PACE FOUR
THE MICHIGAN
DDAILY
WEDNESDAY, MAY 14, 1930
Published every morning except Monday
during the TJnivesrsity year by the Boart! is
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ELLIS B. MERRY
Editorial Chairman.........George C. Tilley
City Editor.............Pierce Rosenberg
News Eitor..............Donald . Kline
Sports Editor........Edward L. Warner, Jr.
Womnen's Editor....... ...Marjorie, olImer
Telegraph Editor...... .Casam A. Wison.
Music and Drama......William J. Gorman
Literary Editor........Lawrence R. Klein
Assistant City }ditor.... Robert J'.Feldmn
Night Editors-EditorialBoard Members
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Wilam C. Gentry Robert LSloss
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ussell E. McCracken Barbara Wright
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"ortense Gooding
WEDNESDAY, MAY 14, 1930
Night Editor-DAVID M. NICHOL
WHAT ARE RHODES SCHOLARS
FOR,?
In proposing to change the basis
of selecting Rhodes scholars, the
trustees and the British Parliament
are indulging in an extraordinary
departure not only from the terms
of Cecil Rhodes' will, but also from
his express intent. He provided for
the award of two. scholarships to
each state. The new plan is to
choose scholars by regions or dis-
tricts.
. The purpose is to get better stu-
dents. Some states have appointed
men who were not so good as others
who were rejected in the more
populous states. Granted. But
Rhodes was thinking, not of intel-
lectual, athletic or social advance
solely, but of political advance, of
making for better understanding
between England and America. He
wanted to keep sending back to
every part of our country men who
had lived and studied in his coun-
try. It was essential to his purpose
that many of them should come
from and return to our more re-
mote and less sophisticated towns.
A few American graduates of Ox-
ford can hardly make a dent in
New York or Chicago, but they can
powerfully influence the public!
opinion of Albuquerque or the
Ozarks.
Campus Opinion
Contributors are asked to be brief,
confining themselves to less than too
worA of possible. Anonymous Vo.'s 1
munications will be disregarded. The
names of communicants will, however,
be regarded as confidential, upon re-
quest. Letters published should not, be
{ construed as expressing the editorial
opinion of The Daily.
The Editor,
The Michigan Daily,
blood of 27 is hardly even a drop
compared with the pools of inno-
cent Indian blood which the Brit-
ish police may be expected to shed
in the next few months. The re-
sponsibility for all these murders
rests with the British. The British
have no right to rule India. Their
soldiers and police are murderers
in a foreign land in which they
have no right. "No man has any1
right in another man's country
with a gun on.his shoulder."
England should not disregard the
India question you argue because
the lives of hundreds of Europeans
and Englishmen may be in danger.
Your hollow pettiness is evident
in your reason, not in the sugges-
tion to deal with the question of
India. You seem to consider the
lives and the loot, (property you
call it), of a few hundred Euro-I
peans as the major or important
issue. The lives, property and the
freedom of a fifth of mankind you
seem to consider of secondary or
perhaps of little importance. Could
pettiness go further? If you want
to think about Indian problems you
will have to think in larger terms
-certainly not in terms of hun-.
dreds-even if lives are European.
You have a dense ignorance of
with passive resistance means or
of the conditions of British life in
India. The people of India are ab-
solutely and completely disarmed,
maybe a few but not very many
air guns, even.
Perhaps consciously but probably
due to the same ignorance you join
the word European to English in
your comment. India has no quar-
rel with Europeans or Americans
or' any other people except the
British. You should at least know
that. Boycott of cloth promulgat-
ed by the All-India National Con-
gress is not a boycott of all trade.
Those commodities that India can
not produce just now are not in-
cluded in this boycott of foreign
goods. Think, the tendency to-
wards boycott is expressed by free
nations in their tariff imposts.
That passive resistance is futile
is and only can be comprehended
by you. If passive resistance is
futile, do you advocate active re-
sistence? It is annoying to Eng-
land, you suggest. Precisely, the
intention and desire of the people
of India is not only and merely to
annoy by passive resistance, if pos-
their position in that country un-
tenable by passive resistence, if pos-
sible; by other means, if impossible
by passive resistance.
You make a very serious mistake
when you say that England would
solve her 400,000,000 problem. It
is just the other way around. The
British are the problem of India,
"How best to dispose of them, with-
out being cruel or even unkind."
Passive resistance is a far kinder
method than violence. You say it
i~ futile. Well what is India to
do? Does the answer lie in your
comment that passive resistance is
futile? India hopes you are mis-
taken, but perhaps you know the
British better-know history, 1876
and so forth.
