College news, December 7, 1960

i



, called “the paradise lost Of critical

cessful portrayal

a





VOL. XLVI-NO. 8

ARDMORE and BRYN MAWR, PA., WEDNESDAY, DECEMBER 7, 1960

© Trustees of Bryn Mawr College, 1960

PRICE 20 CENTS



“Abrams Details

Advocates “Dogged Literalism”

The irony of Mr, A. H. Abrams’
Ann Elizabeth Sheble Memorial
Lecture, Wednesday, November 31,
in Goodhart, was that while differ-
entiating “Five Types of ‘Lycidas”
he added a sixth—his own explan-
ation of Milton’s poem. The ques-
tion is, is a poem one or many, and
if one, how can you tell which one?
Critics of the past and present of-
fer at least five separate “Lyci-
das’” to choose from.

Hanford, im what Mr. Abrams

innocence,” maintained that “Lyci-

das” was exactly what it purport-
ed to be, an elegiac poem about
the poet’s friend Edward King. It
is drawn on the models of the past,
but the critic was forced to ac-
knowledge two “digressions”: the
poet’s fear that death will take
him ‘before he~has—aceomplished |
his fame, and his warning to the
corrupt English church.

Tillyard, who presents the sec-
ond type of “‘Lycidas”, first made
the familiar critical differentiation
between the nominal and real sub-
ject of a poem, thus splitting it
into two levels of meaning. Mr.
Abrams admitted that this is a
“handy gadget to replace what the
poet said with what the critic
wishes he’d said.” The real sub-
ject of “Lycidas”, says Tillyard, is
Milton himself. The poem is one
of the greatest personal expres-
sions, and its value lies in its suc-
‘of a state of}
mind.

Though Tillyard found the poem’s
value in the power of its personal
revelation, John Crowe Ransom
says that anonymity is a condi-
tion of poetry and that there is
no passion im “Lycidas.” Milton
“mourns with technical piety,” and
the poem is an “exercise in pure
linguistic technique”. Ransom finds
Milton breaking out of this per-
fect impersonality in three indi-
cations: the liberty he took with
the stanzas, St, Peter’s satirical
speech and the shift from first
person to dialogue to third person.
(Mr. Abrams pointed out that free-
dom of verse form, rough satire,



Five Lycidas’

and shifts of speaker are all con-
ventions of the elegy form as -Mil-
ton knew it.) In this “virtuoso ex-
ercise im point of view”, as Mr.
Abrams phrased it, Ransom turns
Tillyard inside out and feels “dis-
turbingly conscious of the* man
behind the poem.”

The fourth type of “Lycidas” is
that of Brooks and Hardy, who
maintain that the poem is_ not
really about King or Milton but
about water, Imagery is the key
to the meaning, an abstract sub-
stance, and Milton is a symbolist

poet who is deeply concerned with
a theme: the place of poetry in a
world seemingly inimical to it.
To prove this thesis, however,
Brooks and Hardy begin by main-
taining that to Milton nature seems
neutral, while the poet actually

|. says_that_nature_mourns_iLycidas. ||

The archetypal version is the fifth
type of “Lycidas”, -This theory
isolates images which reflect agents
of myth, especially of death and
rebirth. The poem is not about
King but about his archetype, iAd-
onis, the rising and dying god. Mr.
Abrams commented that. it’s rath-
er a shock to discover that the
poem is about someone who is not
even mentioned in it,

These five interpretations differ
in essentials, and to combine them
all would be incoherent. Mr. Ab-
rams suggested going back to the
text and reading with dogged lit-
“eralism except where the—poem—is}
obviously allegorical.

His type of “Lycidas” is a dra-
matic lyric, written for the public
ceremonial on the occasion of
King’s death, Milton’s attempt to

Continued on Page 5, Col. 1



PIANO RECITAL

A recital for two pianos will
be given by Horace Alwyne,
Professor Emeritus of Music,
and Agi Jambor, Professor of
Music, Friday, January 6, at
8:30 in Goodhart. Tickets may be
secured from the Office of Pub-
lic Information.









Mrs. Pat Nicholson,

“Shakespeare’s Women” In Life, Plays.

“Shakespeare is a household
word,” begam Mrs. Pat Nicholson,
speaking on “Shakespeare’s Wom-
en,” “yet how much do any of us

really know about his life and his|

work?”

Mrs. Nicholson, a Shakespear-
ean actress, who hails from Edin-
burgh, addressed. an. appreciative:
audience at» the Deanery, Decem-
ber 2. Her talk, sponsored by the
Friends of the Library, included
background and comments on the
bard and short readings from sev-
eral of his plays. 2

“Today,” said Mrs, Nicholson,
“women dominate the theatre from
_ both sides of the footlights, but in
the Elizabethan period no woman
ever took a part in a» draina.
Shakespeare had to depend on
young boys to portray his women.

Actress, Recreates

could memorize them. She also
spoke of the necessity of avoid-
ing physical passion which might
prove ludicrous or offensive.

As an example of Shakespeare’s
success with the latter problem,
Mrs. (Nicholson. read the balcony
scene from Romeo and Juliet, in
which. the lovers never touch, but
in which “the magic of the poetry
is enough to.convince the audi-
ence.” She also noted the small
number of scenes in Antony and
Cleopatra which the two lovers
actually meet. ;

Turning from the poet’s work
to his personal life, Mrs. Nichol-
son described the women who were
closest to him and their possible
effect upon his writing. She sug-
gested that (Mary Arden Shakes-
peare, his mother, who had never)

| one.”

Dramas by Brecht
Force Re-evaluation
Of Modern Society

The “vigorous, enterprising,
juicy” Berthold Brecht and his de-
tached, cynical drama were the
topics of Victor Lange’s lecture in
Goodhart Common Room, Tuesday,
November 29. Mr. Lange has stud-
ied at Leipzig and Cornell and is
now head of Princeton’s German
Department,

Brecht 1s currently one of Ger-
many’s most popular playwrights,
second only to Shakespeare, Schil-
ler, and Goethe. (“No lecture on
German literature can proceed for
more than four minutes without
mention of Goethe-’’)

Anti-Aristotelian

Creator of a “fresh idiom in
drama” Brecht is the most influ-
ential figure in the history of con-
temporary literature. Best-describ-
ed as anti-Aristotelian, Brecht
aimed to detach audience and act-
or from character by the use of
a deliberately impersonal, blasé,
didactic narrative. Brecht at-
tempted to use the dramatic form
to force the audience to re-evalu-
ate itself in relation to society as
a whole.

In conventional dramatic thea-
ter the audience reacts: “I’m just
like this. This human’s suffering
moves me.” Brecht’s audience
should respond: “This is most sur-
prising. This will have to stop.
Nothing here seems inevitable. I’m
laughing about those who weep,
and—weeping—about—those—who
laugh.” He sought to show the pa-
thos of people in a mutable social
situation, rather than the pathos
of people as such,

Political Dramatist

Convinced of the mutability of
society and disgusted with the
evils of capitalism, Brecht used
his didactic drama to advance
Marxist socialism. What had once
been Brecht’s “epic” style, now be-
came his “dialectic.”

