$T RIE.O FA jrener f te ewpapr offie,
1'. NEWSAPER OFICE I dran~jngthinkig, lnig i
DE1)~I IStb er JusIn Smith.e; ios eyes wanderhing across ;the
. ~ smoke-filled romtot-r the desk where
1 a.$~eC. 17 sits 'the great Star . I irite, reverent-
Reviewed by Leo ay Hlershdorr.1 W9 for the Cub seeking to fid Words
I speak for the Cb, for the fe-hich will express miy appreciation
I phyte in journalism, for 'the city edit- :to Justin H. Smith for is book "Dead-
or s errand boy, folo sits n a distant! lines." (Continued Onl Page 7)
GOO'SE-ST EPS AND effi it ina complettive soiety. !he:
'GOO SE WISDOM {only- evl that Sinclair would eradi-
HE GOOSE-STEP, by U;ptou Sinclai. cute, the only menace to the free evo-?
PuFrbished by the author.lution of our institutions, lies in dom -
Reviewed by John P. Dawson I ination 'by priate interests of the na-;FIR] ST
Upton Sinclair's: newv tract on thet tion's intellectual life. It is for in- '
American system of higher education ,tances of such intolerable interfer- r O1~
dtespair. The dismal picture. le paints and judicious language of its victims, ;BA ~N K '
of grisly gorgons- throttling' clean- that "The Goose Step" will have any
xritltle4 young heroes, of interneine value to later. unprejudiced investi- ERTG L I D ]8.3tr
strife among the calmest and most re- gators in the field.____________________________________
strained memblers of the population, The problem Sinclair attacks is anx
and muddled dotards pointing the tot- l1motitoe o emrt eiu
tering ,ruin of an intellectual life to-'Iconsideration. But the book as a whole
ward disaster-the picture, I say, is if is stupid because 'unreasoning. ny-
stupendous. Through 418S'page s he one thoroughly grounded in econom-1
tenders his evidence and fanls his is and sociology has a certain duty
wrath. And at tne end- a~ mildly symx- to read such propagandist writing, for
Pathetic reader is left in complete be- its errors can only be revealed by dis-:
willderm ent. cession. And it is well to remember f
"The Goose Step," as it purports to that the thorough radical, with his re- cS
tie, is a study f our important uni- 'pudiation of our lessons fromc the past !: :: O,DEST BANK IN A NN ARBOR :::
versities and colleges from a new satisfies but a part of the social ob- 1 ;ETN TO A AN N MC IA
point of view-to discover how far ligation imposed by his owen intelli- OL ETN TO A A KI-MC IA
the academic life is sudsidized by caps-, gence The negation of Sinclair s-
tai and restrained by its near-sighted 'destructive and just as near-sigtd
opportunism. The lecture opens at as are the Philistines he attacks.
Columbia, where the most lugubrious
sketch -of the travelogue is outlined, !(11111111I11111I11111111111111111{11111[1N1111111i~iliill11!11Nitltliillillli
thena to Harvard, Yale, Princeton, and *
California, wherea.a long, inding g ..
Journey back through the benighted
TVest is begun. Michiga~n receives a m
heavy blow as he passes through to=
the."toadstools" of the Corn belt. And=
the end is a general frontal attack on
the values and environment of college:
life, which he asserts, ntotF without
cause, to be narrow, conventional, and ¢,
intellectually torpid.'
Sinclair's conclusions are above allrF
fcst~r . niin'. M o trimendous pceorn- ..'- -
tict.a 1011ud call to all university -o
Lic~essors to join the union and fight--
for the liberation oif Suppressed peo-
pxles, is quite the most astoundcing -.
thi1ng I hasva read recently. i lis coi- { -a
letc naivete, Iris tnrbuienZ ,shoutts
*1 nfene it7reieetadrestraint in m~ien, his Stalwart and in-
domitable Confidenrce in his Ova great-
iflission, andr his- painfully tawdry-
M tyle arc, from a- detached point of .
view, more than a lit tie amiusiug.' Bt :- -
his monotonous self-admiration, in-
cessant vituperation, and bitter intol- y
eranrce reveal- an unxcultured and tyi-r Yr-
tally youthful mind and vitiate most .
of his conclusions.r:'
The'- beak is nothing more than a
controversial pamphlet founded on the a3
socialistic _view of industry., Its, ap-
peal is 'purely emotional and there- {
fore, in any lasting sense, negligible.
