THE MICHIGAN DAILY
of the father, and his performance has been com-
pared to some of Emil Jannings' best.
Adapted from the French novel by Jules Re-'
nard, which appcarcd in France about 20 years
ago and which has since become a classic, "Poil
de Carotte" has been directed by Julien Duvivier,
whose reputation as a director ranks with that
of Rene Clare as the most enviable in France.
The French dialogue has been made completely
understandable to the non-French speaking mem-
bers of the audience by the superimposition of
subtitles accurately translated into English.
"Poll de Carotte" has enjoyed international ac-
claim, having run for more than a year in Paris
ublished every morning except Monday during the
versity year and Summer Session by the Board in
trol of Student Publications.
[ember of the Western Conference Editorial Association
the Big Ten News Service.
-1933 (m.0 -ION - f covsrxacE 16 34 -
MEMBER OF THE ASSOCIATED PRESS
'e Associated Press is enclusively entitled to the use
republication of all news dispathees credited to it or
otherwise credited in thi; paper and the local news
lished herein.All rights of republication of special
atches are reserved.
ntered at the Post Office at Ann Arbor, Michigan, as
nd class matter. Special rata of postage granted by
d Aistant Postmaster-General.
lbscriltion during summer by carrier, $1.00; by mail,
. During regular school year by carrier, $3.75; by
ices: Student Publications Building, Maynard Street,
Arbor, Michigan. Phone. 2-1214.
presentatives: Colege Publications Representatives,
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IAGING EDITOR........THOMAS K. CONNELLAN
TORIAL DIRECTOR............C. HART SCHAAF
Y E~DITOR........... ...........BRACKLEY SHAW
RTS EDITOR.. ..... .....ALBERT H. NEWMAN
.MA EDITOR............JOHN W. PRITCHARD
MEN'S EDITOR.....................CAROL J. HANAN
HT EDITORS: A. Ellis Ball, Ralph G. Coulter, William
Ferris, John C. Healey, George Van Vleck, Guy M.
RTS ASSISTANTS: Charles A. Baird, Arthur W. Car-
ns, Sidney Frankel, Roland L. Martin, Marjorie
IEN'S ASSISTANTS: Marjorie Beck, Eleanor Blum,]
Is Jotter, Marie Murphy, Margaret D. Phalan.
ORTERS: C. Bradford Carpenter, Ogden G. Dwight,
,ui J. Elliott, Courtney A. Evans, Thomas E. Groehn,
rin Kerr, Thomas H. Kleene, Richard E. Lorch, David
Macdonald, Joel P. Newman, Kenneth ParkEr, Wil-f
mn R. Reed, Robert S. Ruwitch, Robert J. St. Clair,
thur S. Settle, Marshall D. Silverman, Arthur M.C
:rothy Gles, Jean Hanmer, Florence Harper. Marie
aid, Eleanor Johnson, Ruth Loebs, Josephine McLean,
arjorie Morrison, Sally Place, Rosalie Resnick, Kathryn
letdyk, Jane Schneider.
INES MANAGER.............W. GRAFTON SHARP
DIT MANAGER ............BERNARD E. SCHNACKE
MENS BUSINESS MANAGER . .. .....Y
.................... CATHARINE MC HENRY
ARTMENT MANAGERS: Local Advertising, Fred Her-
lck; Classified Advertising, Russell Read; Advertising
ntracts, Jack Bellamy; Advertising Service, Robert
ard; Accounts, Allen Knuusi; Circulation, Jack Ef-
ISTANTS: Meigs Bartmess, Van Dnakin, Milton Kra-
er, John Ogden, Bernard Rosenthal, Joe Rothbard,
,mes Scott, David Winkworth.
Bassett, Virginia Bell, Mary Bursley, Peggy Cady,
rgnia Cluff, Patricia Daly, Genevieve Field, Louise
orez, Doris Gimmy, Betty Greve, Billie Griffiths, Janet
ukson, Louise Krause, Barbara Morgan, Margaret
:ustard, Betty Simonds.
NIGHT EDITOR: JOHN C. EALEY
akes A False Step.. .
T 4E RESOLUTION of the Under-
graduate Council freeing freshmen
n wearing pots is a ludicrous piece of legisla-
I i the light of the true situation.
.e pot question is decided in the meetings of
fraternities of the campus in regard to their
Iges. The majority of idependents do not
ven a body as close to the fraternities as the
rfraternity 0ouncil' has found that it has no
Mute power over the Wearing of pots, that it
only pass resolutions asking all presidents to
>perate in enforcing the tradition. The presi-
ts in many cases d' not have a control of the
ter, which is usually decided by a majority
of the houses.