“T address you like reality it-
self,” he said, ‘tired of your diffi-
culties, which you seem to be dis-
regarding.” In his zeal use
the drama as a scientific : od
of effecting social change, Brecht
even attempted to turn the Com-
munist Manifesto into hexameter.

De-romanticizing the theatre was
Brecht’s first aim. In his “desire
to chill”, Brecht decorated his
theatre with anti-romantic slo-
gans and posters which stated “we
zannot help you, ourselves, or any-
His love songs always are
used for shock. In Jungle of Cit-
ies, a grotesque series of tussles,
two men fight to show how inter-
esting a fight cam be.

ot
Audience -Deprivation

Playwriting became for Brecht
a form of demonstration. He de-
liberately deprived the audience of
the suspense of seeing how. the
play would end by stating, the
course the action would take at
the beginning of each scene. The
audience was thus free to concen-
trate on the developing action. The
plots and scenes themselves were
not to be® complete, but should

Russian Chorus Entertains
As Highlight Of Weekend

by Janice Copen

The class of 1963 has been gaining a reputation for breaking tradi-

tion.
at Bryn Mawr.

Last weekend the sophomores Proved “that innovations can work

wre

Having unsuccessfully attempted to put together a Maids’ and
Porters’ Show, the class imported the Yale Russian Chorus to provide
the main entertainment Saturday night, and to set the tone for the

weekend,

Friday evening began with enthusiastic support at a square dance
in the gym. Traditional American dances were followed by folk dances

from other nations.

A group from Hillel Organization at Brooklyn
College taught some Israeli dances.

The international atmosphere

was maintained at the Hoot in ‘Applebee Barn which followed the

square dance.

The high point of the weekend was, of course, the Yale Russian
Chorus which performed Saturday evening in Goodhart. They’ sang a -



Cochran Lectures
On Culture’s Role

In Economic Rates.

“The fundamental problems of
economic development are not
economic,” Thomas ~C:~-Cochran;
Professor of History at the Uni-
versity of Pennsylvania, said in
the Mallory ‘Whiting Webster Lec-
ture on Monday evening, Novem-
ber 28. Im his lecture entitled
“Cultural Factors in Economic
Growth,” Mr. Cochran proceeded
to prove that cultural character-
istics play an important role in the
economic development of a nation.

An example of the effect on ec-
onomic growth of cultural factors
is the importance of the family
unit in Latin America. The fath-
er generally takes his domestic

‘Tesponsibilities seriously, and often

sacrifices his busifess to his fam-
ily. There is also the Latin Amer-
ican concept of individualism as
“a unique inner quality, divorced
from all exterior motives.”

A United States entrepreneur
usually has an impersonal confi-
dence in his employees; a Latin
American, however, finds it diffi-
cult to view his staff objectively:
He feels he cannot trust a man
unless he knows -him personally.

In addition, Latin Americans stress | _

the importance of personal dig-
nity, and often avoid risky ven-
tures for fear of personal humili-
ation.

Many Latim American business-
es are managed inefficiently. The
chief fails to delegate authority
to his subordinates, and conse-
quently has to make all the deci-
sions himself, Mr. Cochran de-
scribed the futile attempt of a
United States efficiency expert to
renovate the administrative system
in a Buenos Aires factory. At the
end of a year, the plant was in
chaos. No one knew what to do
with his newly delegated author-
ity. “Engineers are doing shop
work ... ” wrote the harassed
efficiency expert.

Latin American entrepreneurs
often are not receptive to advanced
technology. United States busi-
nessmen, on the other hand, a
quick to absorb new technique;
Communication of ideas has\been

an important .cause of economic

growth in the United States.

In concluding, (Mr. Cochran re-
minded the audience that the pur-
pose of his lecture was not to crit-
icize Latim American business, but
rather to show the influence of

variety of Russian songs including
the powerful hymn, “Praise the
Name of the Lord,” the sweet and
gently flowing “It is not the Wind
that Bows the Branch,” and the
quick and tongue-tripping ‘“Kal-
inka.” Although many people: in
the audience could not understand
much more than the words to the
‘well known, “Song of the Volga
Boatmen,” everyone appreciated
the magnificent voices in the cho-
rus and the enthusiasm with which
the men sang. A special tribute
should be given to the conductor
who did an excellent job.

Besides giving four encores at
the performance, the chorus sang
again at the dance, Tansoolka,
which was held in the gym follow-
ing the concert, The Brym Mawr
Octangle and the Haverford Octet
also performed. The River Road
Seven from Bard College provided
the dance music. pig.

Rachel Brown and Angel Shrode,

-sophomore—representatives—to—Un-— ae

dergrad, organized the weekend.

Judy Deutsch was in charge of
tickets; Julie Heilman and Margie
Hibberd did the publicity.

Choruses to Sing,
Do Carol Service;
Minister to Speak

‘Members of the Bryn Mawr Col-
lege Chorus and the Haverford
College Glee Club and Instru-
mental Ensemble will appear in a
traditional pre-Christmas service
sponsored by the Interfaith Asso-
ciation, December 11 on Goodhart
stage, The program will feature
the Reverend Andrew Mutch, D.D.,
Minister Emeritus of the Brym
Mawr Presbyterian Church, who
will read the Christmas story.

Led by Robert” Suderberg and
William Reese, the musical groups
will perform a number of selec-
tions among which, according to
Mr. Suderberg, the Ceremony of
Carols is particularly worthy of
attention. .

The order of the service is:
Brass Music

Haverford Brass Ensemble
A Ceremony of Carols s

Benjamin Britten
Members of Bryn Mawr College
Chorus

Soloists:

Marian Willner, Contralto

Anne Witman, Soprano

Susan Goodman, Harp
Brass Music

Haverford Brass iii
Christmas Cantata: In dulci jubilo





Thus very. few of Shakespeare’s
plays are carried by female char-
acters.”

The actress explained that fe-
male roles had to be limited in



length so that boys under fourteen |

®

been very dear to him, appeared in
the person of Hamlet’s mother,
Gertrude. She saw allusions to
Shakespeare’s marriage with Ann
Hathaway in the. sonnet “Let Me
‘Continued on Page 6, Col. 3-



challenge the. saudience, In The
Good Woman of S the end is
not certain. The character

challenges the audience, “There
must be some good end that would
fit. Good friends, let us look for
$2”. . 2



‘eultural characteristics on econ-

omic growth. Mr, Cochran said
that in recent years economists
have done a great deal of research
on the interrelation of cultural and
Continued on Page 5, Col. 3



B. Ph. Telemann :
Mixed Chorus, instruments
Soloists:
Shirley Van Cleef, Soprano
Marian Willner, Contralto

_. Mare Briod, Bass

aR REEREEEE EER






S

Page Two

THE COLLEGE NEWS

i

Wednesday, December 7, 1960



Some Local Respunsibilities

Last week the United States Military Academy at West
Point held its twelfth annual Student Conference on United
States Affairs, for the purpose of examining national secur-
ity policy and providing students with an appreciation of the
complexities of policy formulation. Although it is the happy
prerogative and general practice of students to judge policy
makers and censure them for lack of foresight, boldness, and
imagination, nonetheless, this conference produced not the
usual gay round of verbal assault on Senate and State De-
partment, but amazingly enough, the complete reverse. While
allowing student delegates opportunity for critical examina-
_ tion of government procedures, it at the same time pointed
up, indirectly but dramatically, three distinct areas of for-
eign policy formulation in which they as students have a re-

sponsibility distinct from and surpassing that of the gad-fly. |'

The few hours of playing policy-maker and working
within the narrow limitations imposed by his power to exe-
cute, demonstrated as little else could just how essential it is
that students meet the first of these academic responsibilities.
While the professional policy maker must discard what may
be potentially good ideas because of difficulties involved in
their implementation, the student, in spite of or because of
nis lack of freedom to execute is free to transcend the limits
placed by expediency on the practicing politician and expand
beyond the bounds of the obvious. A sufficient number of
ideas (by definition of the term sufficient) will inevitably lead
to the translation of some into action; while the policy maker
tussles with the implementation and evaluation of existing
schemes, it is the responsibility of the student to keep up a
steady supply of new ones.

