PACE FOTTI
THE MICHIGAN DAILY
4
TUESDAY, OC 7 OBE12 14, 19 ,00
PAGE FOUlTUESDAY, OCTOflEl~ 14, 1930'
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,i MANAGING EDITOR
Chairman Editorial Board
e HENRY MERRY
City Editor
Frank E. Cooper
News 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
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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
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George Fisk George Rube nstein
$ernard W. Freund Charles A. Sanford
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previously, the present great con-
cerns are rather inclined to be of
numbers, games, buildings, endow-
ments and tangible evidences of
educational progress. The social
and country club qualities of uni-
versity life bring thousands of per-
sons to college portals who have
slight interest in or intention of
following intellectual pursuits. But
a greater offense is committed when
educators seek to eliminate institu-
tions and practices that are dis-
tracting to academic accomplish-
ments, instead of spending their
time making the acquisition of
knowledge more attractive than
other diversions by aggressive and
personal means. The mania for
preventive administration often
subverts progressive achievement.
i
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Lynne Adams
Betty Clark
Elsie Feldman
Eliza eth Gribble
mily G. Grimes
Elsie M. Hoffmeye
Jean Levy
Doroth Magee
Mary cCall
Margaret O'Brien
Eleanor Rairdon
Jean Rosenthal
Cecilia Shriver
Frances Stewart
er Anne Margaret Tobin
Margaret Thompson
Claire Trussell
Barbara Wright
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ernice Glaser
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Virginia McComb
Joan Wiese
Mary Watts
Marian Atran
Sylvia Miller
TUESDAY, OCTOBER 14, 1930
Night Editor: CARL S. FORSYTHE
SCHOLARSHIP BY ELIMINATION
From time immemorial, teachers
have been trying to make educa-
tion more interesting. Recognizing'
that youngsters and adolescents as
a rule are either virulent noncon-
formists who rebel at being schooled
by rote or misdirected drones who
lack sufficient energy to change
their inertia. For both of these
sorts, the pedlagogues have set up
academic plums and have sugar-
coated as much erudition as they
can under the circumstances.
In the past, the large state Uni-
versity has come in for considerable
destructive criticism. It is a matter
of general knowledge that the level
of teaching is somewhat low, that
many lecturers are dull and ill-
suited for the task they are often
forced to perform, that specializa-
tion dissipates broader cultural ad-
vantages and that the powers of
administrative heads has under-
mined the influence of the faculties.
But we cannot help praising and
envying the efforts of more fortun-
ately constituted colleges that are
not only planning and talking of
changes, but are really reforming
t h e i r educational systems. The
growth of the tutorial system has
been very gradual, which is attrib-
utable as much to faculty indiffer-
ence a n d persistence in o 1 d-
fashioned ways as to the tremen-
dous expense involved.aNeverthe-
less, of great significance is the
fact that in virtually every experi-
mental college or school of advanc-
ed and designedly 'ideal' methods,
the tutorial practice has been the
nucleous of the teaching structure.
Without seeming to ignore the fi-
nancial difficulties of a revolution-
ary change in instruction, we still
believe that much can be done by
way of retrenchment and bolster-
Editorial Comment |
o ^
CONCERNING THE "CHANCE"
(From the Yale Daily News)
Mystery, danger, enchantment
have always clung about a long
sea voyage. From Homer's epic to
the tales of Conrad the song of the
wet sheet and flowing sea has never
lost its charm. The return Of the
schooner "Chance" from her twen-
ty-seven months in foreign waters
brings home to this country, and to
Yale in particular, the spectacle of
a twentieth century adventure after
the approved style of England's sea-
dogs themselves.
No one is justified in saying that
the century of the World War, of
aviation and conquest of disease, is
a pampered century. There is
courage, endurance, ingenuity and
colour in ample evidence today. Yet
it is with a certain amount of wist-
fulness that we read the story of
Commander Brown and his mates.
We cannot quite see ourselves doing
what they did.
