Page two
THE TWIG
March 14, 1958
Don’t Stop Now
This is the time of year in which we find ourselves in a political never-
never land. The present officers have never felt more old-shoeish; the
new officers are now merely waiting until May when they will take over
their jobs officially. The high pitch of enthusiasm that elections brought
has spent itself and we have now slipped back into our old routine jobs
with very little of the vigor that we started with.
Throughout this year there has been a fine attitude on the Meredith
campus. Students have worked closely and well together. We would par
ticularly commend the student government in the strides they have taken
in developing a more healthy atmosphere as well as making the ever loved
rule changes.
School spirit is so nebulous a thing that it is difficult, as well at rather
ineffectual, to discuss. Nevertheless, in our present lazy state, words are
in order. Spirit may be interpreted not as the “Yeh for our side” variety,
but as individual responsibility for the particular area in which one works.
The success of the activities in a school depends upon the willing and
conscientious contribution of every member of the community.
Although faculty members, staff, and the student body must work to
gether in this area of fostering a better spirit, perhaps the burden of the
responsibility lies upon the shoulders of the student officers. There re
main six weeks in which this year’s leaders are in charge. For the new
officers it is a time of preparation. The responsibility should be shifted
gradually in an attempt to avoid the almost inevitable jolt that accom
panies the change. This is a vital and important time in the life of our
school. Don’t let Meredith down now.
N. J.
Little things mean a lot
Experience has shown us that, as the song title so aptly puts it, “little
things mean a lot.” Especially is this true with girls, and it seems that it
should likewise be true on a girl’s campus.
Noise on the halls after 11:15, letting the telephones ring their heads
off, leaving lights on all day, strewing cups and papem all the way from
the Bee Hive to the room, being overly high-schoolish at dinner time,
breaking into meal lines—these are all just little things, but if you stop to
consider the other people involved, they mean a lot. Just because you
and your suite decide to dance a Mexican Hat Dance at 12:30 on a Satur
day night doesn’t mean that no one right under you needs a good night’s
rest. Just because you know the phone call is not for you doesn t mean
you have no responsibility to answer it when you’re not doing anything
important. Just because the school has plenty of money (you think)
doesn’t mean it wouldn’t soon go in the red if every girl left her light on
all day. Just because there is someone delegated to clean the grounds
doesn’t mean you should make his work harder by your little carelessness.
Just because you feel light-hearted in good company doesn’t mean you
should overdo it with “This is table 42. Where is 43?” One person break
ing in line doesn’t matter much, but it could become an “everybody does
it” type of thing.
No one is qualified to preach. We are all guilty somewhere along the
line, but perhaps Meredith needs a theme song—“Little Things Mean A
Lot.” ..
N. M.
MEMBER
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EDITOMAL STAFF
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Managing Editor
Assistant Editors Marcia Allen, Lillian Brandon, Bobbie Conley, Bob Early
Feature Editor Mary Ann Brown
Music Editor Joyce Skillman
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Columnists Margaret Paris, Juanita Swindler, Louise White
Reporters Lela Cagle, Lelia Davenport, Cynthia Denny, Lynda Evans,
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Lou’s Remarks
By LOUISE WHITE
Since time began, students have
“burned the midnight oil.” Taken
at face value, feverish academic ac
tivity at late hours would seem to
denote feverish desire for knowl
edge. To the casual observer, the
twentieth century college student
poring over his books at three a.m.
might well be the modern counter
part of the medieval scholar who
isolated himself from the bustle of
the world and devoted his life to
the pursuit of knowledge and the
contemplation of Heaven.
Such a picture of modern college
students is ludicrous. True, it is the
image that we like to conjure in
the minds of other people. We be
come so adept at perpetrating the
“midnight oil” legend that more gul
lible parents are heard to say, “Poor
little Susie is working so hard that
she never has time to eat, sleep, or
write home.” We stay up so late
that we stagger to morning classes
and collapse in our desks where
we fight sleep for an hour, no mat
ter how exciting the lecture. Even
so, we do no extra work; rather,
we barely skim by. For such a situa
tion, there must be some explana
tion. Some people claim that their
brains are keenest from midnight
until dawn. They should take care
to have all afternoon classes. But,
the main reason we must stay up
all night in order to be half pre
pared, is lack of will power. As long
as there is a single excuse to talk,
make phone calls, eat, or go to
town, we do such things. It is only
when we are confined to our rooms
by school rules that we begin to
study. So, we study late, not be
cause we are so enthralled and
eager but because we did not be
gin until there was nothing else to
do. The just punishment comes
when we sleep through the class for
which we stayed up all night fever
ishly preparing.
CURTAIN CALL
By SUSAN MOSS
The cast of “The Silver Cord”
takes the stage next week at 8:00 in
spite of. In spite of what, you say?
Be your own judge: last fall in the
midst of that Asian flu epidemic,
plans had to be cancelled for the
production of “The Silver Cord”;
members of the cast were taken ill.
The Playhouse decided to try the
Sidney Howard play once more for
the spring production. Tryouts were
held and a new cast chosen; re
hearsals began and everything was
running smoothly. Then came the
news: a member of the cast had
the measles. For a while it seemed
as though the misfortunes of last
fall would repeat themselves. For
tunately, however, the measles were
the three-day variety and full re
hearsals were soon under way again.
