Page Two.
THE SALEMITE
Saturday, March 1 2, 1932.
The Salemite
Member Southern Inter-Collegiate
Press Association
Published Weekly by the Student
Body of Salem College
SUBSCRIPTION PRICE
$2.00 a Year :: 10c a Copy
KDITORIAL STAFF
Edilor-in-Chief Sarah Graves
Mauaging Editor .. Mary Louise Micliey
Associate lidilor Margaret Jolinson
Associate liditor Dorothy Heiclenreich
Feature Editor - — Beatrice Hyde
Feature I ditoi - Susan Calder
Feature Editor Elinor Phillips
Poetry Editor Martha H. Davi
y Edito
.. Isabel!
Hans
Music Editoi Mary Abslier
Society Editor Josephine Courtney
Sports rdUoi Mary Oilie Biles
Local Editor Mildred Wolfe
iHiercoUegiate Editor Miriam Steve
REPORTERS
riiyllis Noe
Elizabeth Gray
Martha Binder
Margaret I^ong
Mary Miller
Zina Vologodsky
CONTRIBUTORS’ CI.UB
Kathleen Atkins
Carr
BUSINESS STAFF
Business Manager .. Mary Alice Beanr.an
Advertising Mgr Edith Claire Leake
Asst. Aa^v. Mfff. Ruth McLeod
Asst. Adv. Mgr Grace Pollock
Asst. Adv. Mgr Mary Sample
Asst. Adv. Mgr Isabelle Pollock
Asst. Adv. Mgr Emily Mickey
Asst. Ad. Mgr. Mary Catherine Sie
Circulation Mgr Sarah Horton
Asst. Circ. Mgr Ann Slmford
Asst. Circ. Mgr. Elizabeth Donald
LITTLE THOUGHTS
FOR TODAY
“Glad that I live am I;
That the sky is blue;
Glad fcr the country lanes,
And the fall of dew.
After the sun the rain.
After the rain the sun;
This is the way of Life,
'Fill the work be done.
All that we need to do,
Be we low or high.
Is to see that we grow
Nearer the sky.
—Lizctte Woodworth Reese.
“I'here is nothing so beauti
ful and so satisfying as that
which we have created out of
tlie travail of our souls.”
“Earth holds heaven in
bud ; our perfection there
to be developed out of our
perfection here.”
—Christina Rnsset!
the
EXCERPTS FROM
“SALOME’
{By Oscar Wilde)
“Ah, oh, wherefore didst thou
look at me, Jokanoon? If thou hadst
looked at me thou hadst loved
Well I know that thou wouldst have
loved me, and the mystery of love is
greater than the mystery of death.
Love only r.hould one consider.”
“This man'comes perchance from
God. He is a holy man. The finger
of God has touched him. God has
put into his mouth terrible words. In
the palace as in the desert, God
always with him ... At least
it is possible. One does not know.
It is possible that God is for him and
with him.”
“And I have never broken
word. I am not of those who break
their oaths. I know not how tc
I am the slave of my word, and my
word is the word of a king.”
ON ELECTIONS
There is always a grand-mix-uf
and a wild scramble in the pre-elec-
tion days. It seems that it is next to
impossible to do away with the Pan
demonium that is caused by ascertain
ing Who is to be Who and Why.
This year the pre-election period has
been passed perhaps as successfully as
ever before. The question now be
fore us is the important question of
the elections themselves.
The problem of elections is 100%
(no, not pure) the problem of voting.
This problem of voting is surely im
portant, and therefore should call for
Serious Thought-plus-Self-Denuncia-
tion-plus-Fairness. When we realize
that any careless Freshman’s vote or
any thoughtless iSophomore’s ballot
goes just as far as the vote of a think
ing Junior or Senior, we begin to
ognize the real importance of adding
Thought to our ballots.
