PACE FOUR
THE MICHIGAN DAILY
FRIDAY, NOVEMBER 14, 1930
Published every morning except Monday
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Chairman Editorial Board
HENRY MERRY
City Editor
Frank E. Cooper
Vews Editor................Gurney Williams
Editorial Director ...........Walter W. Wilds
Sports Editor.............. Joseph A. Russell
Women's Editor ..........Mary L. Behymer
Music, Drama, Books........Wi. J. Gorman
Assistant City Editor ...... Harold 0. Warren
Assistant News Editor......Charles R Sprowl
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NIGHT EDITORS
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Carl S. Forsythe Richard L. Tobin
David M. Nichol Harold O. Warren
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Reporters
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T'homas M. Cooley Wmn. F. Pper
George Fisk Shr M. uraishi
Morton Frank Jerry E. Rosentha
Saul Friedberg George Rubenstein
Frank B. Gilbreth Charles A. Sanford
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Roland Goodman Robert F. Shaw
f ames H. Inglis Edwin M. Smith
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Robert D. Townsend
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CLASS GAMES.
Michigan has for some time un-
dergone severe criticism of her
lack of the "old spirit" and has
been charged with nurturing a so-
phistication or pseudo-sophistica-
tion which precludes all such "fool-
ishness" as tradition.
At this point it becomes necess-
ary to mark the distinction be-
tween tradition and nuisance. The
public at large seems to consider
any change from the styles of the
1890's as a softening of the pres-
ent-day undergraduate. Hazing
without discrimination and with-.
out a definite time and place is
distinctly a nuisance.
Michigan, however, has a wealth
of tradition that is still vital; in
the annual class games between
the sophomores: and freshmen there
is a yearly reiteration of the grip
which it has upon the University.
Not only are the games a good
thing, but they are one of the most
time-honored traditions on the
campus.
Such custom is the backbone of
the life of the University. Michi-
gan has gone far toward eliminat-
ing the nuisances, but she yet holds
strictly to certain customs with
veneration. In the light of this,
we again bespeak the general up-
perclass view which holds that it
Is the obligation of underclassmen
to participate in the Fall games.
an obligation, we may add, which
carries with it a commensurate re-
ward in the welding of more in-
tense and active spirit as partici-
pants in the life of the University.
SIC AND DRA A About Books
CONTEMPORARY SC ULPTORS
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lvPK.4AJW 0 vv I ju" UPI A
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Campus Opinion
Contrib~utors ai° asked to he brief,
confining themsek es to less than e00
words if possible. Anonymous com-
munications will be disregarded. The
names of communicants will, however,
i regardedsas confidential, upon re-
_quest. Letters published should not be
cons'rued as expressing the editorial
opinion of The Daily.
CASTF
HeIwston ... . . . . . . . ..... ay Sffron
Lydia ............ Kthryn Kratz
Rollo ..:.......- .....-.-.- dward Fitzge rald
Mr. Stein.....................hares Msr I~
George Lucas .................Aan Handley
Aunt Laie.............. ....ildirel '[dd
Horat io Webster ... ......raiik (o11 in7 ,
Play Production opened its sea-
son last night in the Mendelssohn
Theatre with an attractive produc-
tion of what proved to be an enter-
taining farce. The theme of the boy;
with designs on Hamlet yielded
occasionally some very rich and
always engaging nonsense. In the
smooth and entirely prepared pro-
duction that Play Production gave
it, it provided a delightful evening,
in the theatre.
A rather extensive variety of
long parts were all well rendered
Ray Suffron played a morose butler
with perfect ease; the part could
scarcely have been improved upon.
Charles Moyer as the flashy thea-
tric manager was a constant sourc
of fun; though he failed or was
not allowed to take a quick enough
tempo in the first, fairly dull scene.
Franklin Comins sustained the fine
reputation for character parts he
gained in last year's "The Wild
Duck." This was similarly true of
Mildred Todd as another Aunt.
Two girls, Kathryn Kratz and
Lynn Adams, were unfortunately
allowed, I think by the director, tc
be very obvious. Miss Kratz playe
very charmingly and showed con-
siderable talent. The director, how-
ever, seemed to insist rather toe
strenuously on her being the "little
sister," somewhere about fifteen
This was also the case with Lynne
Adams as the girl who couldn't play
in "The Midnight Guard" because
she got sleepy about that time, wae
afraid of Ophelia, and liked babies
-nd birds. Miss Adams was very
;ood but played too insistently
There was too much sobbing
Though, of course, Goldie was a
silly girl the director should avoid
letting any of the moments of the
play be silly. The part could be
played more delicately, things
about Goldie being indicated rather
than exposed so obviously.
