Page Two.
THE SALEMITE
Friday, January 10, 1941
Published Weekly By Th*
Student Body of
Salem College
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EDITORIAL DEPARTMENT
Katharine King
Associate Editor ...
Carrie Donnel
News Editor
Sports Editor
EDITORIAL STAFF
Nancy O’Neal
- -
Sue Forrest
Staff Assistantss—
Eugenia Baynei
Louiie Bralower
Eleanor Carr
Mary Louise Rhodes
Sara Henry
Betty Vanderbilt
Elizabeth Dobbins
Elizabeth Johnston
Johnsie Moore
Mary Lib Rand
Marian Norris
Elizabeth Weldon
Marie Van Hoy
Mary Worth Walker
Barbara Whittier
Nancy Rogers
Veda Baverstock
Frances Neal
Henrie Harris
Sebia Midgett
Feature Editor
E. Sue Cox
Jane Harris
Eleanor Barnwell
FEATURE STAFF
Cecelia Nuchols
Jill Nurenberg
Margaret Ray
Reece Thomas
■■ Madeleine Hayes
Betsy Spach
Sara Goodman
Esther Alexander
OPEN FORUM
DANCES
BUSINESS DEPARTMENT
Business Manager
Assistant Business Manager
Advertising Manager Betty Barbour
Exchange and Circulation Manager Barbara Norman
Marvel Campbell
Lillian Lanning
Flora Avera
Becky Candler
Doris Nebel
Nan«y Chesson
Polyanna Evans
Dorothy Sisk
Betty Moore
ADVERTISING STAFF
Lucille Springer
Betty Anne \^ite
Mary Lou Brown
Martha Louise Merritt
Ruth O’Neal
Lyell Glynn
Martha Hine
Nancy McClung
Bonnie Angelo
Avis Lehey
Aliene Seville
Rosemary Halstead
Sarah Lindley
Betty Brietz
GIRLS — AND WHAT SOMETIMES
GOES ALONG ...
“Gossiping girls” — it simply doesn’t sound right, does
it? Yet today, gossiping has become one of the most common
past-times of all girls. Since “news-budgeting” is heart
breaking as well as commoii we may do well to ask ourselves
a question — What Makes People Gossip?
Gossiping' Makes Us Feel Superior
Each one of us wants to feel that she excels in some
way. Most of us are not willing to pay the price of being su
perior whether as a swimmer, musician, artist or cook. So we
seek short cuts. Talking about people is an easy way. For
when we set ourselves up to judge other people and then to
deliver our judgments, we have made ourselves superior to
them. To say damaging things about others seems to parade
our own goodness or skill.
Often We TMnk That Letting People In On Something
Makes tis Solid With Them
“I’M telling no one but you,” Ever hear it? And then
there usually follows something that need scarcely be said at
all, perhaps something that will, however, hurt someone’s rep
utation or feelings. We do this^ gossiping because we want
a! hearing and this seems to be an easy way to get it. Pitiful.
For friendships built on swapping “juicy bits” usually end in
bitterness.
There is Drama in Gossip — Something Doing
Perhaps this is why a sample story will often acquire
“trimmings” so rapidly. Each addition makes it more dra
matic.
Gossip Gives Us a False Sense of Povirer Over Others
We truly do have people at our mfercy more or less
when we gossip about them. Sometimes, when we feel life has
been unfair to us, we can find nothing else to do about it, so
we start out to get even by hurting other people. It sounds
terribly cruel when we put it down in cold print. But then,
most gossip is terribly cruel. Is the sense of power it gives
worth the price it costs? Is it worth the price of sacrificing
another’s personality? A personality which might, inciden
tally, be your own?
—E. J.
Fall Germans, and mid-winters at
Chapel) Hill; Military Balls and
Ring dances at The Cidadel, June
weet at West Point; Pan-Hell
dances at Duke and Davidson.
There is scarcly a week-end that
passes without many Sjalem girls
hurrying about to these college
dances. But how do Salem girls
compare these dances with Salem
dances?