We are used, some of us, to a little!
danger, a little experience, during
the summer vacations. But we mar-
vel a bit when we think of twenty-
seven months of it. We conjure up
pretty extravagant pictures, with
ourselves in extravagant roles. We
realize acutely all that divides out
life from real, complete indepen-
dence. Few of us have actually cast
our hawsers clear. Upon a quick
survey of our shackled positions, it
seems doubtful if we could ever
really break away.
This it is which accounts for the
wistfulness. We have so many in-
terests, so many ties; our lives are
so full, that we rarely ask questions.
Once in a while a tremor runs
through us; could we break away if
we wanted to? The adventure of
the "Chance" is a grand thing to
read about. But it is significant in
that those men could and did break
away from positions exactly like
our own. Their example serves, not
to convince us of our stolidity, but
to show us what we might be if
the spirit moved us..
As to why the spirit does not
move us more often-that is anoth-
er question.
NO MONEY FOR FREE
SPEECH.
From The "University of Washing-
ton Daily."
Those who appreciate indepen-
dent discussion will regret the un-
timely discontinuance, October 1,
of "Plain Talk," three and a half
year old champion of frankness in
the consideration of national social
and political problems.
In a private communication to
the University school of journalism,
"Editor and Publisher" expresses
itself as feeling that "'Plain Talk'
was as worthy of support as any
magazinethat has come along in
some years, but it could not sell ad-
vertising to any of the legitimate
businesses that spend millions for
magazine advertising."
University of Washington library
copies of "Plain Talk" were always
well-soiled at the end of the month,
betokening an appreciation of plain
talk by those who find themselves
in the college sphere-supposed
hot-bed of unbiased discussion, if
not cynicism.
G. D. Eaton, youthful editor of
OAST D L
MENACE
MENACE
.MENACE
No, fellows, that isn't the villain
approaching, it's a statement of
fact. There is a menace in the air,'
and it's high time something was
done about it as it is dangerous to
menace well as women. Come on,
now, I was only 'kidding', leave a
fellow be will you? As I was saying,
we're being menaced. Our liberties
are being unduly trampled upon,
and in general we're being treated
real nasty. Although the full force
of the trouble rests on the should-
ers of the males of the campus,
our sisters come in for some of the
beating too, and should aid in its'
recrimination an dultimate amelio-
ration as they say in editorials.
* * *
The trouble is really simple
to remedy,-all that is neces-
sary is the shooting of one Mr.
Tillotson, and surely none
should balk at that. Perhaps I
had best explain what is wrong,
however, before going further.
The fact is that our pals the
higher-ups are really serious
about seating girls (or young
women as they are more pro-
perly called in this age of
sophistication) in the cheering
section. I'd just like to see the
face of old Cyrus Q. Michigan,
our revered founder, if someone
had suggested that to him.
That's all, I'd just like to see it.
Women should arise too in de-
fense of their rights as preservers
of the purity of the English lang-
uage free from such words as. -
oh well, just free from such words,
and I can assure you that a few
years of this mixed cheering will.
break down their morals of speech
just as ... OH NOTHING!
* * *
Dear Danny Baxter: (I don't like
this 'Danny' stuff, it sounds too
familiar for my mid-Victorian
tastes).
We, two coeds wish to inform
you that chivalry is not dead. Andy
Gump, we all know Andy, was
motoring along Forest avenue Fri-
day when a stray ball from the
tennis courts bounced his way. He
gallantly stopped his motorcycle
and tossed the ball to the two
maidens in distress. We should like
to reccommend him for the highest
medal.
Betty and Sally Coed.
* * *
Dear Dan:
All of which only proves that
women, especially co-eds, like
to imagine themselves the focal
point of interest. I have it on
first hand information from
Andy that he is going out for
the baseball team next spring,
and he was too eager to let an
opportunity to heave the all
go by.
Hurray for the en,
Elmer.
Cut it out, Elmer, none of your
smot crecks against the----ladies
God Bless 'em. There is only one
thing in that letter that arouses
my skepticism. That is the state-
ment that anyone, not to mention
Andy can stop a motorcycle gallant-
ly. The only time I ever tried it I
had to keep going until a kindly
coal pile intervened. Otherwise I
should be riding to this day or to
hounds or to the dogsnor something.