The second area of academic responsibility, one for which
the student qua student is even more directly answerable, is
the grand-scale study and analysis of social and political
situations in the United States and abroad. Though certain-
ly not a new demand, it was brought forth with a shocking
clarity in both the discussion sessions, where the number of
unknowns in any given problem became painfully apparent,
and in the closing address delivered by the Honorable Dean

Rusk at the final banquet. This responsibility for providing
policy makers with what they need to know of the values, |

mores, and institutions of newly emerging and underdevelop-
ed nations particularly, and for thinking through the com-
mon human denominators upon which a viable world com-
munity can be based, was stressed by Mr. Rusk, now Presi-
dent of the Rockefeller Foundation.

Finally, the three days of grappling with the issues and
nearing the experts was enough to make crystal clear what
everyone knows but few realize; that is, that the people in
the next few years who must teach in the schools, work in
the hospitals, and build the bridges in underdeveloped areas
throughout the world are not a distant and mysterious set
of the dedicated, but rather, we ourselves. The policies, pro-
grams, and ideas that must be put into play to meet the Com-
munist challenge in emerging nations are completely in our
hands. Our own preparation for facing up to and handling
this awesome task is then, the third and possibly the most
important of these academic responsibilities.



In spite of rumors to the contray, there is no sign of
a flu epedemic anywhere in the world at this time. How-
ever, for those who would still like immunization, the in-
firmary will offer ‘the innoculation at regular dispensary
hours. The price for a booster is $1.00, but there is no ad-

ditional charge for those needing two shots, the hardy



souls who survived last winter without one.







THE COLLEGE NEWS

FOUNDED IN 1914
Pubiisned weekiy during tne College Year (except during
Tnanksgiving, Christmas and Easter nolidays, and during examina-
tion weexs) ‘in tne interest of Bryn Mawr College. at the Ardmore
Printing’ Company, Aramore, Pa., and Bryn Mawr College.
The College News is fuliy protected by copyright. Nothing that appears
in it may be reprintea wnoliy or in part witnout permission of tne Editor-in-Chief.

EDITORIAL BOARD



ES SESE mE Ae SUES SOG TETAS ESSE Marion Coen, ‘62
RN NE ii vkss sc cccees esis stsssrsbcsgetacens Kristine Gilmartin, ‘63
Do Or re rrr ren er ON Isa Brannon, ‘62
PO I, csv ek c ose cece es becrseseeeerecseeyacees Suzy Spain, ‘63
WU I oi Scab s cc cihebsecedeeresevesuceeces ws. Judy Stuart, ‘62
Member-at-Large ............. ey kha e es hoc e ss ius Alison Baker, ‘62

EDITORIAL STAFF '
Janice Copen, ‘63; Helen Angelo, ‘63; Berna Landsman, ‘63; Judith Bailey, ‘63;
. Wanda Bershen, ‘64; Ellen Beidler, ‘64; Caren Goretsky, ‘64; Helen Levering,
‘64; Rosabeth Moss, ‘64; Ellen Rothenberg, ‘64; Sally Schapiro, ‘64; Arlene
Sherman, ‘64; Jo-Anne Wilson, ‘64.
BUSINESS BOARD

I NN iso cncsk op ech e ted ee tee whee cbaccces Judith Jacobs, ‘62
Associate Business Manager... 1... 2.6.6 cece cece eee Nancy Culley, ‘63 «
Staff Photographers ............... Jean Porter, ‘62; Charlotte Brodkey, ‘62
ici kos ese lisetccccceebes Margaret Williams, 2
I MR asa ec ieee nase ssevesentocbscnver Robin Nichols, ‘
NT rr eee Susan Klempay, ‘63

BUSINESS STAFF

Anne Davis, ‘61; Ann Levy, ‘61; Nancy Wolfe, ‘61;

Nancy Culley, ‘63; Martha
.Learsaon, ‘63; Sharon Mossman, “63.00



Students Discuss —
Africa’s Situation,
Wish For Freedom

“It is impossible to understand
Africa today without knowing
what has made it that way”, said
Wamere Mwangi, BMC sophomore
from Kenya, at the’ Current Events
discussion Monday night. By
sketching briefly the original Euro-
pean trade routes around Africa,
Wamere gave the patterns of col-
onization, from which the twenti-
eth century is feeling so many re-
percussions.

The partitioning of Africa, de-
cided by a British convention in
the late nineteenth century, de-
pended upon the nationality of the
original white settlers. The re-
sulting partitions gave way to the
protectorates and territories which
the Africans are so desperately
anxious to abolish. The white set-
tlers changed the existing tribal
cultures by introducing Christian-
ity, European languages, educa-
tion, fashion. ‘Worst of all,” said
Wamere, “they took our land, And
if the Africans didn’t have land,

what did they have?”

A growing desire for the land,
and for freedom from European
government, has resulted in what
Wamere terms “the time to say
no”, Everyone in Africa today is
talking politics; all are burning
with national pride. As Wamere
said, “We are troubled and strug-
gling”’.

Jan Douglass, ’61, talked about
West Africa, which she visited
this summer as part of the Cross-
roads Africa program.

has brought many new advantages
and problems. Education, public
works, the cities and the status of
women have improved consider-
ably, but Jan noted that many .old-

er Africans fear their cultural
heritage is being submerged. Many
young people, Jan said, are break-
ing with their families and going
to the cities to work, as the new
movements accent the differences
between the generations,

Many of the American mission-
aries, tourists, and in some in-
stances the government officials,
have made grave mistakes in
Africa. Jan quoted a missionary
who was heard saying, “I didn’t
come here to love these ‘people,
but to preach the gospel.” Also,
African papers carry news stories
about America which we think
don’t get beyond our borders. This
is especially true of instances of
discrimination, as the African
identifies with the American Neg-
ro. “However”, Jan said, “there
is not really an anti-white feeling
in West Africa”. Though we are
closely linked with colonialism,
which may prove very harmful in
our dealings with Africa, we have
participated in some of the pro-
grams which are providing Africa
with the assistance she needs, The
teacher and student exchanges are
particularly good, as is the’ tech-
nical aid. 0

Letter to the Editor

Sons of BMC Alumna
Donate ‘Gambling’ Gains

To Foster Parents Fund
To the Editor of the College News:

We have been following with
great interest your recent alarums
and excursions re Foster Parents’
Plan, and my three sons and I
would like to contribute the en-
closed check for $8 to the student



fund. This represents half the pro-

ceeds of a little gambling we were
doing in the neighborhood previous
to (shh!) November 8th, The first-
grader did particularly well on
odds, and he would like me to tell










Laurie ly PO Karen Black, ‘61; Lois Potter, ‘61; Yvonne Erickson} ‘62;
Ann Levy, ‘61; Suzanne Klempay, ‘63; Jane Hettner, ‘63; Annette Kieffer,
_ '61;’Libby Redfield, ‘64; Stephanie Condon, ‘62. :
Subscription, $3.50. Mailing price, $4.00. Subscription may begin at any time.
Entered as second class matter at the Ardmore, Pa., Post Office, under the Act
_ of March 3, 1879. aan ier cere EN IO







one month.
Yours truly,
“Sandol S. Warburg

you that the other eight is going



foster-brother for approximately |



_ (Class of 748, grad. 759)

Conference at West Point.
|Surveys National Security

by Marion Coen

Over two-hundred students con-
verged at West Point last week to
exchange ideas on American se-
curity, to sample the complica-
tions of actual policy formulation,
and to hear some advice and en-
couragement from the experts.
For three days 82 college delegates
(Hanna Woods and I among them)
wrestled with the problems facing
the United States in the ’60’s and
tried their hands at formulating
some ‘bold new policies’ to meet
them. ws

Opening the 12th annual Stud-
ent Conference for United States
Affairs, keynote speaker Nelson
A. Rockefeller suggested ‘as the
general goal of all United States
foreign policy the establishment
of “a viable world order in which
individual freedom and the dignity
of man can be advanced”. A panel
discussion later that evening about
the central problems facing policy
makers was considerably more
specific. General Courtland Schuy-
ler, executive assistant to Rocke-
feller and one-time second man on
NATO discussed the problems of
the Western alliance; Dr. Leo
Cherne, Executive Director of the
Institute of America spoke on’ aid
to underdeveloped nations and
arms control; and Mr. Charles
(Marshall of the Washington Cen-
ter of Foreign Policy Research,
talked on the Communist challenge
in emerging nations.

In speaking of NATO, General
Schuyler urged student policy mak-
ers to take a sufficiently wide view

chological effect on Western Eur-
ope of visible military strength
and described the current power: as
‘formidable — though not what
we'd like to have’,

Dr. Cherne ,on factors affecting
aid to underdeveloped areas, noted
that the current dollar deficit will
indubitably affect our aid to un-
derdeveloped nations while the de-
cidedly unnecessary investment in
developed Western Europe goes
unchecked.

He startled the audience with an
unabashed criticism of the UN
which has, he feels, been funda-
mentally and permanently altered
in the last 90 days, because of the
deep and corrosive effect of the
Soviets on the Secretariat. “They
may not have succeeded in giving
it three heads,” he said, “but they

certainly cut off the one it had.”|

Mr. Charles Marshall pointed out
and discussed the paradox involve
ed when new states whose insti-
tutions have not yet reached poli-
tical maturity, clothe themselves
in the morality of a questionable
neutralism and act as judges in
cold-war competitions.

The next day conferees met in
15-man discussion growps to hash
out some of these same problems.
Armed with gleanings from an in-
terminable reading list provided
by West Point earlier in the sem-
ester, discussants met for a total

of five hours formally, and double

'that on shuttle ~buses—andover__ Es

coffee, to try to accurately define
the difficulties,

Thursday night’s panel of ex-
perts dealt with the somewhat
more knotty problems of actual po-

resentatives of the executive and
legislative branches of government
and a member of the press.

General A, J. Goodpastor, staff
secretary to President. Eisenhower,
emphasized the tremendous area
of presidential responsibilty and
called for cooperation’ in~ helping
to meet it. Mr. J. K. Mansfield,
staff director of a senate sub-com-
mittee defended the Congress as
vastly underrated by the American
public. He cited “the awesomely
high percentage"of Phi Beta Kapi-
pas among them and suggested
the lack of time, information, and
technical knowledge as a factor
influencing and complicating their
work. :

Speaking for the press and pub-
lic opinion, Newsweek’s Ernest
Lindley challenged these decided-
.y sympathetic portrayals of the
legislative and executive branches
commenting that while some Con-
gressmen were, no doubt, superior,
the_election of most is hard to ex-
plain. Of public opinion, he~said
that while the American people
have generally needed crises to
keep them aroused each period of
national relaxatiom has been con-
siderably less protracted than the
one which preceded: it,

Lindley’s cynicism regarding ex-
ecutive and legislative prowess in

| policy~making—was—echoed pretty

consistently by student delegates

during the first hours of the con-
ference. Nonetheless, the result
of the next day’s discussion ses-
sions on policy making gave a
real insight into the complexity of
problems involved, Generally, stu-
dents discovered creativity and
initiative in policy-making easier
talked about than achieved; dis-
cussion revolved mainly about
evaluation of old ideas, and when
new ones came up they were often

‘by the State Department or aca-
demic expert assigmed to the pan-
el,

This discovery on the part of the
student delegates and the conclu-
sion that follows from it, that
some hard thinking must be done
in the area of foreign affairs be-
fore ‘boldness and orginiality’ in
policy making will be feasible, was
emphasized in the closing address
of the conference by the Honor-
able Dean Rusk, President of the
Rockefeller Foundation. He urged
that the social science depart-
ments in universities rise to their
responsibilities in meeting the
meeting the problems of the day.
The common bonds which unite all
men must be discovered and defin-
ed before a world community can
be built upon them, and this he



of our academic responsibility.



“In and Around Philadelphia

PLAYS

Show Girl, a new musical starring Carol Channing, opens at the Locust

Theater on December 12 for a

one-week stay.

The World of Susie Wong continues this week at the Forrest, ~

My Fair Lady opened this week at the Shubert. a

Born Yesterday will be presented by the Neighborhood Players at the
22nd and (Walnut Theater for five weekends from December 10: to

January 8.

MUSIC

\

Shanty Boys, recording artists from New York, will appear in an eve-
ning of folk music at the Moorestown Community House on Sat-
urday evening, December 17, at 8:30.

Kenneth §S.. Goldstein, folklorist, ballad scholar, and anthropologist,
will present tape recordings of living tradition in Scotland which
he made while on a Fulbright there. The program will take place
at the International House on Sunday, December 11 at 8:15.

licy formation. Speaking were rep- :

eliminated by a flaw pointed out .

called one of the central aspects:





e rrenc

1 Renaissance is the title of an illustrated Sashes

by Colin. Eisler, Assistant Professor, New York University Insti-
tute of Fine Arts, to be given in the Van Pelt Auditorium at 2 p.m.
Sunday, December 11. Next week’s lecture in this series, What
do we mean by Renaissance Art? will be given by Charles Mitchell

___ of the Bryn Mawr History of Art Department. 0

wf








Wednesday, December 7, 1960

THE COLLEGE ——

Page Thre&



W. S. Merwi 1

n Delineates

Symbolism of His Poetry

W. S. Merwin, reading his poet-
ry for ‘the Theodore Spenser Mem-|
orial Lecture November 21 in the
Ely Room of Wyndham, traced the
development of his poetry chron-
ologically and explained his pre-
occupation with certain themes.