When I go to vote, I glance
chalantly at the mimeographed ballot
in my hand, and say to myself: “Now,
I’ll vote for her because she’s one of
my good friends; the other candidate
took her own sweet time about passing
me the salt at the table yesterday, and,
anyway, she doesn’t like me a little
bit! ... . This girl is a good basket
ball player so I’ll vote for her for “Y”
president . . . . , etc.” The above is
an excellent example of how-not-to-
I should say to myself as I start to
vote: “I don’t especially like that girl,
but she seems to be fitted for the job.
She has worked hard and unselfishly,
and her capabilities lie in that direc
tion. Therefore, she’s my choice.
Easier said than done. If you don’t
believe it, you try it and see. When
you start to vote, stop a moment and
consider just why you are voting
you are. Analyze your motives, pluck
out the unworthy ones, and vote jot
the right girl. That’s the best formula
I can think of. Remember i
Election Day—and may the best girls
NEWSPAPER-ITIS
Have you noticed how many girls
crowd into the library and gathi
around the morning Journal after
chapel every morning? Have you
thought why this is so? Or have
you ever seen as many Salem girls
reading the newspapers before in all
r life?
These are all open questions, to be
answered or unanswered by any
who pleases. But I dare you to chal
lenge the last statement.
What’s all the trouble about? The
Lindbergh baby, of course! The
whole country has gone wild
anxiety over the whereabouts of this
beloved child of America’s “ Lone
Eagle” and the recent presidential
nominee’s daughter. And rightly,
too. The kidnappers of the Lindbergh
baby and the kidnappers of any other
child certainly ought to be made into
insignificant grease spots immediately.
But my subject now is not the
cruelties of kidnapping, but “The
Reading (or Lack of Reading) of
Newspapers at Salem.” Now, that
sounds like a regular subject of a be
spectacled person who is planning
two-hour talk before the home-town
Woman’s Club. The point is that
we, here at Salem, do not read the
newspapers enough. Things go or
in the outside world that we know ab
solutely nothing about if we don’t read
the daily papers, or at least, the Sun
day New York Times. We ai
a loss for intelligent conversation when
we “go out.” And that k quite
barrassing. We college students
not discuss intelligently any modern
problem, whether it be political,
nomical, moral, or social. Any
telligent man of the streets who reads
the papers knows more about world
affairs than we do who never take the
time from our precious studies to read.
. Newspapers from north, south,
east, and west are waiting for us to
read in the library. Also, many of
our friends receive weekly papers fn
“ye old home town” which we could
easily read in between classes.
Reading newspapers is one way to
widen our narrow school-girl horizons.
It seems selfish to say this, but if the
kidnapping of the Lindbergh baby
causes the majority of Salem girls to
read the daily papers, it is a blessing,
in a way. May the baby be returned
unharmed, and may Salem girls
tinue to keep in contact with the i
of the day!
IP € IE ir K y -
THE QUEEN’S LUNCHEON
“Be quiet, child! Stop crying!
It hurts my heart for you to feel this
About those beggar children in the
I’m sorry that they have no place to
play—
But Heavens, child! Stop crying!
I must not have tear-splotches on
my gown;
For I am dining with the queen today.
Besides, I’d be a laughing stock in
If you invited beggars here to play.”
—Cortlandt Preston.
She had a chisled, marble face;
A greenish glow was shining through
her skin.
And emerald eyes!
She had bright, emerald eyes!
So, while my heart stood open she
She would not leave; she locked the
door
And th,rew away the key. She n
moved
From out my heart—
My warm and plush-lined heart
Wherein she dined on richly flavored
She ate until the love gave out
But still she was unwilling to depart
She could not starve
And so I let her carve
Great bloody pieces from my very
heart.
But who was this I entertained?
And why had I this glutton freely
fed ?
She had green eyes—
Her name is jealousy!
And all my youth, and hopes and love
are dead!
Each time she eats away a heart
And stuffs the emptiness with
and gall
A snake in Hell,
Who knows this woman well.
