together is beautiful.”

The two outstanding personages
presented here are the president
and his wife (Jane Goldman). The
president was dressed in a three-

piece suit and then, incongruous-
ly, a pair of glaring red socks.
Therese provided a touch of glam-
or in her slinky black dress.

The overall effect of the play
was smooth and amusing, thanks
to well-integrated casting, simple
props, and the direction of Lind-
say (Clemson, and the management
of Anita de Laguna.



Scottish Brogue

Continued from Page 3, Col. 3

Dowey. Miss Shull also adopted
the highland accent which, al-
though it caused her a few mo-
ments’ discomfort, nicely balanced
Miss Rosenberg’s,

The various supporting charac-
ters, Mrs. Mickleham, Mrs. Haf-
ferty, Mrs. Twymley, and Mr.
Willings, played by Jo Smith, Cyn-
thia Gardner, Madelaine Barker,



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and Helen von Raits respectively,
were more than adequate. The tea
party in the first scene was high-
ly amusing; one of the characters
attempted a cockney acent with
creditable results.

Perhaps the most serious hind-
rance to the play was the frequent
drawing of the curtains to show
the passage of time. At one point,
a part of the audience left their
seats thinking the play was over

rand, upon discovering there was

more to come, hurried back. The
net result was a disturbance for
audience and actors alike. Unfor-
tunately, these pauses lent a kind
of discontinuity to an otherwise
fine production.

BMC Authors

Continued from Page 4, Col. 4

able, constantly painful, never
quite fatal.” (She said that a poet
requires nourishment “as a silk-
worm needs an awful lot of mul-
berry leaves”, and Bryn Mawr, es-

pecially the professors she assoc-
iated with it, provided that nour-
ishment,.

“Writers must have tools, a
channel of direction, and a sense _
of the flow of literature . .. there
was the pleasure of reading and
reading and reading. One became
aware of the color of scholarship
—not only deep but humane, and
there was a-constant exposure to
good writing.”

Mrs. Case feels she owes the
greatest debt to Greek, which was
her major. She read Aeschylus
and Homer and Sophocles—“They
were giants, and I rwas terrified of
them in those inevitably tiny
Greek classes.” But Greek was
conveyed to her in something be-
yond scholarship: excitement, which
she feels people still get here.













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Page Six

THE COLLEGE NEWS

Wednesday, October 14, 1959



Juilliard Quartet Review

Continued from
aspect of their performance which
most impressed me was not that
the individual players managed
their instruments masterfully and
musically, which indeed they did,
put rather that they seemed so en-
tirely grown together as a group,
as a quartet.

Although my rathér extraordin-
ary listening position renders any
comment as to balance within the
quartet of dubious value, I was
able to appreciate the subtlety
with which the relation of the
four instruments changed accord-
ing to the style of the music being
played. In the Mozart, generally,
there is only one part of particular
melodie interest at any given mo-
ment. Usually this is the first vio-
lin. The Julliard quartet, while
recognizing this natural. emphasis,
also sought out parts moving to-
wards a modulation in the accom-
panying instruments and the fre-
quent interplay of statement and
answer between two instruments.

Variations Less Interesting

I found the Mendlessohn Varia-
tions and Scherzo less interesting
than the rest of the program, but
they did provide a most welcome
spotlight on the activities of viola
and cello.

In Schubert’s Quartettsatz the
mood ranges from ethereal calm

Notice

The Student Christian Move-
ment, holding open meetings every
Sunday at 4:00 in the Converse
(House of the Bryn Mawr Presby-
terian Church, will begin a series
of six meetings on “Religion and
the Fine Arts” this Sunday, Oct.
18, Dr. J. R. Despardins, of Hav-
erford’s philosophy department,
will give “An introduction to the
general problem of seeking religi-
ous expression in the Fine Arts”.