Through tle poems which he
read, Mr. Merwin interspersed ex-
planatory and amusing comments
to clarify the meaning of his work
and to give his listeners a moment
to.recover from the emotional im-
pact of his reading,

Symbolic Respect

The first theme which Mr. Mer-
win discussed and _ illustrated
through his reading was the sea.

- “It is the only symbol which—I}«

really respect,” he said and at-
tributed this respeet—to -its- ability
to surprise continually,

Mr. Merwin disputed nis critics’
claims that he is impersonal in his
poetry and stated that for him
the sea is a very important sym-
bol. ‘While themes are represen-
tative of personal. history, he ad-
mitted that his early treatment of
his symbols, and consequently
themes, was less personal tech-
nically than it is in his more re-
cent work.

The sea is for Mr. Merwin not
only a personal symbol, but also
a tragic one. His titles imply this;



Stadent Instructor!

Of Russian Plans
A Teaching Future

“The Ship Wreck” and “The oves| WOUZECK,
of....the--Drowned—-Wateh—-Keels
Going Over” represent the cyni-
cism and fear with which he re-
gards the sea. For him this dom-
inant theme is a negative force.

i Love of Animals
In two of the poems he read,
“Burning Cat” and “The Sparrow
Sheltering Under a Column of the
British Museum,” Mr. Merwin ex-
pressed a fondness for ’ animals
‘and for weak beings generally.
(Mr. Merwin preceded the read-
ing of poems. about his grandpar-
ents with an explanation of fam-
ily history — another dominant
theme. He is a member of a
weird” family from Wales which
came to America just ten years
after the Mayflower. “The respon-
gible ones stayed in New England.
The rest went went to Pennsylva-
nia.” Of his grandfather, who
drank a lot, he wrote “Grandfather
in the Old Men’s Home.” Of his
grandmother, who “drank not at
all” but looked. out of the window
at the not very beautiful Alle-
gheny River and a mining town,
and responded to the “sinister-
ness of nature and the sinisterness
of man”—the suburbs—he wrote
“Grandmother. Watching Out of
Her- Window.”

Resurrection Theme

Mr. Merwin feels that the most
important theme in his recently
published collection The Drunk in
the Furnace is resurrection. He
attributes his interest in this
theme partly to the fact that his
father was a minister.



“Tt’s amazing how much a teach-
er learns about the way people’s
minds work,” said Karen Black,
senior, Merion Hall President,
Russian major and now part-time
Russian teacher. ‘You have. to
know what will catch a class’s in-
‘terest and how to communicate
what you already know to your
pupils.”

Karen’s pupils consist of some
fifteen adults who attend an eve-
ning session omce a week at West
Chester Adult Night School in
West Chester, Pennsylvania. They
have had no previous instruction
in the language, but, by the time
the ten week course ends, they
should “be able to read elementary
Russian and hold simple conver-
, sations.”

Asked whether she finds teach-
ing adults difficult, Karen answer-
ed, “It’s true that their minds don’t
' -adapt as quickly to new forms and

can’t follow the grammar as eas-
ily as a college student, who has
been working with languages for
several years, but, frankly, I’ve
been astounded at how much they
have learned and how eager they
are to work.”

She cited her pupils’ reasons for
taking the course as “as numerous
as there are students in the class.”
Her approach, she said, has stress-
ed grammar rather than conversa-
tion, since the group seems more
interested in reading Russian than
in speaking it.

Karen, who spent last summer
traveling in Russia: with a student

: group, remarked -that she? often
wlases souvenirs of her trip as start-
ing points for her lessons. ~

Describing how she got the
teaching post, Karen, whose home
town is West Chester, recalled
making am offhand remark to one
of the school board members to
the effect that she would love to
take an adult class in Russian.
The member and the board took
her seriously and persuaded her to
acc the job. She plans to re-
peat the course next semester.

ren, “hag really elinched teaching
for me. I’ve always thought of
teaching as a ‘not bad and poss-
ibly even enjoyable profession.’
Now I know that teaching and I

poem for which the collection is
named and again in “Noah’s Ra-
ven,” a poem which has. not yet
been published, this theme is par-
ticularly apparent. A preoccupa-
tion with death is clearly shown
in “Route with No Number”, an-
other recent and unpublished poem.
Indeed, this preoccupation ‘with
death became evident for the first
time in the poems which Mr. Mer-
win selected to read last. I
sea poems the fear of death was
obscured by a stronger and more
direct fear of the sea,

‘Mr. ‘Merwin read last a series
of as yet unpublished poems which
he felt were more personal than
his earlier work although they
are no more autobiographical.
These poems are about being alone.
One particularly moving poem is
called “Home for Thanksgiving”
in which a conflict between body
and intellect is exposed. ‘‘A Let-
ter from Gussie” and “Lemuel’s
Blessing’”—a wolf’s prayer—com-
plete this trinity of loneliness.

In_the|

In_his|_



Broderick J udges Play
Too Long and Empty,
Not Very Amusing
by J. H. Broderick

It was wise programming to ofy
fer The Dock Brief as the entr’-
acte for Woyzeck and The Mar-
riage by Force. In its mannered
sentimentality The Dock Brief
made Buchner’s trenchant pathos
startling and honest; its tame par-
adoxes lent Moliere’s characters
further uproar and vigor. The pro-
gramming for Goodhart on No-
vember 18-19 was wise, that is,
only if a production of The Dock
Brief was somehow ' mandatory.
For John Mortimer’s play is too
long, too empty; and not very
funny.

The Dock Brief does have a spe-
cious appeal, however; for it seems
to unite two modes of modern com-
edy. Its characters, dialogue and
mise en scéne give it a resemblance
to the “stripped stage” of Beckett
and to Ionesco’s “anti-plays.” Its
tidy plot seems to spring from
Shaw’s arch one-acters and the
glossy West End comedies of the
Terence Rattigan die. Unfortun-
ately, Mortimer’s play lacks .the
hopeless ‘vaudeville vulgarity of
‘Beckett and the hearty nihilism of
Ionesco. It also lacks Shaw’s in-
terest in ideas. What it proffer's
instead is an “interest in people”
and a concern for form. Im the
Shavian, Rattigan fashion, it pro-
pounds a paradox: A jailed bird-
lover accused of murder (he’s done
interested in acquitting himself in
order to assist his aging lawyer
(this is the lawyer’s only case and
it was assigned by the court, i.e.
it’s a dock brief.) While the par-
adox is fresh, the first scene is in-
teresting enough, especially when
Fowle (yes, the bird-lover) recalls
his late unlamented spouse. There-
after our interest wanes as the
barrister pre-enacts possible for-
_ Continued on Page 5, Col. oe



PUBLISHING POETESS

Susan Kenny, ’61, an English
major, has been notified that
her poem, “Window Scene,” will
be published in this year’s An-
nual Anthology of College Po-
etry. .The Anthology, put out
by the National Poetry Associ-
ation, is described as “a com-
pilation of the finest poetry
written by the College men and
women of America, represent-

try.”

on











‘Maurice Natanson, Professor of
Philosophy at the University of
North ‘Carolina, gave a Class of
1902 Lecture on “Existentialism
and Literature,” Thursday evening,
December 1, in the Common Room.

