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October 12, 1930 - Image 4

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The Michigan Daily, 1930-10-12

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FAC=E FOUn

THE MICHIGAN DAILY:

SUNDAY, OCTOBER. 1 1930

. . . . . . ........

Vii .i.? MlV .4. 1~il kiL AAL4 ,L.7t7V

Published every morning except Monday
during the University year by the Board in
Control of Student Publications.
Member of Western Conference Editorial
Association.
The Associated Press is exclusively entitled
to the use for republication of all news dis-
patches credited to it or not otherwise credited
in thie, paper and the local news published
'herein.
Entered at the postoffice at Ann Arbor,
Michigan, as second class matter. Special rate
of postagegranted by Third Assistant Post.
master General.
Subscription by, carrier, $4.00; by mail,
$4.50.
Offices: Ann Arbor Press Building, May-
nard Street.
Phones: Editorial, 4925; Business, 21214.
EDITORIAL STAFF
Telephone 4925
(ea MANAGING EDITOR
Chairman Editorial Board
HENRY MERRY
City Editor
Frank E. Cooper
Nlews Editor.........Gurney Williams
Editorial Director ...........Walter W. Wilds
Sports Editor................Joseph A. Russell
Women's Editor........... Mary L. Behymer
Music and Drama.......William J. Gorman
Assistant News Editor.....Charles R. Sprowl
Telegraph Editor...George A. Stauter
NIGHT EDITORS
S. Beach Conger John D. Reindel
Carl S. Forsythe Richard L. Tobin
David M. Nichol Harold O. Warren
Sports Assistants
Sheldon C. Fullerton J. Cullen Kennedy.
Robert Townsend
Reporters
Walter S. Baer, Jr. Wilbur J. Myers
Irving J. Blumberg Robert L. Pierce
Donald 0. Boudeman Slier M. Quraishi
George T. Callison C. Richard Racine
Thomas M. Cooley Jerry E. Rosenthai
George Fisk George Rubenstein
.Ternard W. Freund Charles A. Sanford
Morton Frank Karl Seiffert
Saul Friedberg Robert F. Shaw
Frank B. Gilbreth Edwin M. Smith
Jack Goldsmith George A. Stauter
Roland Goodman Alfred R. Tapert
William H.dHarris Iohn S. Townsend
James H. Inglis 1obert D. Townsend
Denton C. Kunze Max II. Weinberg
Powers Moulton Joseph F. Zias

airector, and second, to lend what
tempering and weighty effect a
concensus of opinion might give to
the stand as finally adopted by the
editorial board.

About Books
NOTE.

Lynne Adams
Betty Clark
Elsie Feldman
Elizabeth Gribble
Pemily G. Grimes
Elsie M. Hoffmeye
Rean Levy
orothy Magee
Mary McCall

Margaret 0OBrien
Eleanor Rairdon
Jean Rosenthal
Cecilia Shriver
Frances Stewart
er Anne Margaret 'robin
Margaret Thompson
Claire Trussell
Barbara Wright

BUSINESS STAFF
Telephone 21214
BUSINESS MANAGER
T.A OLLISTER MABLEY
Assistant Manager
KASPER H. HALVERSON
'Department Managers
Advertising ................Charles T. Kline
Advertising.........Thomas M. Davis
Advertising............William W. Warboys
Service ........:.........Norris J. Johnson
Publication ............Robert W. Williamson
Circulation ..............Marvin S. Kobacker
Accounts...............homas S. Muir
Business Secretary.... ...Mary J. .lenan
Assistants
Thomas E. Hastings Byron V. Vedder
Harry R., Begley Erie Kightlinger
William Drown Richard Stratemeier
Richard H. Hiller Abe Kirshenbaum
Vernon Bishop Noel D. Turner
William W. Davis Aubrey L. Swinton
H. Fred Schaefer Wesley C. Geisler
Joseph Gardner Alfred S. Remsen
Ann Verner Laura Codling
Dorthea Waterman Ethel Constas
Alice McCully Anna Goldberg
Dorothy Bloomgarden Virginia McComb
Dorothy Laylin Joan Wiese
Josephine Convisser Mary Watts
Bernice Glaser Marian Atran
Hortense Gooding Sylvia Miller
SUNDAY, OCTOBER 12, 1930
Night Editor-Harold O. Warren