British greed (imperialist and na-
tionalist) has been the human
problem -for 200 years and more.
Look at a map of the world. The
red shows where human blood has
been shed to gorge this greed. Maybe
I see more than the facts warrant,
but certainly Empires are not built
on self-sacrifice, abnegation, hu-
mility, philanthrophy and a love
for freedom. Perhaps you know
history differently.
Now, Sir, you will hear-there
is the censor and the experience
gained by the British in propa-
ganda during the war,-of how the
people of India "murder Belgian
babies and cut off the breasts of
women and the chubby hands of
tiny tots," and this believing and
gullible world will drink it all in.
We will hear of such things and
probably worse ones, Indians have
no wireless, or radios or news
services,-in spite of the "Green
Goddess"-and most Americans will
believe such news. Editors, too have
often the gullibility not far above
the average.
As a matter of fact the world has
listened only to the British version
of India for 200 years. A shameful
interpretation, biassed-unclean-
worthy only of an imperialist group
determined and equipped to pro-
duce an unfriendly attitude to-
wards the innocent millions of de-
fenseless India.
I write this, however, with deep
appreciation of that desire for the
exposition of truth that lurks be-
hind the writings of every intelli-
gent and progressive student con-
i
Music and Drama I---
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First May Festival Program
The Festival program tonight promises a rather more than usual
variety. Quietly and unostentatiously, perhaps a tribute to late-comers,
the Chicago Symphony Orchestry will open with Georg Schumann's
Liebesfruhling Overture.
o Miss Dux then very properly offers the E Susanna non vien aria
from The Mariage de Figaro. In her years of activity Miss Dux was
always the lyric soprano with the consummate grace of style, the
exquisite softness of tone necessary to Mozart singing. She was always
the aristocrat of her art, using a tone of cool, fragile loveliness. Her
later choice on the program will be the three well-known songs with f
orchestra by Richard Strauss, Freundliche Vision, Morgen, and
Standchen.1
Percy Grainger, pianistic playboy of the American continent, widelyk
admired for the width of his repertoire, is the most important artist
of the evening. His first offering will be the John Alden Carpenter
Concertino for piano and orchestra,3
which he had the honor of first perform-
ing back in 1916.
Carpenter's work in all forms of4"
composition has been pretty largely of
an attractively humorous nature. He has
always had a properly American scorn
for depth and contented himself with
such works as the Krazy Kat suite, a fine
bon mot now somewhat outmoded,
and the humorous coments on in- -
fantile sentiments in Adventures in a
Perambulator. His Skyscrapers, too, were
soon found to be practically cardboard.
These musical jokes, because their
achievement was pretty largely in the-
current idiom of the year they were Grainger
written in, are becoming passe as all jokes do.
His most considerable claim to permanence of appeal, lies, it is
generally granted, in his Concertino. The music is still of the same
quality but the exigencies of writing for a solo instrument in addition
to the orchestra and of writing to established forms stimulated him
technically to a rather more important achievement.
Carpenter's own note on the work, significantly light, indicates
the music's quality: "Not to impose on it a definite program but merely
to establish the mood of the piece, it may be suggested that the
Concertino is, in effect, a light-hearted conversation between piano and
orchestra-as between two friends who have traveled different paths and
become a little garrulous over their separate experiences. The conver-
sation is mostly of rhythms. The rules of polite talk, as always between
friends, are not strictly observed-often in animated moments they
talk both at once, each hearing only what he says himself (a naive
way of-.saying expect dissonance). There is still much to be said-
on a pleasant night-with youth in the air-between friends." At any
rate it is an attractive work of exceeding interest stylistically, presenting
nice conversational problems to the piano andethe orchestra.
Grainger will close the program with Cesar Franck's Symphonic
Variations, one of the most effective compositions for piano and orches-
tra not in the concerto style. The expansion of the variation form.
achieved by Beethoven, Schuman and Brahms, made possible this subtle
use of it by Franck.
Three Exhibitions
A REVIEW BY JEAN PAUL SLUSSER
Amusing evidence of the completeness with which modernism has
struck in American art within the last few years is afforded by the
fact that exhibitions by two such diverse groups as Scandinavian Artists
and Young American Moderns can be combined, as in the present
showing in Alumni Memorial Hall, so as to bepractically indistinguish-
able. It may be said that the unity of both exhibitions is a loose one,
and consists largely in an open-minded and experimental attitude on
the part of the artists towards approach and methods. This is indeed
a rough and ready description of modernism, although of a somewhat
negative sort. Those who were brought up on a strict -diet of impres-
sionism, and are accustomed to a pretty thorough accounting for the
facts of superficial appearance in their art will be at a loss here to
discover any more unifying principle in these pictures, or indeed to
see in many cases what all the excitement is about.