(Mr. Natanson pointed out that,
although the chief aim of philoso-
phy is to illumimate individual
life, its terms often become so com-
plex and technical | as to divorce it
from humanity. Existentialism
has returned to a study of individ-
ual involvement in the mundane
world, and has adopted the thesis
that the self and the world are
separate, aside from their exis-
tential unity.

The exploration of subjectivity
which is involved raises perplex-
ing questions: How is the world
given to me? How is it possible
that someone else’s world is con-
nected to mine? Thus, the line of

-Hinquiry—has*-already~-shifted-from|

a common-sense world of “us” to
one of “me.” Im the effort to.clear
up the apparent contradiction and
return. to the. mifhdane, common-
sense world, the most lucid render-



were ‘meant for ‘each other.’ ”

Natanson Clarifies Existential Concepts
In Literature, Phenomenological Art

erature, as a phenomenonological
art.

Philosophica] literature im gen-
eral is marked by its asking-qual-
ity, by its fusing of theme and
events to make the reader search
for meaning. Existential litera-
ture is further characterized by a
radical conception of self and
world in terms of a central con-
sciousness.

Mr. Natanson emphasized the
point that this use of literature is
in no sense a diluted form of the
inquiry, but rather makes possible
a direct presentation and unme-
diated vision of the problem.

In describing Tolstoy’s Death of
Ivan Illyich as existential. litera-
ture, Mr. Natanson_ stressed Ex-
istentialism’s view that the rela-
tionship between self and world is
problematic. Thus, we are shown
individuals through the terrifying
-eategories-of fear,.suffering, alone-
ness, and death, and it is only at
death that Ivan Illyich grasps the
meaning of his life.

In a short résumé of his argu-

Pity for pom Claaoee,

ing every section of—the—coun--H-



ment, Mr. Natanson suggested



ing of the problem ‘is given by lit-

Continued on Page 4, Col. 1

Torment and Suffering
Comprise Woyzeck
by Katrin Taeger |

Woyzeck seems so typical of the
twentieth century that it is hard
to believe that it could have been
written as: early as 1836, by a
young man of 22, Not edited and
published until long after his death
the play reflects the feelings of
young German intellectuals at a
time of many futile attempts at
revolution.

George Buchner, a young revolu-
tionary himself, once wrote to his
parents: “Hatred is just as per-
missible as love, and I hate espec-
ially ‘those who, in possession of a
ridiculous outward matter, called
education, or of a dead thing, call-
ed learning, sacrifice the great
group of their brothers to their
contemptuous egotism.” And he
set out against them, fighting, as
We said, with “arrogance against
arrogance, ridicule against ridi-
cule,”

Naturalism

These words point to the heart
and core of Woyzeck. This series
of sometimes rather loosely con-
nected episodes clearly divides into
two levels of style: Buchner’s.com-
passion for the lowest class finds
‘its expression in the naturalistic
picture he draws of people and
conditions in Woyzeck. The poet

when he deals with men of higher
social standing to whom he denies
all sense of humane traits, The
pathetic life of the masses is
brought out sharply by the gro-
tesque humor.

Not always did the deep sadness
and compassion come through this
layer of wit and caricature in the
performance given in Goodhart
Hall on November 18 and 19.

The problem of staging the short,
rather expressionistic episodes with
constantly changing places was
solved well with a simple back-
ground of bleak stockades.

Musical Score



David Hemingway wrote and
played the ‘music which: especially
in the inn and the final scenes very
appropriately underlined the mood.

The “Old Woman” made too
much the impression of being a
witch: Buchner himself has her
tell the story as a grandmother to
a group ‘of children, thereby re-
maining on much more realistic
ground.

All the scenes of caricature were
very pleasurable: the acting of
Leighton Scott as Captain, Bernie
Lederberg im a double role as Jew
and Barker, and particularly of
Linn Allen as Doctor deserves high
praise. Both Betty Ferber and
Andy Miller had the very difficult
task of playing tragic characters
next to these caricatures. Both
handled their roles very capably
indeed, even though not all. sides
of the characters came out clear-
ly. Betty Ferber persuasively por-
trayed the girl Marie who is sway-
ed by conflicting emotions. Andy
Miller’s acting became more and
more convincing as the play pro-
gressed, growing into the rather
primitive and passive “hero” Woy-
zeck who falls prey to the selfish-
ness and lack .of understanding of
his superiors as well as to the in-
comprehensible world around him
which tortures him through demo-
niac forces.

Usually this play is the only one
of an evening.
Faculty Reviewers Evaluate (oleae Theater Trio:
Wouzeck, The Dock Brief, and Le Mariage Force -



Koch Judges Moliere’s
Mariage force Limited
But Spirited Satire

by Philip Koch

The Mariage forcé may have
come as a surprise to those not ac-

ére’s theatre. Tartuffe and Le Mis-
anthrope are summits to which
few of this playwright’s works as-
pire; the majority are much less
ambitious and propose only to
amuse the spectator with the slight-
est intellectual tension possible.
If for nothing else, then, the per-

Mawr College Theatre and Haver-
ford Drama Club is commendable
as a corrective to a distorted vision
of Moliére.,

The Mariage forcé as we possess
it is a second version of a lost
three-act —“comédie-ballet”,
music by Lulli, given first at.Court
in 1664. When Moliére offered it
to the Parisians in public perform-
ance, its reception was so luke-
warm that he quickly withdrew
the play and, after keeping it in
reserve for four years, published
it as a one-act farce’ without bal-
lets in 1668. In this form, Moliére
presented it occasionally as the
“divertissement”, used to conclude
pleasantly what would otherwise
have been a difficult evening, ~In
the Goodhart performance, the di-
rectors wisely chose to keep this
play in its traditional Position.

‘| the summary plot of the play
which is simply a series of satir-
ical portraits and of situations in
the manner of the “commedia delle’
arte”. The unity of plot exists in
the person of Sganarelle-who shut-
tles from scene to scene bearing

tainties on marriage to Doriméne.
This loose structure is understand-
able and perhaps desirable in a
“comédie-ballet”, the forerunner of

dance is as important to the spec-
tacle as the story. However, such
a construction falls a bit flat in a
farce where more cohesion and
complexity are necessary.

There is another weakness in
the Mariage for the modern audi-
ence. ‘Two lengthy scenes of sa-
tire, that of Pancrace and Marphu-
rius, are lost in good part for the
twentieth century spectator. Ped-
antry is certainly with us still but
not in the guise of scholasticism
or pyrrhonism; nor are allusions
to Pascal’s quarrels on the exist-
ence of a vacuum likely to provoke
more than a smile now. In short,
if Moliére’s theme was so attract-
ive to our theater groups, a more
judicious choice of farce could
have been made: le Cocu imagin-
aire, for example.