Thei'o is no ex-position of his economic-;.S
v' :, s, and noa adequate analysis cf the!fisf"
sc-rial system c-f which our education-,rr
li System, is anl outgrowth. "The only--
valuies of the book ie in its quotations
from aiparently original "sources, do-
scribing about 0 cases of actual in-.,=
terference with academic freedom and 1
its criticism of student life, with a ! 0
sketchry outline of the social and ath- A - 6
letic standards that deprive it of con- {. ..-
nique is that of the ordinary. oracularstutv ups. Snli' eh
propagandist. Epithets are his argu- .
mnents and juxtaposition of unrelated
incidents his method of proving facts. 1-
ils indctment of the- University of-
Michigan, While quite as sweeping as F7 HE viidness, the beauty of color and pattern-is what one notices
could be hoped, evidentlyy comies at =
second hand. "The University of Au- upon first view of these striking. frocks. Here are newy fashions, indeed,-
tomobiles," an "educational depart= t eas o hi ens adterbat.=ipet h
mont:.store," it is ceontrlled bly low appealing bot.bcueothinwesadhir euy.S pl ote
politicans and admninistered by sots, t,..Ias degree- for'what -need have they f adornment! Bright as adn Orieal -
for the eternal spoliation of the only
twos idealists who nave so far shown; bazaar-becoming as the cndle glowv. 'And delghf ully price, in every n--
the way to higher things. It is less=:
4ocunented" at this. point than 'anyr- tne h rcs ag rm$50 p
othler important section, but it is tli-
eral ly sprinkled with the absurdities
tht- ak e the book -so charng. I
.,,1Throughout the discussion, is hurled
at the- wretched reader- evidence of='- -
h1terlocking directorates, money - S
kings, and Capita-listic orgies, all to .:.
no particular purpose except to shows e 4
the degraded state of our good coup-=
try.- That, of course, is not an unexI=-
pected - economic situation,- under a - -
highly organized caitalistic s~veteim -
NEWELL BEBOUT
Al
-.
. a, .
.., ..,.a..;,..a
WO~ are soon .:o be iroducedi tle .ear lier age) and purely phrae-'
(though ,no doubt inadequately) to iarn:eprmntfuasla 4 y11 1
H g v n " o na n t a wh n t a -11poet's sacred drama, "The - Grand extravagant. It , was a r ac hting out
World-Theatre of Salzburg" is pro- after something unseen. Authors-felt'
duced in Newv York with its famous a necessity to revolt against the r E-
Max'Reinha-rdt setting. I say we are ly analytical and disectig ideals of'
to be introduced by Hlofi annsthal be- the realist, and to try to build up,to
cause we- hardly yet appreciate the 'synthesize, somethIng more 'spiriuala
significance of this artist's achieve- and more universally important. I
nents in the symbolistic- reaction -to may say that that impulse is still be-
to-cal led "naturalism," in spite of the ng left but even yet, except in a few '
'fact that several of his plays have been 'rare instances 'like }auptnan's
translated 'Into English-v toe of :them "H-enry of Aue" and Andryev's "He
at least commendably ( lectr'a"} by Who Gets Slapped", true visiocn and
Arthur Symons. symbolism have not be i attained,.
I say whe are to be introduced to himl ut erely hollow display. True s'i-
inadequately, because while his mne- bolism is the imprisoning of a truth
Jinni of expression is toe drama, it is in an artistic mirage- it is niot itself
by no means the theaitre.P-oftnann- real, but it reflects a reality.. Sas
stahl-'is primarily a singing-d amatist, M.SomJmsn Tevleo
a pot. ie s vry eneraliy recog- ;symbol does not lie in the enclosing
sized to be the most l. 't'>al of all con-crsabuintefmewhn.
tinental writers of tO Lit :is no y buintefaewhn.
vain guess that Poe -riv will treas- To the neo-romantic group of sing-
ure his music, alThoai ine 'age may ing, .word-painting; sym b o ll s t i c
never again hear his n" ~ dreamers belong the clver Remy de
Being a n Austira,- . a.d having Gourmont, the eerie and meaninglessl
grown up in the mag'c..: c _, ionment W. B. Yeats, the graceful, shallow
of- Vienna -along wit-l Schnitzler,' and Maeterinck, the dialect-writing Synge,'
having been nourisbed on such 'thor-j the gorgeous and bombastic Rostand,
oughiy. fascinating and technically the Benevente of "The Smile of Mona._
subtle authors as Oscar Wilde, Ga- Liza", and-if you can place him any-V
briele -D'Annunzio, and Edmond Ros-j where except by himself--the human
tand, Hofmannsthal possesses a rich and tender Barrie.
and elegant character which is a finej Now, Hugo Von Hofman~sthal is the
blending of the classical element withpuiintsscolHswrksth
delicat3 fantasy and song. Like Ger-puiintsscolHswrksth
hart Hauptmnn, whom Ludwig Lew- highest expression yet achieved of the
irohn has distingui shed as "the repre- new romantic movement. Hie cm-
sen-tative dramatist of our time," he bines the inost lyric ear with the most
shows a reverent religious air which is adept hand and the broadest person--
-not only exceptional but cherishab ality.
ini this secular age of ours. Hof-j Mr Hofmannsthal has by no means
manlisthal indeed, seems to live in lit- reached the crest of the incpient
tle marble castles of the imagination wae in fact he is very, very near
rather than en realistic earth;_ and itj the trough, but he shows us that the
s for this reason that he is grouped new wave is rising. 'there is very
with- the neo-romanticists, or more little content in his works and very
specifically,. the new- symbolists, who little matter really to ponder over;
are the votaries of the Cimmerian sha- but there is a most superb skill in
dors i rt1e sa- player (like form and sound and colour.