Following Dr. Desjardins in the
series, four speakers will discuss,
on consecutive Sundays, the rela-
tion which pertains between reli-
gion nda fi onoefldeETAOINO
gion and one field of art. Mr. Rob-
ert Butman of Bryn Mawr and
Haverford will consider drama no
Oct. 25; Dr. James W. Fowle, of
Bryn Mawr, painting, on Novem-
ber 1; Dr. Marcel M. Gutwirth of
Haverford, literature, November 8;
and Dr. Andres Briner, of the de-
partment of music, the University



“of Pennsylvania; November 15. |

The series will end wtih a pan-
el discussion in which all of the five
previous speakers will participate.
The panel will treat the general
question: “Can the ‘art forms’ be
considered channels of expression
for ‘religious truth’?” Mr. Robert
L. Horn of the department of Bib-
lical Literature, Haverford, will be
the moderator.

Notice

All manuscripts, whether poet-
ry, esay or short story, which stu-
dents ‘wish to submit to this sem-
ester’s Revue must be in to Joanne
Field in ‘Wyndham by Sunday eve-
ning, November 11.

Nomad Invasions
Continued from Page 1, Col. 5
pects of styles must be discovered
which should be traced from coun-
try to country, for all peoples
hav eentered the Near East with
somewhat chrystillized stylistic

and religious traditions. .

In the ensuing discussion, three
general hypotheses which grew
out of the lectures were establish-
ed for future debate. The queries
to be discussed are these: 1.) Did
the Indo-European culture develop

Page 1, Col. 2

to passionate storm, often encom-
passing these contrasts in a very
few measures. Its performance
was rich and full of spirit, as well
as extradinarily adept technically.

Beethoven wrote his Quartet in
A minor (Op. 232) in 1823 after a
long illness. It has been claimed
by critics that the atmosphere of
the quartet is’ one of suffering,
gradually resolving to convales-
cence and hope in the last move-
ments. This interpretation is at.
least too literal, if not totally in-
accurate, but it is true that the
general feeling of the quartet
‘wavers between the depths of de-
spair and the surgings of attempt-
ed resolution. ‘The four instru-
ments are entirely interdependent,
building together a tremendously
rich and complex thematic struc-
ture, all derived from or reminis-
cent of the simple musical germ
with which the Assai Sostenuto
opens.

The Julliard quartet used all] its
considerable means of precise tech-
nique. and flexible expression to
bring out the full emotional poten-
tialities of the movement and to
tialities of the Adagio movement
and to show the versatility of
which the string quartet—to my
mind the supreme musical medium,

is capable.

Woodwind Quintet

Continued from Page 1, Col. 5



ture and will include in his sur-
vey a demonstration on the bas-
soon. Both workshops are. to be
held in the Music Room.

-The concert will feature Bach’s
Sonata No. 5 in E minor for flute



Travels

Continued from Page 2, Col. 5

people in the hotel, decided that
for-once I would be the first to
mention it. I said casually with
an air of magnaminity which prac-
tically choked me, “Isn’t it won-
derful, now you have a rocket on
the moon?” They all laughed hys-
terically and said, “Oh, well, that’s
science, we’re English majors!”

My generalizations have all fad-
ed away ibut one thing remains
constant, a happy remembrance of



and continuo, with Mr. Cole and
Mme. Jambor playing ‘these in-
struments. Also in the program
will be Poulenc’s Sextet for Piano
and Wind Quintet, a Quintet for
Winds by Antonio Rosetti, and

Jother Quintets by Alvin Etler and

the Russians’ inexhaustible curi-
osity and a wonderful ability to
confuse.

Neall Room
Continued from Page 1, Col. 2

a way to save wear and tear on
the Dorothy Vernon Room,” which
Miss Thomas furnished after a
room in Dorothy Vernon’s castle
in England.” The heavy furniture
and oriental rug make it difficult
to have a dinner party of consider-
able size in this room and the new
Adelaide Neall Room will seat as
many as 50.



Rhoads Players

Continued from Page 1, Col. 4

and Sara Stowell Shapley, the di-
rector, first for their bravado in
choosing such a challenging play
and second their skill in molding
their cast into such magnificent
characters. Sara also designed
the sets and costumes while Betsy
Zubrow acted as stage manager.





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independently and can it be deter-|} _

mined by eliminating influencing
factors of other cultures? 2.) Did
the Indo-European culture, if it
did pervade the whole of the Near

East and India, incorporate aspects

actually an all-



art? 8.) Is there
encompassing culture or just var-
ious Nomadic peoples who gained
in culture from each other?



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