It is our hope that from time to
time we may advance our views
upon timely questions of the cam-
pus and country in a manner that
will appear judicious and civilized.
It is our further desire that in
treating of controversial subjects,
if we seem to be shedding more
heat than light upon the matter,
we will not be indicted for hyster-
ical ranting or pawing of the air.
Our accepted form is to dissemble
from the flux of student opinion
the salient and ideal view and to
present it in such fashion as seems
appropriate and reasonable. Above
all, we strive to give active curren-
cy to the student viewpoint,
eschewing that which is puerile,
but giving vigor to just and worth-
while attitudes.
on
Editorial Comment
oo
CORRUPTERS OF YOUTH
(From the Princetonian)
Generally accepted as a pedago-
gic maxim is the principle that a
course which is not climaxed by a
searching examination is hereby
deprived of its significance and
substance. Comparatively novel is
the theory of Professor Donald
Clive Stuart that it is almost as
important to examine prospective
auditors on the degree of learning
and sophistication which they bring
to a historical study of the master-
pieces of the world's drama.
Heretofore, Professor Stuart's an-
nually propounded question, "Have
you ever seen a play which was
harmful to your morals?," has had
only the slight value of indicating,
by an argumentum ex silentio, the
validity of his cherished opinion
that drama is incapable of produc-
ing a noxious effect upon an audi-
ence. But this year, inexplicably,
seven Seniors testified that their
morals had been harmed by a play.
One searches in vain for a his-
torical precedent for youths who
have testified against their alleg-
ed corrupte'rs. Socrates only de-
lighted the young men who offer-
ed themselves as foils to his devas-
tating onslaught against compla-
cency and cant. This tattling on
the part of the seven strikes us as
sissy; maybe it is only abortive
braggadocio.
"Artists and Models" and "Pleas-
ure Man" were frankly "naughty,"
but it is amazing that they should
be called harmful by anyone but a
patrolman temporarily detailed to
the Vice Squad. The former notor-
iously caters (or is the word "pan-
ders"?) to out-of-town buyers and
callow children from preparatory
schools who feel the need of mere-
ly titillating their emotions in a
strange city. We must warn the
morally damaged Senior that 'tis a
naughty world, naughtier even
than Earl Carroll's shows. "Pleas-
ure Man" was from all accounts so
stupid that it failed to be disgust-
ing. If its tarnished victim at
Princeton still, after two years,
harbors an unsatisfied desire to ap-
pear in "drag," he need only go
out for the Triangle chorus.
We remember some clever songs
and dance routines from "June";
Grandmother said it was simply
swell. None of our friends (except
Heywood Broun) has seen "A
Farewell to Arms" yet, but even so
we can't believe that Laurence
Stallings or Ernest Hemingway is
capable of writing anything actu-
ally poisonous.

It should be mentioned that
yesterday morning's books column
was written by L. R. K., known
for some years in connection with
the Rolls column as Lark. The
copy (particularly the short note
which referred to Rebecca West
striking a death note of some sort
in her latest casual piece of journ-
alism) was unedited.
THE REALM OF IDEAS.
POETRY A N D MATHEMATICS:
by Scott Buchanan; published 1930
by John Day Company; Price $2.50.
A Review.
An extraordinary versatility of
background, an artist's gift for the
perception of analogies between
the various levels of that back-
ground, and a fine stylistic talent
for elucidating those analogies,
makes Mr. Buchanan's second
book an outstanding achievement
in criticism. It seems a little odd
that the book has received such
little notice in the best journals.
In its undoubted permanence and
combination of several important
excellences, it is comparable to Mr.
Santayana's essay on "Platonism
and The Spiritual Life," with which
book it has some affinities.
Underlying this book are the
conclusions that resulted from his
wrestle in his first book, Possibility
(Kegan Paul: 1927), with the Pla-
tonic problem of the relations be-
tween ideas and things: better
stated as the problematic relation
of essence and existence. There, he
was worried by the contrast be-
tween the relational character of
the world as revealed to reflection
and its immediately qualitative
aspect as given in sense perception.
Somewhat maliciously (with little
concern for its metaphysical impli-
cations) he left the problem in all
its difficulty, asserted a radical
dichotomy between discourse and
existence. The purity of clear and
distinct ideas is insisted on. They
can never render the character of
things. To ascribe relations to
things is nonsensical except when
it done with the awareness of
metaphor. "Any history of thought,"
says Mr. Buchanan, "might begin
and end with the statement that
man is an analogical animal."
"Abstract ideas are of the very
tissue of the human mind." It is
only the bad emotional habits, in-
duced by the contemporary extoll-
ing of the superior reality of the
scientific object, that has made us
fear this abstraction. "There is
something persistent in what the
whimsical and uncontrollable uni-
verse of ideas does to our exper-
ience"-an activity we have lost
interest in, only temporarily, be-
cause of our devotion to the tradi-
tion of experimental science which:
has until recently asserted the con-
trol of nature. "A dialectical in-
vestigation of categories, such as
Plato made, would show that the
play and consequently the expan-
sion of ideas is unlimited except by
the energy and inclination of think-
ing beings."
With this interesting attitude in
mind, one is prepared to under-
stand the significance Buchanan
grants poetry and mathematics as
parallel developments in human
culture. The universe is not only
a system of perspectives for Mr.
Buchanan. It is a book of mathe-
matical formulae and a realm of
poetic insights. Poetry and mathe-
matics are thought of as two very
successful attempts (that is, tech-