Given the inherent limitations,
the present performance was in-
deed good. Sganarelle is of course
the essential] réle and Danny Tur-
ner carried it off well. Since, like
all the other characters of the
play, Sganarelle has no personal
traits, he must be stylized. This

consistent and humorous ‘in his
portrayal. One might have wished
that his sixty-three years (my edi-
tion says fifty-three) had come
through a little more. Gail Levy—
Doriméne was charming as the
coquettish fiancée, Coquetry is an
eternal quality perhaps but its
styles change. I doubt that an un-
married girl of the 17th century
would pinch cheeks, even her be-
trothed’s. Wouldn’t she also carry
a fan rather than a parasol? Minor

quainted with the range of Moli--

formance of this play by the Bryn ~

with -

with him his well-founded uncer- |

Turner managed to do and he was ©

flaws could not, however, mar the:



+-would-have-made-the-performance} playful spirit of this performance.

even more impressive. Peter Gar-
ret deserves praise for tackling
such a difficult task and for direct-
ing the presentation of Woyzeck
which certainly was worth a ie:

In tone and genera] bearing, Mar-
phurius, the skeptic philosopher

(Roger Groyes), was excellent but

I did find the way he waggled his
pointer occasionally too aggressive



er audience.

Continued on Page 4, Col, 3; —

the musical revue, in which the _—|
‘auspices of the Interfaith Associa-

Page Four

THE COLLEGE NEWS. Wedriestlay, Deceriber ‘7, 1960



Herberg Attempts to Define Humanness

Of Man in Three World View Contexts

(Will Herberg, well known auth-
or of Judaism & Modern Man,
and Protestant, Catholic, Jew de-
livered the second in 4 series of
once-a-month lectures under the

tion on Sunday, November 20th at
8 p.m. in Goodhart. Mr. Herberg,
a Graduate Professor of Judaic
Studies and Social Philosophy at
Drew University, spoke on “The
Self and History; Development of



Individual Perspective.”

“Im terms of what context does
man try to understand and achieve
his humanness?” was the question
Mr. Herberg answered in terms)
of the “three world views, (1) the
heathen-naturalistic view, (2) the
philosopohical - eternalistic view,
and (8) the Biblical-historistic
view.”

“In the heathen - naturalisitc
view,” the ultimate context of self-
understanding is nature, which is
conceived as divine. But, it must
be noted, there is no sense of his-|
tory in this view. “There is no
distinctiom between man’s time and
mature’s time.” Self experience is
a “wrongness,” a deviation from
nature,

“Heathen” in the speaker’s sense
has perennial existence. Its mod-
ern manifestations include (1) ro-
mantic heathenism, “the feeling
that one comes close to divinity
by, for instance, seeing buds pop-
ping from the trees,” as in the
romantic nature-worship of Words-
worth, (2) the mysticism of the
dark powers of nature, as in D. Hi.
Lawrence, and (3) scientific nat-
uralism, the philosophy that “man

adjusting to his environment.” All
these modern manifestations can
be traced back to their “heathen-



e e li
Existentialism
Continued from Page 3, Col. 3

tuat it is at personal moments in
waica taken-for-gran.ed concepts
take on a sense of unreality that
we grasp tae feeling of Existen-
tia.ism as a, way of seeing the
wor.d, It is at such moments that,
as Gloucester said in Shakespeare’s
King Lear, we “see feelingly” and
can practice the phenomenonolog-
ical art.



The Deanery, the Bryn Mawr
Alumnae House, is happy to wel-
come Seniors and Graduate Stu-
dents to full privileges. Avail-
able are morning coffee hour,
luncheon, afternoon tea, and de-
licious dinners; parties may be
arranged. Other students may
use the Deanery only in the com-
pany of parents or others who
hold guest privileges. Seniors and
graduate students are requested
not to take other undergraduates
as their guests to morning cof-
fee hour, due to lack of space,
but may take them at other
times.

The Deanery has attractive
rooms to rent to out-of-town
guests, temporary or permanent.
Any student may reserve these

ments be made in person.







BRYN MAWR
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naturalistic” beginnings. :
The second “view” of the under-
standing of humanness has its or-
igins in Athens, or, perhaps Can-
aan, It resembles, yet breaks
from, the heathen tradition, for
nature, although it is important
as a pattern of eternal recurrence,
is now only an external vesture of
reality.
Plato’s distinction between ap-
pearance and reality is essential to
this view. The understanding of
self here becomes very different
from that of the heathen view;. in



e
Moliere
Continued from Page 3, Col. 5

for the réle, -As.the “capitano”
Aleidas, Al Petraske was beauti-
fully unctuous and. he undenplayed
his part well. All the actors ob-
viously enjoyed their réles and suc-
ceeded in infecting the audience
with their good humor,

The setting was simple and well
conceived. I particularly appreci-
ated the four doors which recap-
tured the multiple entrances of
the “commedia dell’arte”. The di-
rectors are further to be compli-
mented on the rapid pace of the
production.. A final accolade to
Professor Gutwirth’s spirited
translation. May we consider this
production as a hanbinger of more

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Wedriesday, Deceriber 7,:1960

THE COLLEGE NEWS

we Page Five



Sheble Lecture

Continued from Page 1, Col. 2

write the best. pastoral elegy he
could. It concerns Edward King,
Milton, water, the problem of the
poet, and some God who dies that
he may live again,

Milton’s doubts about the use
of a life of self-denial and his pro-
test at the injustice of death are
neither digressions as Hanford
thought nor the “real” subject of
the poem as Tillyard maintains,
but merely a natural part, Though
water images abound, so do stellar
and other kinds; there is danger
in separating images from their
contexts. Mr. Abrams sees the
procession of images as less deter-
mining than determined. There
are certainly mythical elements in
“Lycidas” but there is a better
basis for them in Milton’s own
Christian beliefs,

The movement in “Lycidas” is
a progress that begins “Lycidas
is dead” and concludes “Lycidas,
your sorrow, is not dead.” The
poem is “a lyric reversal by dis-
covery,” a seeming defeat by death
is really immortal- triumph, This
promise of joy in the other world
which Lycidas eventually achieves
~ is shown in the ascent in style
also.

All a critic can do is presént his
description of the poem and there
are many [possible ones of “Lyci-
das”, In the bewildering multi-
plicity of this Age of Criticism we
need a safeguard from the tempta-
tion ‘to throw it all out. Each in-
terpretation might best be called

_ College Theater's Dock Brief

Continued from Page 3, Col. 3:

ensic strategies. And the’ final
scene, ‘after the trial, achieves its
happy ending by one paradox too
many: Fowle is pardoned because
of the lawyer’s manifest incompe-
tence, which Fowle says he thinks
was part of the barrister’s delib-
erate strategy.

Bob Parker and Ian Gilbert
were yoked to this unlikely vehicle
as Morgenhall, the lawyer, and
Fowle, the uxoricide, respective-
ly. Although the fault was not
wholly theirs, both actors failed
to suggest the stunted lives of!
these characters. Bob Parker came
close to projecting the seedy self-
delusion of the barrister, but he
seemed to. lurch from one emotion
to another, Ian Gilbert understood
the’inert and prosaic Fowle; yet
he did not find ways to suggest
this inert man’s varying responses





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a “persuasive attempt” to get the
reader to see it one way or an-
other, a critic urging his audience
to see what happens, how you like
it when you do. These criticisms
serve a valuable purpose by expos-
ing us to interesting new points of
view which even in their extremes
usually contain one or two indis-
putable insights. What is most
necessary, Mr, Abrams concluded,







is “a keen eye for the obvious.”



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to the mercurial Morgenhall. These
faults are not wholly the-actors’
because the playwright failed to
provide enough action and stage
business when he adapted his or-
iginal radio script for the stage.