Edward Fitzgerald read the part
of Rollo well. But he lacked a sense
for farce. A good farceur would get
some perspective on the part of
Rollo and by certain things in is
technique (certain subtle revela--
tions of the fun he had working the
part out) would show that he
shared. with the audience the fun
of Rollo's trials. Fitzgerald never
made any attempt to give the audi-
ence this superior sort of fun. And
from other things in the produc-
tion it seems as though Mr. Windt
has no interest in or grasp of it.
Alan Handley in a minor part was
doing, however, what Fitzgerald
was not doing. His elaborate and
studied manner suggested that he
enjoyed his part. And that sug-
gestion we enjoyed possibly more
than the part itself.
BACH: The Historical Approach:
by Charles Sanford Terry: publish-
ed by Oxford University Press 193.
Charles S. Terry, the great Eng-
lish Icholar whose dedication of
his life to the study of all possible
aspects of Johann Sebastian Bach
is one of the contemporary acts of
heroism, here reprints several of
the lectures delivered in his Ameri-
can tour last year. A priori one
would have said that the book was
necessary for those interested in
Bach to have. After reading it,
one insists on it. There is an abun-
dance of new facts and a consis-
tent understanding of Bach in his
eighteenth century context that is
a good corrective.
The essays include one on "The
Historical Approach" (which gives
the derivations of the various
forms Bach used); "The Leipzig
Cantorate" very vividly picturing
Bach the "working man"; "Bach's
Cantatas" (on which Terry is ab-
solute authority); "The Choral in
Bach's Usage"; and "A Genealogi-
cal Problem."
FRIDAY, NOVEMBER 14, 1930
Night Editor-JOHN D. REINDEL
CHET YOUNGS' FUND.
Seldom in the ordinary col-
lege generation does an occa-
sion for spontaneous donation
and an exhibition of what used
to be known as Christian char-
ity arise. At the present mom-
ent, however, such a situation
does exist in the opportunity
of contributing to the fund
which is being collected to as-
sist Chester Youngs, or "Andy,"
the campus motorcycle patrol-
man.
When it was learned that
Youngs had lost a lower limb
in an accident Tuesday while
riding his machine on Obser-
vatory street, the idea of rais-
ing a fund by small donations
from the campus and town was
conceived in several sources.
Officials in the dean of stu-
dents office volunteered to sup-
port the idea among faculty
a n d administrative officers.
The Daily has agreed to handle
arrangements f o r collecting
contributions from the student
body, and also to provide an
accurate accounting of a l1
monies received.
Throughout the balance of
this week, boxes will be main.,
tained at the three publications
booths along the Diagonal in
which small amounts may be
left. The proceeds of this ef-
fort will be used to purchase
another leg, one which will
provide almost complete arti-
culation, and it is earnestly
hoped that there will be a siz-
able residue left over to help
"Andy" through his convales-
cence.
In the single day that this
fund has centributed to, an en-
couragingly large number of
donorshavesgiven their help.
Quite obviously, if each stu-
dent gave twenty-five cents,
the total amount, when added
to that contributed by the fac-
ulties, would be appreciably
large. The spirit of the stu-
To the Editor:
I have listened respectfully while
your critic panned Madame Clair-
bert. (I was disappointed too, with-
out understanding all the erudite
distinctions and technical phrase-
ology applied.)
I have overlooked the aspersions
cast on the Bach of Brailowsky, who
no doubt included his first number
in deference to painstaking critics.!
At any rate, his world renownj
speaks for itself.
It is the item on the Ann Arbor
Artists' exhibit that won't go down.
And I am not an exhibitor, nor
even the friend of one!
First, let me say that I am grate-
ful to your critic for helping me to
appreciate some of the entries
which seem rather obscure to any-
one not abreast of the new trends
in art. On the other hand, I sup-
pose it was inevitable for him to
indulge his own tastes without
reference to quality of work. (He
was avowedly on the hunt for
"novelty of perspective and pro-
portion" rather than sounder quali-
ties.) But that he should dismiss
the work of M. Valerio with a mere
gesture toward his etchings, and
that he should entirely ignore the
work of Maria Crane, is incom-
prehensible.
This handling of what purports
to be a comment on "Ann Arbor,
Artists' Exhibition" betokens either
a very hasty or a stupidly pre-
judiced appraisal.
In looking back over recent ra-
views along these lines, one is
forced to conclude that your critic
is more interested in exhibiting a
certain fund of knowledge than in
presenting a thoughtful intelligent
estimate. Or again, perhaps he
merely yearns to be "different." In
either case, let him be reminded
that Ann Arbor, not New York,
constitutes his audience.
One of the hoi polloi.
SOMF M ) NODE ?, 'ULkfIPOS and
20th CENTURY SCULPTORS: by
Saaney Cassr n: published by Ox-
for University Press, 1923 and 1939.