Yet an open-minded approach on the part of the public will yield
far greater returns than the simple attitude of resistance to all that
is new and strange. Like it or not, this is the world the artists of today
are giving us to live in, and sooner or later we are going to find
ourselves at home in it. In neither of these exhibitions are works of
the first importance, if one except the portrait of Charles Bateman by
Henry Mattson, but their significance as revealing the tendencies of
our time, as exhibiting the common idiom of the day out of which a
new art-language is being molded, is perhaps the greater "for that. This
is the best opportunity Ann Arbor has had this year to become
acquainted with contemporary painting, because here it is seen in the
hands of some of the younger men whose reputations are still on the
make, and it is exhibited in its common or garden rather than in its
official aspects.
The quality which runs through most of this work, diverse as it is,
and entitles it to be classed as modern-there are a few notable excep-
tions, particularly in the work of some of the Scandinavian-Americans-
is its complete insistence upon the formal or design aspects of the
picture. Some of these canvases show design in its more limited and
obvious asp'ects, as the flat-color geometricized arrangements of Knud
Merold, or the line and color day-dreams of the Ulreichs-both are
vaudeville entertainers: Buk is a hoofer, and Nura croons mammy-songs,
(but why not? American art has been burdened with uplift and earnest-
ness too long, it is time for some one not only to dance and sing but to
shout in it). The topical interest, the whimsical and sentimental,. is
certainly here, but these pictures, whether successful or no, are conceived
as designs, and actually decorate the space within the limits of their
frames.
The more representative approach is essayed by Arnold Blanch and
Arnold Wiltz, two extremely serious-minded young men of Woodstock,
each with a very personal approach to his subject. "The Olive Tree"
of Wiltz is one of the most thoroughly well planned and beautifully
executed compositions in the exhibition. More abstract and more
Parisian is the idiom of Cramer and Mangravite, the latter of a Puck-
like whimsicality. Birger Sandzen, the Kansas-Scandinavian master,
shows three canvases in the high color scale of the long-departed
neo-impressionists which still do not look out of place in this somewhat
vivid company.
The small group of canvases by Charles Hawthorne in the North
Gallery will give particular ease and pleasure to those who abhor the
new and the experimental, and who test the excellence of an art-work
by what the generation of critics exemplified by Royal Cortissoz
denominate as its 'quality,' meaning, one guesses, a certain urbanity of
handling which suggests the time-ripened patina of the old masters.
This Hawthorne offers in generous quantities, as well as qualities of
dignity, aloofness and repose, which may or may not be imitated from
certain old masters, but which-unfortunately, perhaps,-are less inJ
demand by the current generation than they were by the generation
which chiefly nourished the art of Hawthorne. Hawthorne's greatest
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Grand 1diver
Go-rdadOpenIng
'Vancin i
edean Golc ettds
Open Air P'alroom.
THRILLS, RIDES,
AMUSEMENTS
Bright Young Things
Are*Wearingn,
Dull, St'ockings
"The duller the smarter" is the 1930 hosiery slogan.
Chic legs no longer twinkle across the campus . .
they go demurely clad in the merest film of color.
Crepetex Hosiery is the ideal "dull-sheer" hosiery
because:
They accentuate the slenderness of ankle and
leg.
Their dullness makes them look even sheerer
than they are.
They carry out the dull-surfaced texture-of
the 1930 mode.
They wear longer than ordinary hose, and
come in subtle new colors.
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Free Busses from Lahser
and Grand River to and
from Park.
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A milestone of Telephone progress
This marker is used to show the position of
a new type of underground cable line. It is
also a monument to the Bell System policy
of constantly improving established methods
and developing new ones.
For years underground telephone cables
have been laid in hollow duct lines especially
constructed for the purpose. By this newly
developed supplementary method they can
be buried directly in the ground without con-
duit-and, under many conditions,,at a sav-
ing of time and money. 9
To do this it was necessary to develop
a new type of cable, many kinds of special
equipment including labor-saving installation
machinery, and to work out an entirely new
installation procedure.
Progress means change. The Bell System
holds no procedure so sacred that it is not
open to improvement.
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57-.
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