THE S A L E M1 T E
An editorial was written in the Salemite on
Oct. 24, entitled “Pood for Thought.” I
would like to add another to its list of per
tinent “Whysf” Why is there an obvious in
fraction of the rule concerning the drinking
of alcoholic beverages in the metropolitan
area of Winston-Salem?
It seems that a restaurant near Salem cam
pus and several drive-ins sell beer. This is
not an illegal practice. However, Salem girls
are on their honor not to consume beer or
any alcoholic beverage in Winston-Salem.
At the beginning of this year every student
signed an honor pledge. This pledge did not
.state, “I shall not drink in Winston-Salem,”
hut it did state that the signer was on her
honor. Honor is active; honor is personal;
honor is not a compromise. An^ yet—
I’ve heard Winston-Salem citizens say, I’d
know a Salem girl anywhere.” So it’s logical
that Salemites would be recognized at restau
rants and drive-ins. Could this have an ef
fect on Winston-Salem’s esteem for Salem
Once there was a beautiful house supported
by strong wooden columns. It stood for many
years on the crest of a hill and thousands of
people came to admire it. Slowly, gradually
one column weakened. Slowly, gradually the
house fell. Now the hill is without its house
and the people have nothing to admire.
Salem is supported by its honor system.
The honor system must be maintained by all
Salem students. And yet—-
Is It Worth It?
0i4/l PoliCif . . .
By Sue Harrison
When the weather turns cold,
the trees change to bright colors,
then football fans head for the
bleachers. Rain, sleet or snow,
there will always be a crowd
gathered to see the game.
Any amount of money is spent
to build and decorate the grand
stands, but the designers failed to
put any means of comfort into the
rock-hard seats. There ure no con
veniences of any kind provided-
no shelves for bottles, no built-in
bottle openers, no cushioned seats
upon which to sit during the long,
I It is an accepted fact that the
audience stands up every time one
team makes ah outstanding play.
•Therefore the spectator spends half
his time jumping up and down in
order to get to see what's going on
down on the field.
During the game, boys wander
freely among the audience selling
hot dogs, drinks and peanuts. The
people sitting on the end of the
rows have to help the boys trans
act their business, making change
and passing food back and forth.
Why not stay at home in a com
fortable chair and listen to the
game over the radio, where you
have peace and quiet ?
Our policy, as that of other newspapers, is
to cause an active and thoughtful response
from our readers.
Above we have printed a response from a
student, a letter to the editor. It is an un
solicited letter submitted anonymously by a
student interested in rectifying an infraction,
she believes to be in existence, pf the honor
It is not our policy, or that of other news
papers, to publish unsigned letters; however,
we risk printing the above because we believe
it to be authoritative.
We want your response, not only to this
issu«, but to any you may feel demanding
the attention of Salem.
This column is an open one for you to voice
your complaints, praises or thoughts concern
ing conditions at Salem or elsewhere.
It is the column in the Salemite for Salem
ites. Our policy is to publish your opinions.
We must have them to publish them. May
we hear from you?
Modern Greek Tragedy
Hy Eleanor Johnson
Published every Friday of the College year by the
Student Body of Salem College
OFFICES Lower floor Main Hall
iBowntowu Office 304-306 South Main Street
printed by the Sun Printing Company
Subscription Price $2.75 a year
Edilor-in-Chief Eleanor McGregor
Associate Editors Anne Lowe, Peggy Chears
Managing Editor Jea.i Calhoun
News Editors Jane S.choolfield, Lorrie Dirorn
Feature Editors Eleanor Johnson, Connie Murray
Feature Assistant Cynthia May
Copy .Editor Sallv Reiland
Make-up Editor Allison Long
Art Editor Ruthie Derrick
Pictorial Editor Jeanne Harrison
FaettUy Advisor Miss Jess Byrd
Feature Writers: Laurie Mitchell, Ruthie Derrick, Sal’y
Reiland, Emma Sue Larkins, Francine Pitts, Margie Ferrell,
Betsy Liles, Betty Tyler, Jane Brown, Betty Lynn Wilson,
Reptorters: Betsy Liles, Diane Knott, Dot Morris, Alison
BriU* Bessie Smithy jean Edwards, Allison Long, Sara Out-
land. Mary Anne Raines, Edith Flagler, Elsie Macon, Anne
Sit^aon, Jane Smith, Barbara Allen, Connie Murray, Laura
Mitchell, Myra Dickson, Sue Harrison, Drane Vaughn.
Business M^^nager Faye Lee
Advertising Manager Joan Shope
Circulation Manager Jean Shope
Imagine yourself in ancient
Greece, the fifth century before
Christ. You are one of thousands
seated in the great out door
theater beneath a blue Athenian
sky. You are about to witness
some of the plays of Sophocles,
the most popular playwrite of the
It is spring, the hillsides and
olive groves are green. Everyone
around you is happy at the pros
pect of celebrating in honor of
Dionysus, the god of fertility.
The spectacle which you are
about to witness is sponsored by
the state. Music, dancing, poetry,
and song will mingle, much like
the musical of the twentieth cen
tury, A. D.
The presentation that the crowds
are most interested in seeitrg is a
tragedy involving the most noble
family in the history of Greece.
The story is familiar to the audi
ence, but this only adds to the
anticipation felt by all The story
is one of horror, fate, and the
mingled emotions of tragic figures.
Since the theater is a place of
worship, an altar occupying the
center of the acting area, the
.scenes of fighting, murder, suicide
and other violence do not take
place before the spectator’s eyes.