.he passage of a resolution about pots by the
Lergraduate Council smacks' strongly of the
otent student Council of last year. It might
as well pass a resolution that all fraternity
a should wear coats and vests at dinner as
to invade the fraternity jurisdiction on the
ter of pots.
es The Light.
HE ANN ARBOR DAILY NEWS is
to be commended for its clear-
ted editorial last night on Sunday closing of
library. What it says is a ,complete reinforce-
t of our position.
he Daily News: "It seems to us that the cart
efore the horse in this matter of granting the
of the library if the students will pay for it.
dents should not be asked to raise $375 to
ay expenses, or any other sum."
re agree fully with this viewpoint. It is un-
unate and illogical that students should be
le to make an extra appropriation of this na-
, .Yet it appears that such will be necessary if
library is to be opened. Since it apparently
not be opened in any other way, the students
t contribute to the present drive.
ESENTrS "POlL DE CAROTTE"
before it came to New York for 10 successful
weeks at the Europa theatre. It ranks with such
pictures as "Potemkin," "Maedchen in Uniform,"
and "The Cabinet of Dr. Caligari." Unlike some
of the Art Cinema League presentations which
have been obviously and admittedly of a propa-
gandist nature, this is an intimate, human story
which has an exceptionally strong appeal for par-
ents. Because of its frankness in dealing with
adolescent problems, the League has advised that
children should not see it, but they will not be
-C. $. C.
TODAY'S ORGAN RECITAL
Fantasie in F....................... Mozart
Aria.... ...................... Handel
(from 10th Concerto for Organ and Orchestra)
B-minor Prelude and Fugue.........Bach'
(on the Theme: Weinen, Klagen, Angst
Aux Etoiles ........................Duparc
En Bateau .....................Debussy
Study on an English Folk-Tune.....Milford
Carillon Sortie ...................... Mulet
THE ENORMOUS ROOM, by E. E. Cummings.
New York: The Modern Library (1934), $ .95.
By JOHN W. PRITCHARD
MR. CUMMINGS is noted in the world of letters
for an obscure, apparently insane hodge-podge
of meaningless phrases, which is really a variant
of dadaism. "The Enormous Room," however, con-
tains only scattered fragments of this type of
writing. The book in question is a lucid expose of
life in a prison camp during the war: that it is
a true story is attested by an introduction by the
author's father. But it is not merely an expose:
it is more; it is a study of characters, men and
women confined in a prison and thus stripped of
the superficialities that hide intrinsic value. Says
the author, in prefatory dialogue:
"Doesn't The Enormous Room really concern
"It actually uses war: to explore an inconceiv-
able vastness which is so unbelievably far away
that it appears microscopic.
"When you wrote this book, you were looking
through war at something very big and very far
"When this book wrote itef, I was observing a
negligible portion of something incredibly more
distant than any sun; something more unimagin-
ably huge than the most prodigious of all uni-
First published in 1922, the book has been con-
sidered of sufficient worth to be incorporated in
the Modern Library, along with Homer, Virgil,
Ibsen, France, Balzac, Fielding, James Joyce, and
others of all ages. The question confronting a
critic at this point, twelve years after the book's
first appearance, must be whether the evaluation
is correct. Unmistakably it is correct. And this
is the more remarkable, because the story is a
medley of literary experience and inexperience, of
awkwardness and artistry; its author was very
young. He is already evincing a distrust of literary
convention which later made him one of the most
obscure of the disciples of Dada. Yet, by means
of completely unscrupulous twisting and straining
of the language to suit his own ends, Cummings
evolves- a series of character sketches which are
stark and permeating.
The book is pervaded by a delightful species of
wit which is often subtle and which may or may
not be cynical. His filthy prison room is con-
trasted with portions of the outside world, and is
found to be preferable to many of his past situa-
It is not, of course, the room which is so won-
derful; it is the people in it. These people are
brought together chiefly from the viler classes of
humanity. Many of them are themselves vile,
but all are interesting. Most of the writer's energy
is expended on a description of a few individuals
who because of their astounding personal quali-
ties, are called "The Delectable Mountains."
Is there a theory evolved from all this character
study? There is - and it is the key to all of
Cumming's subsequent writing -- but it is slipped
into the book near the end, so devoid of positive
statement, that one has to think back and under-
stand the single fact motivating his choice of the
people who were to be Delectable Mountains. He
speaks of his hope that eventually educational
realism will be "annihilated by that vast and
painful process of Unthinking which may result in
a minute bit of purely personal feeling. Which
minute bit is Art." Purely personal feeling, he
says - and then we realize that The Wanderer,
Zoo-loo, Surplice, and Jean le Negre, the four
mountains of delight, were men who were extra-
ordinar, sensitive -who communica'ted them-
selves to the feelings rather than to the intellect.