Rosa Lee Kirhy “I like Salem
dances in fact I prefer girl-break
dances ’cause I can dance with
whom I choose.”
Lihby Nelson, “I don’t particu
larly like Salem dances ... I prefer
Davidson dances . . . brass buttons
make me sore.”
Frances Neal, “If I get stuck at
a Salem dance that isn’t my re
sponsibility; but if I don’t get
stuck that’s my good luck.”
Barbara Lasiey, “Well, it all de
pends on the date whether t(he
dances is good. In general, I like
Salem dances.”
Betsy Spach (the girl that really)
gets around!) “They (Salem dan
ces) are awfully exciting with the
snaking and stuff . . . and the an
nouncers! ”
Eleanor Glenn, ‘ ‘ I love Salem
dances ... we need more boys for
the Junior Jamboree.”
Marian Norris, “Salem dances
are fine and I like to bring my
own date.”
Betty Yates (the transfer from
Duke), “Salem girl-break dajnce^
puts me in thei boy’s place and I
like the Salem dances. But I do
like boy-breaks better.”
One brown-hair Sohp., “Only one
thing wrong and that is—they are
girl-break dances . . . boys just
don’t like them.”
Four girls in Clewell, while eat
ing fruit cake, gave me some grand
ideas. They all preferred boy-break
dances and they would like to try
a boy-break danee at Salem. They
would particularly like to have a
card dance ... As one girl said
“I could at least know whom I
danced with I ”
A timid little Freshman ventured
forth with “formal dances are
grand, but the informal dances are
punk.”
Jinnie Linn, “Personally I pre
fer boy-break dances, but there is
a certain atmosphere about Salem
dances that I do like.”
Edith Horsfield, “We don’t have
enough dances—perhaps one every
two weeks. I should like to see
a boy-break dance tried at Salem;
however I don’t think it possible.”
AS WE MOVE INTO
NEW QUARTERS...
. . . Why not have the old dining room made into a
room for dating? AVith some comfortable sofas, a nickelodeon,
and maybe a ping-pong table, it would be an ideal place to
entertain a date. This would avoid the stuffiness of the game
room and the interruptions of the campus living room.
Diiring the week the room would be delightful for re
laxation between classes and for entertainment on rainy after-
inoons. Wouldn’t this use of the old dining room benefit more
students than any other arrangement?
—M. R.
IT’S IN THE STARS
Our heart beats in sympathy
for those born under this sign.
Every fine, staunch quality is
yours, but you don’t get all the
credit you deserve. You refuse
to polish up your gold to wake
a good impression. There’s not
one hour of pretense in your
whole head.
You have much secret pride
and a tendenc yto melancholia.
You should cultivate the hap
pier side of life, and play in a
mor ecarefree fashion.
Jan. 10 — Jan. 16
Jan. 16—
Jennie Dye Bunch
.Jan. 16—
Jill Nierenberg
Jan. 13— ..
Mary O’Keeffe
Jan. 15—
Helen Simmons
Jan. 11—
Ethel Stevens
BARD’S BOX
OH, TO LIVE BEAUTIFULLY
Oh, to live beautifully
For my brief hour
As does a wayside flower,
Unperturbed by the strange brevity
Of time allotted me;
Undisturbed by the overshadowing shine
Of tree and climbing vine;
Bravely stemming the wind and the beating rain.
Bowing and lifting again;
Within me some strong inner force as bright
As a poppy filled with light;
My feet firm-rooted in the earth’s good sod.
My face turned toward God
Yielding some fragrance down the paths I know
A little while . . . then go
As a flower goes, its petals seeking the ground
Without a cry or sound.
But leaving behind some gold seed lightly thinned
To blow upon the wind.
—Grace Noll Crowell.
BOOK REVIEWS
The Brothers Karamazov
By Fyodor Dostoyevski
(translated by Boardman Robinson)
The Brothers Karamazov was the
last work produced by one of the
world’s greatest writers, Hugh Wal
pole pronounced it “the greatest
novel the world has yet seen,” and
no less an authority than Arnold
Bennett has confirnled his judge
ment. It is not a pretty story. Few
pretty stories tame out of 19th
century Russia. A country of in
conceivable poverty and black des
pair on the one hand, of glittering
wealth and complete degeneracy on
the other; a country where nobody
breathed but by permission of the
Czar, it was completely rotton. Tljis
is the background of The Brothers
Karamazov.