Laughs as he makes another check
mark on the wall.
—Cortlandt Preston
BEHIND THE PIANO
Judy Foreman
Minnie the Moucher
Time:—
Last Saturday night
Place:—
Salem Banquet Hall, behind the piano
(For the benefit of you nubs who
don’t know and who are ashamed
show your ignorance, be informed
that Judy and Minnie are the respec
tive and respeqted mascots qf ‘the
Junior and Sophomore Classes. You
may not even know that those classes
played the championship basket ball
game. 1 won’t insult you further.)
Judy: “It strikes me as rather odd
that we were not invited to this so
cial function.”
Minnie: “Aw, who cares, so long
as we got here ? How did you get
Now, .in my condition, I could creep
through a crack, but you—.”
Judy: “Mousie, I don’t like the ex
pressions you use.”
Minnie: “It’s the influence of those
girls in Society Hall. I get to stut
tering and screaming and talkinj
slang so much that 1 may lose my
lovely squeak. Eek!”
Judy: “Though it would be regret
table, I believe we could bear it.
After all, my dear Moucher, for all
your squeaking, the Juniors lost the
game.”
Minnie: “I asked you how you got
in here.”
Judy: “The drum player in the
orchestra thought I was a lady’s muff,
and he carried me in to return to the
owner. Did you hear him beat up a
storm when I jumped off the chair
and ran back here behind the piano?”
Minnie: “So you were the cause
of that! Well, I still think—and I’m
with you there—that we should have
been invited to the formal opening of
the cabaret after we squeaked and
barked all afternoon for those un-
ALCHEMY
I lift ray heart as spring lifts up
A yellow daisy to the rain;
My heart will be a lovely cup
Altho’ it holds but pain.
For I shall learn from flower and leaf
That color every drop they hold,
To change the lifeless wine of grief
To living gold.
—Sarah Teasdale.
I am a cloud in the heaven’s height
The stars are lit for ray delight.
Tireless and changeful, swift and
I cast ray shadow on hill and sea—■
But why do the pines on the moun-
I throw my mantle c
And I blind the sun oi
his throne a
nothing can
Nothing can t
bind,
I am a child of the heartless wind—
But oh the pines on the mountain’
Whispering always, “Rest, rest.”
—Sarah Teasdale.
GOOD FRIDAY
A grim day, a dark day,
A day of tears and rain—
A day of blackened, tortured clouds,
A day of bitter pain.
Who could have dreamed on such a
day,
That love would live again?
A tall hill, a steep hill.
That led to fear and loss;
A grim slope, without hope.
And at its top a cross.
Sad footsteps, a pathway
Through insults madly hurled!
Above it all, high courage
Like some bright flag unfurled.
His footsteps—their echo
Was heard around the world.
—Margaret Songster.
grateful basket ball teams.”
Judy: “After all, we have no tux.
Minnie: “Like Mr. Higgins.”
Judy: “No poetic gift.”
Minnie: “Like Dean Vardell.”
Judy: “And we can’t read the
Minnie: “Like Miss Brown.”
Judy: “Let’s be happy back hei
Wow! what a fuss.”
Minnie: “That’s Babe Silversteen
impersonating Kate Smith —
Kating Kate, I’d call it. Over at So
ciety I can hear her yodel arid
boop-boop-a-doop from her room
Lehman. When she starts, ^ all
mice scurry to the attic and listen
the window. Archibald Rat adores
V/hy don’t you come over soi
Judy: Really, Moucher, I shouldn’t
care to hear more of it than I have
to just now. The moaning touches
my heart, and I resent being seen cry
ing. Let me frolic beside the fish
pond, listening to the ripple of the
water and the chug-chug of the arti
ficial bull frog.”
Minnie: “You mean the water
pipe? Doggy, you’re too sentimental
to bear.”