niques) to deal with ideas. The fact
of the difference in the symbolic
notation each uses is only super-
ficial. Their essence resides in being
intellectual, in beginning in insight
and resting in the detection of an
intelligible relational structure in
the realm of ideas. Their subject
matter is essentially the same: the
discovery of fundamental orders,
variations within those orders, and
hierarchies of such orders and vari-
ations.
The object of the book is "by
treating poetry mathematically and
mathematics poetically to show
the mutual reflections and common
illuminations they afford." In this
light projective geometry is con-
sidered. It is found to be interested
in a figure's retention of certain
properties, such as proportionality
of lines and angles through given
transformations and the discovery
of the laws governing such proper-
ties. This interest Mr. Buchanan
finds similar to the procedure in
literature: where a character, a
leit-motif, or an idea undergoes
clarification through transforming
development. Poetry is the adum-

- - - - -
SIC AND DRAMA
MONDAY NIGHT: In Hill Audi-
torium, Fritz Kreisler's recital in
the Choral Union Series, to begin
promptly at 8:15.
FRITZ KREISLER.
Fritz Kreisler will inaugurate the
Choral Union Series tomorrow
night in Hill Auditorium, the pro-
gram to begin promptly at 8:15.
Mr. Kreisler, as usual, will be ac-
companied by Carl Lamson. He has
announced the following attractive
program:
La Folia, Corelli. Sarabande,
Double, Bouree: From Partita in
B minor for Violin alone, Bach.
Concerto, E minor, Mendelssohn.
Allegro molto appassionato, An-
dante, Allegretto ma non troppo-
Allegro molto vivace.
Romance, A major, Schumann.
Rondo, G. major, Mozart.
Three Caprices: Study on a
Choral for violin alone, J. Stamitz;
La Chasse (The Hunt), J. B. Car-
tier; Tarantella, A Minor, Wien-
iawski.
Caprice Viennois, La Gitana,
Kreisler.
EDNA THOMAS.
The program that Miss Thomas
will give here Tuesday night is to
include a large group of spirituals,
a group of New Orleans street cries,
croons, and work songs, and a group
of Creole negro songs in French and
Spanish. Vanity Fair comments on
her work: "A remarkably beautiful
woman, Miss Thomas' programmes
are always wisely selected. She im-
presses on sight, and ever after is
heartily, if not vociferously, ac-
claimed. She leaves behind her the
perfume of musk and violets, and
the memory of that rare combina-
tion-artist, scholar and lady."
THE THEATRE IN DETROIT.
The real opening of Detroit thea-
tres is pending until next week,
which will offer Alla Nazimova in
the Theatre Guild's production of
Turgeniev's "A Month In The
Country," discussed here recently
by Elmer Kenyon, Katherine Cor-
nell, Detroit favorite since her early
days at the Bonstelle Playhouse, in
another typical vehicle "Dishonored
Lady," and finally Horace Liver-
ight's production of Dracula, fam-
ous mystery play. That week, at
least from' an Ann Arbor stand-
point, is promising.
Meanwhile, there are two hold-
overs, Sweet Adeline, at the Wilson,
and Sheridan's The Rivals at the
Detroit Civic. The first musical
show, with its background of buxom
burlesque queens of the 90's, its
attractive Jerome Kern music, is
getting a reception similar to the
one in New York. Helen Morgan
and Charles Butterworth are the
principals, who alone make the
show worthwhile.
The Civic Theatre, whose prod-
uctions and existence are always
somewhat precarious, favorably sur-
prised all the newspaper reviewers
with an extremely creditable per-
formance of The Rivals.
in the book by quoting at random
some of Mr. Buchanan's insights
The elementary mathematical dis-
tinction betwen cardinal and ord-
inal numbers is found to yield ex-
celent terminology (both with ref-