As director, Ginny OlRoak was
apparently responsible for the
brisk pace of the dialogue; and she
kept her actors moving about the
confined set. I was grateful for
her direction, but I suppose that
Mortimer thought his Beckett-like
ellipses, pauses and non-sequiturs
would require a slower, less cer-
tain rhythm, Whatever the pace,
omly old character-actors who had
beeri*type-cast might have succeed-
ed in The Dock Brief; in this, its
premiere amateur performance, it
was fortunate in having intelli-
gent actors, a steady directorial
hand, and: a fine set; it didn’t de-
serve them.

Cultural Economics
Continued from Page 1, Col, 4

economic development. in_ history.
“The historian’s method may re-
gain prestige. He has to work
with all the variables, and the
results of their interaction as his-
torical record.”





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sued to the New York Herald-
Tribune by the Seven College Con-
ference marked’ the beginning of
the Early Decision Plan. On the

basis of a three-year high school
record and junior year College
Boards of applicants, BMIC and its
sister colleges accept a maximum
of one-third of the ultimately ad-
mitted class on December 1. Last
Thursday a portion of the class of

of its admission.

The value and appeal of the pro-
gram is that it accepts a percent-
age of students who know where
they want to go to college five ahd
a half months early. In this man-
ner qualified students are spared
months of tension, additional ap-

The records of accepted students
show, for three years of high
school work, consistency of ach-
ievement; they are the records of
“individuals,” good students, not
merely good “test-takers.”
Because of the limiting one-third
maximum, the decisions on the ap-
plications of some. candidates are
deferred until May and considered
with—the~-regular;candidates, A
change in a student’s record in her
seventh high school semester and
her Senior College Boards may
mean a spring acceptance. Stu-
dents. on whom decision is defer-



1965 -received positive notification

plication-making and test-taking. |

BMC Admits Portion of Class of 1965
This Month Under Early Decision Plan-

Three years ago a statement is-|red are advised to apply to at

| least one other school.

A certain number of scholar-
ships are awarded in December;
scholarship applicants not aided in
December are considered with the
spring applicants.

‘Due to people who apply and
have no intentions of coming and
students encountering ~ financial
difficulties, it is impossible to de-
termine accurate statistics and
ratios of admission patterns.

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Page Six. <

THE COLLEGE NEWS





“<7 Herberg’ and World - Views

Continued from Page 4,-Col. 2 ©

“this eternalistic view; the meaning
of humarmess is not the nature in

man but the timeless and absolute. |

Also classified in this “world view”
are the Buddhist and Hindu no-
tions of “flight from the world of
sense to pure being.”

« But it must be noted again here
that, as different as this view is
from the heathen one, it still leaves
mo place for a sense of history,
since it is temporal, and time only

exists in appearance, is not real-|.

ity.

This “world view” forms the
main content, according to Mr.
Henberg, of our philosophie tra-
dition, The body-soul dualism of
Christianity and Judaism, in which
man has something of appearance
(body) and something of reality
(soul, mind, spirit), is a modern
manifestation of, this view. The
source of this nation of a “separ-
able soul” is definitely not, con-
tends Mr. Herberg, the Bible, but
rather the “philosophic-eternalis-
tic view.”

Whereas in the first view nature
is real and ultimate, in the second
not real or ultimate, in the third
it is real but not ultimate. Nature

is void of divinity, Man ‘occupies
a special place in the scheme, he|
is placed betwen God and nature,
n nature but transcending ‘it.
In this Biblical understanding of
self, man’s time is no longer na-
ture’s tinfe, no longer forward
moving, no longer captive to the
eternal, amd no longer recurrent.
In the heathen-naturalistic view
the ultimate context of man is na-
ture; in the philosophical-eternal-
istic view, eternity, and in the
Biblical historistic view, history.
“Man in society is by nature his-
torical.” Views and opinions re-
flect the influence of others, but
a person’s “self-conscious histor-
icity” is his alone—his humanness.
The ultimate history, is, for Mr.
Henberg, religion, for, “to have a
history is to have a God; to have
a God is to have a self.”

Mr. Herberg summarized his lec-
ture with’ three points: (1) the
self can find secure lodgement only
in the Biblical-historical view, (2)
the self, in this view, is not gener-
alized, but unique, the person-
ness of a person being defined by
a unique personal history, and (3)
the problem of. self in the ultimate
dimension raises the question of
faith—of God.



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HAVE ALWAYS HAD an
rp, | hatred for the bottom crust

of rye bread. There is no particular
reason for this point, except
that whenever I think of Fort
‘ Lauderdale, I think of rye bread.
There is no particular reason for that
either, but I have been thinking of
Fort Lauderdale. Fort Lauderdale is
“where the boys are.” Right now,
that is. Most of the time, serenity

in Fort Lauderdale, (The

reigns
Chamber of Commerce will hate me;
they bac d it. never rains in Fort
Lauderdale.) But, for. two weeks,
twenty thousand collegians descend
on this peaceful community and take
it apart, = by peace. They call
it Spring Vacation, but it’s more like
amateur night at Cape Canaveral.
_ They capture Florida and throw the
Keys away. But I shouldn’t joke—
not while people are holding mass
prayer meetings for an early hurri-
cane season.
This is “‘where the are.” And
girls too. Such girls, it makes you
y to look at them. If you look lon:
enough, you reach an advanc
stage of dizziness called aphro-
dizzier, It’s like being in love. That's
— happened to ss ~ it will
ppen to you, too. Everywhere you
turn — beaches full of them, motels
and hotels full of them, cars full of
them, full of them, bathing
suits of them. Ah, bathing suits
. . when the man said, “It’s the

little things in life that count,” he ‘

must have been thinking of bathing
suits. But mostly, it’s the girls.

Girls in love, girls in trouble, bright
with a future, not-so-bright
girls with a past, rich girls in the
of luxury, poor girls in any lap
that'll have them, girls of every size
and discretion. It isn’t any wonder
that this is “where the boys: are.”
And the hye? that hap are
wacky and wild and wicked and
warmly wonderful ‘where the boys
are.” should make a movie
about it. Hey, someone did! M-G-M
calls it “Where The Boys Are,”
Pi iggy ernie hg rem
ton, Yvette Mimiecux, Jim Hutton,
Barbara Nichols, i
Frank Gorshin and introd
lar star Connie Francis
“in her first screen role. You'll €,

















NEARSIGHTED? ©

Women .
Continued from Page 1, Col. 2

Not to the (Marriage of True
Minds Admit Impediments.” ~

Finally, Mrs. Nicholson spoke
of ‘Shakespeare’s mistress, “the
dark Jady,”. as responsible for,
many of his passages on the bliss
—and the agony—of love:

“He agonized until he got her,”
she declared, “and then he agon-
ized until he got rid of her, But,
in any case, our debt to her is in-
calculable.”

To “the dark lady” Mrs. Nich-
olson attributes a number of

Shakespeare’s sonnets and the
character of Cleopatra.

The actress summed up. Shakes-
peare’s genius by saying, “He
writes of the root ideas which are
common to us all.”

She quoted Sir John Gielgud on
The Tempest and concluded her



Shakespeare’s >~|~

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address rendering Ariel’s last
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BRYN MAWR COLLEGE INN
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