Death in "Death and the Fool"') on a
magic violin: "Wherein the mysticf The best known of his plays are
spirit vorld's revealed, that -buried "Madonna Dianora", "Death and the
lies each human breast within, as bios- Fool",. "Electra", and "oedipus and
souns buried -'eathi the mountain the Sphinx". Some of ,these have been
slide." severely criticized on the ground thatt
In order to have-a rue, artistc ym- they are meaningless. Well, literal-
LLpatby with Hugo V-on Hiofmannstahl it ly they are; but thus far we will have}
is rccluisite that one- unders;tain-1 his, j-to Lear with the infant romanticists~
ro;sition in the neo-romantic move- until the; begin to develo their man-
nment, slnd also to conrehettd. just hood-we will have to let their works
what the neo-romantic miovement it- be suggestive until they can be wisely{
selfstads or.It illbe emeberd Iinformative. This is a hardship upon;
that the first part. Of the nineteenth thle reader to be sure; it requires him
cenltury' is notable fc-r the full bio- jt aesm nelgneo i w
somxing into life of Romianticismn. The and to use it, but after all that as-
influences .of Herder, Rousseau, and uptlcnntbeaode.Th p
Blake culminate In FJiegel, and Words-smto antbeaodd h p
worthi, and Victor Hugo; and the w~hole preciaton of art, little as we like it i
tone of the age is freedom, idealism, to be, is work. But Hofmannsthal isq
and communion with natural beauty. richly suggestive--"doorsy". as Mr.i
Close' on to this, and indeed result- Frost would say- and whoever wants
ingfrom it, is the great movement of -to can enter and enjoy the marble
realism- which, though in itself is a castles in the air in which Hugo Von
very complicated -structure, can sie-. Hofmannsthal muses away life. f
ply be stated as the expression of te A fewe words should be added, re-
scientific but. earthly materialism garding "The' Grand World-Theatrel
which followed from the turning to of Salzburg" which as I mentioned be-
nature, in an intellectual rather than fr sso ob eni e ok
-an emotional way. The first phases of FoIt is aoomiracle play inpiedbYoand
the movement produced Isbenl and; ti mrceplyisirdb n
Strindberg, Zola,' Flaubert, and. Tols- resembling in many respects the
toy. Theodicy had given way to -a. Spanish ",The Great World-Theatre"
secular view of the world, and this by Calderon. It treats of personified
carried to its =logical conclusion d- abstractions like wisdom, beauty, the
rected the world's eyes as strictly to4 king. the rich man, the beggar, etc.;
the ground as the former sacred age Of course, the chief character of the
had directed hem to. the skies. play is the beggar who is an individual
-Now, for the pa-st decade or so, we. striving against all the others and
are in the 'midst of a transition backk like the famous stoker in -"The Hairy
to some.- conception of life which. is! Ape" Is striving to belong somewhere.
neither' wholly Ideal nor' wholly ma-' Mr. Hofmannsthtal, himself, drawls this
terialistic. but a ,compromise between i comparison to the work of our own
the 'two. That new movement which. Eugene O'Teil in his."Vienna Letter"
Is -taking root Is the. neo-romantic, in the March Dial.
movement. .It has. not yet emerged It serpobleha"Teret
into thes light"poked out green, fin- I ti eypoal ht"h ra
ge -tips" as :1iss Hilda Cooklinog World-Theatre" when it Is produced {
.would- say-but It -e growing Bever f in-New York ill not -be exrardinas-1
tlls. -Meahnwhile,.-rea-Ism -s at its E rily .successful, because miracle andt
-height with Gerhardt Hauptmann, Ar-Iallegorical play have a tendency to#
thur Sohni.ler, John, Galeworthy, bore Americans .who are quite matter-
perhaps, Bernard 'Shaw -and Eugene' of-fact., It has even been rumored
O'N16lla$ its, prominent expoznents. that the ending of the play will be
In the realm of-the thieatre,; in whih:"altered to suit the demands' of. the
awe are particularly interstediu en- American ind. In whatever way it
.nection .with °Hugo Von= piafmastha1 sprodurce, though,:° "The Grand
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