Usually a messenger describes, in
the most vivid and dramatic terms,
the action which has occurred off
The audience of the fifth century
notices nothing unusual in the fact
that there are never more than
I as interested spectators, the audi-
three actors before it at any one
time. In the classic Greek theater
there were only three actors, tak
ing tw.o or more roles when neces
sary. The use of masks was, of
course, helpful when actors played
more than one part.
The chorus enters; its role is an
important one for it acts as an
intermediary between the actors
and the audience. The chorus acts
as an ideal group of spectators,
possessing only a generalized per
sonality, not a real being.
It is sensitive to the unfolding
of the plot, exquisitely responsive
to the appropriate implications.
Since the chorus is identified with
the audience by their common role i
ence too has an important role,
in the play. Verse and dance are
combined, expressing the main
drive of the play.
Percussion instruments provide
the sound pattern which was be
hind the entire play, accompanying
dialogue as well as choruses, but
often so faintly heard that it
would hardly have been noticed
except for the occasional silences.
Its purpose is to emphasize the
rhythms of the performance and to
establish the mood of the whole
Obviously, the Greek tragedy
cannot be presented on the modern
stage in its classic form. Modern
developments of the dramatc arts
make it possible to create effects
denied the ancient Greeks,
The modern stage also presents
difficulties that seem insurmount
able. How can the chorus be
placed in the background in cer
tain scenes and given a more pro
minent position in others? Should
settings be as simple as the marble
steps and pillars of the classic
Greek tradition? Masks? Three
actors ? Dances ? Should only con-
stanit day lighting be used or
should lighting effects heighten the
The director of a classic Greek
tragedy on a modern stage must
make many decisions, culminating
m: Should the classic tradition be
preserved, or should the plays be
made to live for modern audiences
using tnodern devices ?
In “Antigone”, as it will be pre
sented in the Old Chapel of Salem
College, modern staging, acting
lighting, costume, and make-up
techniques will be employed to
heighten the dramatic story of the
■tragic Antigone. The chorus will
ml Its vital role, moving on a stage
that extends out into Old Chapel
thereby bringing the audience even
1° action of the play
On Tuesday night the Classic
Greek Tragedy, “Antigone” will
hve for a twentieth century Win
ston-Salem audience as it did for
the fifth century Athenians. The
power of Sophocles’ drama, clothed
m more modern dress, has lost
none of its appeal in the thousands
of years since the festivities of
November 14. I95;>
By Elsie Macon
“Kitchy-Koo” sat in “Mr. Callahan’s” dasj
and chewed the end of her pencil. She couli
hear the strains of a radio creeping througl
the cracked window. She was warm anj
sleepy. The week-end had been too mucl
for her—all those “Cigarettes and Whiskey”
and wild, wild boys.
Kitchy-Koo began to “Dream”. She wag so
bored. “Mr. Callahan” was beginning a dis
cussion of the latest best seller—“I’m Just A
Country Boy”. She didn’t like country boys
anyway. Kitchy-Koo bit her tongue instead
of the peucil and decided it was no nse. She
just couldn’t concentrate. “Mr. Callahan’’
turned his back to write something on the
board and Kitchy-Koo sneaked out.
She decided she’d follow the strains of the
radio and so she went out the doors of the
“Halls of Ivy” and down the stheet.
She passed by the living room of dewell
where all the freshmen were writing “Love
Letters” and sending an “Invitation” for the
Gingham Tavern dance. Kitchy-Koo’s little
face lit up with a smile as she remembered
she “Again” would see her “Bill” next week
There was a tremendous sign in front of
South which read “Detour, There’s A Muddy
Road Ahead”. “Oh well,” through Kitehy-
Koo, “I don’t mind wading through mud,”
Someone yelled, “Hello, you ole ‘Slow Poke,”
“Phooey,” thought Kitehy-Koo. Where is
that music coming from, anyway? Finally,
she pulled her way out of the mud and got
to Sister s House. The sisters were singing
Brighten The Corner Where You Are” and
having a wonderful time. Kitchy-Koo wanted
to stop, but she just had to find that radio.
She wandered on down to Clewell and de
cided to run in to see her roommate. “Ole
Smokey was sitting on the bed puffing away.
Smokey was humming—“If I Had The Wings
of an Angel.” If Smokey could just leave
cigarettes alone she might get off restriction
by the end of the year.
^ Poor Smokey ! Now she was sobbing . . .
‘Lying On My Back With Tears In My Bars
Crying Over You.” Boy trouble, thought
Kitchy-Koo. She reminded Smokey that
“Faith Can Move Mountains” and not to
She decided to wander on down to the in
firmary. When she got there she, decided to
give herself a liver shot. She was so worn
out. But nothing could dampen her spirits
now. Kitchy-Koo looked at the needle and
&ang happily “I’ve Got You Under My Skin.”
Kitchy-Koo decided to walk on back toward
be class. She just couldn’t seem to find
where the weird music was coming from,
anyway. Maybe “Mr. Callahan” hadn’t missed
Kitchy-Koo skipped up the street past Clc'
well, Sisters and South and up the steps of
The^ Halls of Ivy.” “Somewhere Along the
Way” the music had disappeared.
She pushed open the door and crawled R
or seat. Mr. Callahan” still had his baei
to the class and Kitehy-Koo began chewia?
her pencil again. No one seemed to think
imusual that she had been gone almost the
entire hour. Well, ‘X)f All Things.”