So the curtain will go up on “The
Silver Cord” in spite of.
FROM THE
Contemporary Soene
By MARGARET PARIS
The appearance of George Eliot’s
Adam Bede in 1859 , marked
a change in the focus of writers;
this change of focus was from ac
tion to motive, from the outer ex
periences of characters to the inner
experiences. Much later — in the
twentieth century — James Joyce
carried this focus even further than
the many writers which fall between
him and George Eliot; Joyce intro
duced the “stream of consciousness.”
This method of writing has been
described as the description of the
private world of the artist through
the characters about whom he
writes, a world “the public world
enters very much as a lizard might
creep into a cave.” Although Joyce
observed characters and events out
side himself and translated them
into characters and events in his
private world with a degree of ob
jectivity or detachment, his works
become not descriptions or narra
tions but the very lives of those
about whom he writes; his books are
more the innermost thoughts of the
characters than an unfolding of their
experiences.
The jump from England’s George
Eliot and Ireland’s James Joyce to
southern America’s William Faulk
ner is a large one; however it is
interesting, and certainly not impos
sible, to see how Faulkner fits in
this tradition begun by Eliot and
added to by Joyce, particularly as
Faulkner is one of our regional
writers of notable fame. Yet Faulk
ner is more than a regional novelist,
it has been said “he is the observer
and critic of a doomed but tenacious
civilization; his imaginary world is
all of the South cherishing the relics
of a lost age of glory.” Faulkner
writes of the South; however, his
characters, drawn from certain
southern environs, become universal
personalities through the penetrating
insight of this author. The signifi
cance of his writing is evidenced by
the fact Faulkner has been awarded
the Nobel Prize in Literature.
New Orleans Sketches by Faulk
ner has just been published. These
are not new sketches; in fact they
are among the first published works
of this author. They were first pub
lished in either The Times-Picayune
or in The Double-Dealer, a famous
New Orleans literary magazine of
the Twenties. These sketches are
not to be read for the same reason
one .reads Faulkner’s later and
better works; for these sketches rep
resent the efforts of a beginner, and
sometimes these efforts almost fail.
These sketches can be read for the
same reason the earliest plays of
Shakespeare are read: to see the
development of a writer in theme
as well as style. Faulkner used cer
tain themes and devices in these
sketches that were later to become
central in his work. Mr. Alfred
Kazin, author and literary critic, has
The current Raleigh Little Thea
tre production “All My Sons” by
Arthur Miller will be presented next
week, so don’t miss it.
The impressive “All My Sons”
received the Drama Critics’ Award
for the best new American play of
the season when it opened several
years ago on Broadway. Many
have said that Mr. Miller was pre
paring himself for the successful
“Death of a Salesman” when he
wrote “All My Sons.” But all will
agree that few dramas in contem
porary American theater have
packed as much power and have
had as much to say as “All My
Sons.”
This play calls for a refreshing
change in settings as it pictures a
rather realistic backyard scene. The
action occurs just after World War
II and offers some excellent scenes
for actors and audiences alike.
Musical Notes
By JOYCE SKILLMAN
The coming of spring always
brings an increase in the number
of recitals on our campus. Among
the highlights of our music are re
citals presented by members of our
music faculty. The first of these was
a piano recital by Mr. Pratt, head
of our piano department, on
March 12. I am sure all of you
who attended this will agree that it
was a fine program, and will be
looking forward to the next faculty
recital. Another excellent perform
ance which recently occurred on our
campus was the last concert of the
Chamber Music series. The date of
this recital was March 7, and the
performers were members of the
Koeckert Quartet from Munich. This
quartet, touring America for the first
time, presented a very fine pro
gram of Haydn, Hindsmith and
Beethoven.
This evening, March 14, an or
gan recital will be presented by Mar
garet Slate in the small auditorium
at 8:00 p.m. Margaret is a senior
organ major and will present an ex
cellent graduation recital, I am sure.
I hope many of you will be able
to attend.
Congratulations new S.A.I.
pledges. On Monday night March
10, Gail Newton, Kay White and
Rebecca Scott became officially
pledged to the fraternity. These girls
are all piano majors.
The Triple Trio has been
doing more traveling recently. On
March 3, the group presented a pro
gram in Wilson for the Rotary Club
of the city. A trip to Tarboro for
another Rotary Club meeting is in
their plans for the near future. They
appear frequently right here in Ra
leigh, also, at such things as the
S.A.I. Fashion Show and a Lions
Club meeting. Because of the many
engagements for the spring, the
group has added three new mem
bers. With the addition of these girls,
Betsy Lane, Lee Pass and Angeline
Norris, the name of the group has
been changed to the Meredith En
semble. They will appear under this
name for the rest of the year.
said this about New Orleans
Sketches:
“Many of the principal figures in
Faulkner’s work are the marginal,
wretched and even outcast types of
Southern society. The great writer’s
combination of strength and com
passion that one sees in his por
traits of Benjy in The Sound and
the Fury and Joe Christmas in Light
in August is suggested here in the
tenderness of a bootlegger toward
an idiot brother who was calm only
when he held a narcissus in his
hand, in a French veteran adrift on
the streets of New Orleans, in a
young tramp of supernatural gentle
ness, in a desperate Negro steve-
(Continued on page four)
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Are you going to stay up all night making up those test questions?