Judy: “Don’t think I am disagree
able when I am merely hungry. Come
on! Somebody dropped a chicken
bone. Arf!”
Minnie: “See any cheese? Eek!”
EXCERPT FROM
“SALOME”
“Ah, you are going to dance with
naked feet. ’Tis well. Your little
feet will be like white doves. They
will be like little white flowers that
dance upon the trees . . . No,
no, she is going to dance on blood.
There is blood spilt on the ground.
She must not dance on blood. It
“I hear you are going with a poetess
THE IRISH DRAMATIC
MOVEMENT
The last decade of the nineteenth
century in England, France, Germany
and other European countries was
marked by a strong reaction against
the decadent state of the theatre.
Thoughtful people of literary taste in
many lands wished to drive from the
stage the absurd sentimentalities,
matinee idols, and machine-made ef
fects of drama and, under the in
fluence of Ibsen, to establish a theatre
of less commercial and more artistic
importance. Leaders w'ere readily
found and the world came to know
of .Hauptmann, Shaw, and Brieux
and of the reform in their countries
which has met with varying degrees
of success and failure.
There is, however, one nation
whose drama has shown extraordi
narily consistent improvement. Ire
land was not insensitive to the reform
which moved the continental states
and she adopted many of its purposes,
using them not as an independent, un
related movement but as a part of the
intellectual awakening already well
underway in that country known as
the Irish or Celtic Renaissance. Since
1880 had appeared unmistakable signs
of a new creative urge in national
literature whose expression had al
ready brought recognition to W. B.
Yeats and A. E. Consequently, the
wave of dramatic reforra which came
to Ireland with the end of the nine
teenth century did not break upon a
shore of rocky indifference but was
received as a natural expression of
growing literary consciousness.
The Irish Literary Theare,
founded in 1899, was a definite part
of the Ibsenite movement whose inter
est lay largely in giving the nation a
stage upon which literary plays of all
I other countries with occassional na-
' tive productions of proved merit
might be produced without being ex
posed to the dangers of pure profiteer
ing. The summary of its achieve
ments was the performance of plays in
English and one in Gaelic, all but one
of which were played with English
actors. Thus the essential character
istic of a national drama, namely, na
tive interpretation, was lacking.
This last was supplied by the Irish
National Theatre, together with a
greater emphasis upon the life and
speech of the country people as con
trasted with the drawing room scenes
of English and French origin. It had
its beginning in 1902 as the Fays
Dramatic Company directed by the
brothers W. G. and Frank Fay who
gave to the theatre the characteristics
of the acting of the Irish players
which have become their foremost
claim to fame. The work of this
company attracted the attention of A.
E. who eventually interested Yeats
and through him Lady Gregory, J.
M. Synge, and a large circle of other
enthusiasts. The name was changed
to the Irish National Theatre and
the company firmly established to
carry on the work which the Fays had
initiated. St. John Ervine and sub
sequently Lennox Robinson have di
rected the work.
On the first tour abroad of the
Irish Players in 1903 which took them
to London an Englishwoman, Miss
Horniman, became so interested in
their work that she resolved to give
substantial evidence of her approval.
Obtaining a six year lease on a small
vaudeville theatre in Dublin, she en
larged and rebuilt it and under the
name of the Abbey Theatre it be
came the home of the national players.
In 1907 Miss Horniman conferred a
similar honor upon her own country
by establishing the famous Gaiety
Theatre.
Since this time the Abbey Theatre
has continued its valuable and de
lightful work of turning the Irish
Dramatic Movement into the natural
channels of national life and expres
sion. Its chief doctrines have been
summed up by W. B. Yeats as fol
lows :
1. To make the theatre a place
of intellectual excitement—a place
where the mind goes to be liberated.
2. To restore words to their
sovereignty by making speech more
important than action.
3. To simplify acting and empha
size the moraents of raost intense ex
pression.
4. To simplify both form and
color of costume and scenery.