* * *
Dear Dan:
I agree with you perfectly; where
is Elmer's manhood to duck the
responsibility of that epic? Fear-
lessly, flagrantly flaunt following
futile fragment:
To E. N. (or who have you)
Better fish are in the sea
Than any brought to land,
So consoling friends tell me
Who do not understand.
Better fish there are to play-
Ah yes, I know, I know;
And yet no matter what they
say
I voice the angler's anicent
woe:
But God! the one that got away
Well, Dan, you know what the
Good Book says. To save you an
embarrassing revelation, it's, "do
unto authors as you would have
done unto yourself." How about a
poetry prize? I suggest a medallion,
size of a nickel with wire attached
:MUSI C AND DR AA
TONIGHT: It the lendelssohn
Theatre, Ednia Thiomps1on, the L dy
from Louisiana., ini a recital of
Negro spirituals, street cries, croons,
and Creole songs.
FRITZ K REISLER.
A Review by William J. Gornian.
Fritz Kreisler opened the Choral
Union series last night quietly and
magnificently with all the certainy
of his mellow art. The superbly con-
sistent excellence of this violin art
probably marks it as the best that
this generation has been offered.
Last night's program found that
art brilliantly articulated in several
of its phases. One heard Kreisler's
"style" adapting itself to a con-
siderable variety of music: music
by Bach, music by Mendelssohn,
music by Mozart, music by Kreisler
and Grainger. The sameness of the
style in those very different con-
texts was, I think, very clear.
One should like to be able to de-
fine that style. At the basis of it,
certainly, is the mental quality
which Kreisler's stern, inexpressive
external manner reflects. One feels
behind all the playing a secure
sensibility, not tortured or even
concerned with the "personal"
qualities in it; a sensibility con-
stantly in touch with the intellect.
It is this deep calm of maturity
(containing in it only the one
basic desire to be sensitive to
music) that makes his style im-
personal. (One should interpolate
here that it is eminently personal
in one sense by reason of its
rarity). It is this impersonality
that makes Kreisler so flexible
and his musical feelings so un-
failingly sound.
Undisturbed by
the demands of
t e in perament
(which pervert
all the recitals
of youthful ro-
mantics), Kreis-
ler's intellect
a n d physical
talent can go
about the great
task of recreat-
ing music purely.
These qualities are somewhat
more easily defined in physical
terms. Kreislev's tone is always
vital and resonant. It is not large,
above all 'lot sensuous, certainly
not lachrymiose. It is pure. One al-
ways feels that Kreisler's phrasing
is nothing but faithfulness to the
indications of the text. Similarly,
nuances and intensities are pre-
cisely produced with reference to
musical values. Always there is cer-
tainty: coming always from intelli-
gent respect for the text.
The interest of last night's pro-
gram lay in its revelation of the
merits of an artistry of this classi-
cal, intellectual sort. The fine
formal eccentricities of early eight-
eenth century music came to exalt-
ed life through the sincere, self-
effacing musicianship of a master
violinist.Kreisler's artistry as a per-
former is almost the equivalent of
the deep impersonality that Bach
achieved in his contrapuntal idiom.
Such identity means almost the
perfect performance. One tended to
think that Kreisler's playing of
Bach particularly, and of Corelli
and Stamitz was perfect. (One gets
a similar feeling of perfection in
the work of Toscanini, whose simi-
larly impersonal style enables him
to master such variety as the
Haydn Clock symphony, Dukas Sor-
cerer's Apprentice, and, it is strong-
ly rumoured, Wagnerian opera).
Then, Kreisler turns to the Men-
delssohn Concerto, certainly a well-
battered score. Here he makes no
attempt to change the naivete of
this score into something other
than itself. He allows himself on
his violin no feelings that the score
is not adequate to support. This
reverence for the object is clas-
sicism". The resulting performance
communicates all the loveliness of
Mendelssohn. The Concerto is fresh
and pleasant.
Schumann and Mozart are played
the same way. The program closes
with some of the justly famous
Kreisler "popular" music. One finds
it completely acceptable because
honest. Kreisler grants it the same
intelligent devotion. There is no
stra~ininp' to miake it maR~niloauient.I
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