Stanley Casson in these two
books has given an illuminat-
ing introduction to contemporary
culptur2, represented in the books
by an abundance of excellent re-
productions. Aside from prelimin-
ary essays defining his approach,
the essays are concerned with the
work of Barye, Rodin, Maillol,
Bourdelle, Bernard, Mestrovic, Ros-
andic, Eric Gil, Gaudier-Brzeska,
Jacob Epstein, Carle Milles, Paul
Manship, George Kolbe, Archi-
penko, Zadkine, Herzog, and Frank
Dobson.
Mr. Casson states very frankly:
"I prefer to look upon sculpture
from the point of view of the sculp-
tors." This, of course, results in -an
zcqeuiscent attitude and perhaps a
rather too complete catholicity of
taste. Ordinarily, the refusal to
circumscribe one's taste somewhere
(the general attitude that "there
)re so many beautiful things in
the world, why say anyone is more
Qeautiful") results in an inability
to say anything significant about
any work. But such is not the case
acre. Mr. Casson succeeds in saying
illuminating things about the most
netarogeneous examples of sculp-
ure antd actually defines the qual-
ties of radically divergent sculp-
tors. The refusal to attempt rank-
ing or evaluaticn is particularly
oupropriate in the field of contem-
)orry sculpture because most of
.s have not yet had the opportun-
ty of seeing it.
Yet despite hi professed acqui-
escence in the tastes and interests
of all sculptors, something like
a critical attitude actually does
emerge from- these two books.
iuskin in "The Seven Lamps of
Architecture" very dogmatically an-
nounced: "The only admiration
worth having attaches itself wholly
to the meaning of sculpture .
Proportion of masses is mere dog-
gerel." The attitude emerging from
Mr. Casson's books might be de-
scribed as a more politely stated
reversal of Ruskin's attitude.
In the first book, Mr. Casson
granted the importance of Rodin
as havin scandalized the academie
world out of a stupor with a new
technique. But Rodin's rude stress
on profundity ("The Hand of God,"
"The Age of Bronze," "Thought,"
etc.,) he called "cosmic sentimen-
tality" and an improper stretching
of the medium.
When he came to the work of
Jacob Epstein, there were similar
objections. Epstein had found his
own personality too overwhelming,
his personal concern with anguish
and grief too persistent. The results
were experiments in emotion rather
than sculpture. Epstein preoccupied
himself with dramatizing persons
at the expense of the proper con-
cern of sculpture (that is, "the de-
tection of designs that can be de-
rived from the human figure and
the masses that compose it").
In the new books, Mr. Casson
states with approval Vernon Blake'sj
definition of sculpture as "the per-
ception and creative transcription
of the rythmic relations in the
human form," the rythmic rela-
tions being the repetition of cer-
tam planes and masses in the
human form. The clearest illustra-
tion of this attitude Casson found
in the work of Archipenko, "who
has been to modern sculpture what
Picasso has been to modern paint-
ing." Confessing early to "a loath-
ing of Rodin," Archipenko had pro-
ceeded to free research into the
formal sculpture of the past.
This research together with an
abandonment of traditional aca-
demic system of proportions gave
him a synthesis "that is in no sense
archaism or pastiche." Archipenko
is thought of as approaching the
human form with a creative ap-
proach. If the normal proportions
observed by the eye seem inade-
quate formally, there is a reinter-
pretation of them. Thus propor-
tions are being derived or abstract-
,I from the human form with total
disregard for representation. The
result is the numerous lovely
stylized torsos, familiar to many of
us if only through Vanity Fair re-
productions. Archipenko, Casson
claims, has laid down the canons
of proportions for the most deli-
University
of
ORATORICAL
ASS CL " ATION"*
Presents
GjLBERTK.
.Lgland'Is Supreme
dLiterary Genius
IN
ENGLAND'S MARK TWAIN IS
"A pronounced optimist against the relentless flow of
everything that is pessimistic and depressing or makes
us regret life. His messages of good cheer and inspira-
tion have done much to hearten the world."
S
Michigan
,I
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i
I
Y
Y
z3aturday
1Vight
o o Terry's general position is that
Editorial Comment } "it is a comedy of contradiction
that, almost until our own genera-
0 tion, the sensitive humanity of this
ANOTHER LOST PASTIME very human soul should have been
(University Daily Kansan) obscured by a curtain of mnisap-
Uprehension, and that one who was
Strolling, once so much a habit romantic and emotional beyond
with the thoughtful man, has be- the ordinary should have been
come passe. Indeed, to see a mod- misinterpreted as an unintelligible1
ern man walking is almost as rare arithmetician." His essays on the
as to view horses clopping along, Cantatas and Chorales are design--
or reflective cows standing amiably ed by examining Bach's sensitive-
on every bare corner lot. ness to his texts to show in how
Automobile-crowded streets im- i detailed a manner Bach's person-
itoriumT - 80
TICKETS ON SALE AT 3211 ANGELL HALL
$1.00, $1.50 $2.00
Tickets for Remaining Five Lectures on the
rN 0 1 R n .11 1 V 11 1
I (
I
U111!