erence to characters, Dostoieski's
Idiot and Tom Jones, and to styles,
that of Bertrand Russell and that
of Santayana).
From his fundamental thesis
that all thinking is analogical,
"some usually unnoticed presup-
positions of science are manifested
in a rather startling way" resulting
in the startling conclusion that
"Science is an allegory that asserts
that the relations between parts of
reality are similar to the relations
between terms of discourse," or
"scientific objects are poetic objects
whose relations are said to be
similar to the relations between
mathematical objects."
In two chapters on style, Mr.
Buchanan arrives by way of ideal-
istic logic and calculus at the con-
clusion that "Style is an uncon-
scious witness to the presence of
a system of abstract relations
among words."
The "inward dialetic of thought"
is thought of as a sort of co-opera-
tion betwen creation and criticism:
creation consisting in the achieve-
ment of perfect coincidence of
symbol and idea; and criticism
distinguishing and abstracting into
allegory the relations implicit in
these symbols, which are actually
metaphors or condensed analogies.
Then there is a final chapter on

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EDITORIAL METHODS.
Of late we have. received a num-
ber of inquiries concerning The
Daily's methods in formulating
editorial opinions. In the advent of
several campus issues which are
on the point of being placed before
the campus generally, the' preseni
may be considered a ripe time foi
explicating our manner of ap-
proaching these topics.
The organization of that part of
the staff which is responsible foi
the editorial, department is briefly
as follows: an Editorial Board is
set up at the beginning of each
year consisting of the night edit-
ors, the managing editor and the
editorial director. The selection of
the night editors is flexible and
changing-before each meeting of
the board, those junior night edit-
ors who have evinced a satisfactory
interest in editorial matters are
asked to sit with the board for that
particular meeting. In the event
that this interest fluctuates from
time to time, those persons in-
volved are either removed or re-
instated as the case may be.
All general editorial policies ad-
vanced by The Daily are the con-
census of this board. While each
member's views and information
are taken into account, it is quite
natural that the opinions of the
senior members of the board re-
ceive greater weight in the discus-
sions. This is justified by the as-
sumption that through their longer
experience with the campus at large
and with previous editorial boards
they are better able to adjudge the
nature and import of the various
issues under discussion. It is the
aim of this board to represent, both
through its active members and
through their reflected information
on subjects at hand, a concerted
attitude toward the affairs of the
University and the world at large.
Its function is to shed what light
it may on an issue and evolve a
sane, well-seasoned view toward it.
This mechanism of the editorial
board was set up pursuant to a
request of the Board in Control of

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There has never, in our theatre-
going career, been a more gorge-
ously funny ' show in New York
than "Lysistrata." Its humor is
unremitting and visceral, and that
is always salubrious. If it were
more covert, it might possibly be
offensive (not harmful), but there
isn't a leer in the whole farce. Any-
one over 14 should be quite safe;
there.
Two indictments have been re-
turned against Eugene O'Neill, for
"Strange Interlude" and "Dyna-
mo." There is powerful mental
stimulation in each, but there is in
"King Oedipus" too, and the two
students who stigmatized O'Neill
are well prepared for the shock
they will get from Sophocles before
many weeks. It is a curious cir-
cumstance that O'Neill thus looms
as the most virulent of the play-
wrights, that same O'Neill whose
incipient genius, in its undergrad-
uate manifestations twenty-odd
years ago, was fatally confused
with malicious mischief by a
Princeton Dean. It is O'Neill's
good fortune to be bracketed, on
this account, with Oxford's Shel-
ley and Swinburne and West

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