The characterizations of the three
brothers and their father are to bo
wondered at. No one but a great
writer and a true Slavophile could
have created such figures. Mitya,
the spend-thrift, addicted sinqe
youth to wine and women; Ivan,
the student and professed aetheist,
laughhing at the world and tender,
simple-hearted youth, overflowing
with compassion for all man-kind.
These are the brothers Karamazov,
sons o£ a sensuous old sinner, Fyo
dor Pavlovitch Karamazov. Dosto-
yeveki looked into the soul of each
and bared it to us, showed us each
one’s struggle against life and why
the outcome could not have been
other than it was. This idea that
man’s destiny is determined by his
intrinsic qualities often finds ex
pression in Dostoyevski’s work.
This impression of doom coupled
with the hazy, almost Oriental sysi-
cism so typical of Dostoyevski
would create a horrible depression
in his readers were it not for his
subtle humor of man’s little fail
ings.
It’s quite impossible to explain
the feeling that this great novel in
spires. Who wants to? Read it.
Read all of Dostoyevski. The man
has that understanding, that wis
dom of heart which we are always
looking for that we may learn how
to live.
THE “Y’s” WORK
Y.W.C.A.
UP FROM THE CROWD
“Men seem as alike as the leaves
on the trees,
As alike as the bees in a swarming
of bees;
We look at the millions that make
up the state.
All equally little, all equally great.
And the pride of our courage is
cared.
Then life calls for a man that is
larger than men.
There's a surge in the crowd—
there’s a movement—and then
There arises a man who is larger
than men,
And this man comes up from the
cowed.
“The chasers of trifles run hither
and yon.
The little small day.s of small
things still go on;
The world seems no better at sun
set than at dawn,
The race still increases its plentiful
spawn, '
And the voice of confusion is loud.
Then the Great Deed calls for the
Great Man to come.
Though the crowd, unbelieving, sits
fearful and numb.
But the Great Deed is done, the
Great Man is come—Aye, and
this man comes up from the
crowd.”
—Author Unknown.
RADIO PROGRAM
SATTODAY—JAN. 11, 1941
WJZ.—2 to 5 p.m.
Metropolitan Opera presents Ver
di’s “II Trovatore.”
WJZ.—9:3.') to 11 p.m.
NBC Symphony Orchestra Alfred
Wallenstein, conductor.
PEOGEAM
Symphony No. 5 in B flat, Schu
bert.
Symphony Classique, Prokofieff.
Symphony No. 1 in E minor, Sibe
lius.
LE COIN
FRANCAIS
Anatole France
/
Anatole France, un des plus grands
6crivains contemporains, celfibre dang
le monde entier, est n6 i Paris en
1844 et il est mort a Tours en 1924.
II appartenait k un group d’ficrivains
qui aimait beaucoup la science; par
consequent, il a montrg une attitude
fataliste. II a etudifi 1’humanity et
il a ecrit des livres sur des questions
politiques, sur des problSmes sociales,
et sur des questions philosophiques.
Son savoir est universal, son style
d’une merveilleuse perfection. H ex-
celle & manier I’ironie.
Anatole Prance n ’avait pas de
religion. II 6tait sceptique et pas
Chrgtien; il etait plut6t paien. Parmi
ses nombreux ouvrages, les plus uni-
versellement apprecifis sont probable-
ment: Le Livre de Mon Ami, Le
Crime de Sylvestre Bonnard, et L’He
des Pingouins. '
SXJNDAY—Jan. 12, 1941
WABC.—3 p.m.
Philharmonic Symphony Orchestra.
Dimitri Mitropoulos, conductor.
PEOGEAM
Symphony No. 3 in G minor,
Roussel.
Symphony No. 1 in D, Mahler.