And this, after all, is the essence of the dadaism
of Mr. Cummings, the dadaism which came later
but is vaguely perceptible in "The Enormous
For he is penning his envoi to the description
of Jean le Negre. He says, "-Boy, Kid, Nigger
with the strutting 'muscles - take me up into
your mind once or twice before I die (you know
why: just because the eyes of me and you will
be full of dirt some day). Quickly take me up
into the bright child of your mind, before we both
go suddenly all loose and silly (you know how it
will feel). Take me up (carefully; as if I were a
toy) and play carefully with me, once or twice,
before I and you go suddenly all limp and fool-
ish. Once or twice before you go into great Jack
roses and ivory - (once or twice Boy before we
together go wonderfully down into the Big Dirt
laughing, bumped with the last darkness).,"
Intellectually this passage loses grip: it be-
comes obscure, mystic. But it is turgid with emo-
tion: it is blinding when the eyes of the mind
are closed and the soul is allowed to stare un-
shaded. It is the emotions which Mr. Cummings
chiefly seeks to move - with his pictures of won-
derful child-people, mature children, dirty but
By BUD BERNARD
The co-eds at one of the co-operative cottages
at Ohio State University are putting in frantic
calls to the university department these days try-
ing to find out definitely if that department re-
quires homework of its students.
Last week a new girl moved in with them. At
dinner the first night of her stay, one of the
residents, in an attempt at sociability, popped the
inescapable, "What course are you taking?"
Came the reply, "Embalming and funeral di-
You just can't help seeing red everytime
you look at the average co-ed's lips.
From the University. of Minnesota comes the
ro-nrt+h+t a. n-Pinot g+ e+inga anng o w manin
uis Colorful Presence
That Crafty Little
T HREE NAMES that are not ordinarily asso-
ciated with organ literature appear on this
afternoon's recital, those of Mozart, Liszt, and
Debussy. The Liszt Variations belong to the organ
field, while the Fantasie and En Bateau are tran-
Bach and Handel were both famed organists of
their day, though Handel's fame was wider;
Handel absorbed an Italian melodic mannerism,
while Bach's technique has been the basis for all'
great modern composition. The two styles of
writing by these contemporaries will be evident
in their works on the program. -S. P.
Thc young Russian 'cellist's performance can be
qualified by all the musical cliches in any re-
viewer's vocabulary that express admiration. But
there was in last night's performance something
more than a "warmth of tone," "command of
technique," "careful phrasing," "contrast of dy-
namics," and so on. These cliches become some-
what platitudinous, as a matter of fact, although
at the same time they acquire veracity: breadth
of feeling, violin sweetness, plasticity - these be-
come self-explanatory upon hearing Piatigorsky
In fact there wasn't any technique, it was all
easy. There was a human interest, local color,
individuality, intimacy, a concentration in re-
leasing the charm and music of the program.
The Italian "Sonata," by Caporale, "flowed." Both
it and the Bach Suite for Cello alone were dis-
tinct in their ideas, clear in the contrasts of dance
movements. The Bach was beautifully rhythmic,
created with graduations in tonal shadings and
tonal qualities, from double stops in the Sara-
bande to the portamento in the Gavotte. The
encore played here, the first movement of the
Bach C-Major Suite, brought bass resonance toI
the fore. The Weber Sonatine, ingratiating, in-
troduced the more relaxed mood of romanticism,
which was carried on in the Saint-Saens Con-
certo. The power and strength, the agility (do
you see how the cliches come easily?) the sure-
ness of fingering ensured the intention to make
this pliant and gracious.
The Chopin Nocturne in C-sharp minor, was
outstanding in the last group, a pastel. The "Ho-
pak" and "Zapateado" lived with imagination,
while the "Intermezzo" of G r a n a d o s sang
from the heart. Akin to this was the first en-
core, Valse Sentimentale of Tschaikowski; The
Flight of the Bumble-bee, of Rimsky Korsakow,
sped with humor and busy-ness.
Piatigorsky built his program in a musical mood,
in a sentimental mood, and sympathetic. He
nlavet1 it likewise in a friendly way, with no haut-
Making a Personal Appearance
x Friday Afternoon
The MICHIGAN DAILY 'will publish a Spring,
Fashion Supplement Friday.
will contain authentic style articles as well as
displaying the New Spring Apparel offered
by Ann Arbor's Leading Merchants.