MSGR 1941v67n5

THE SMOKE'S

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"You

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LessNicotine

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"Extra Flavor always Lits tLe spot. TI.ati wLy I don't tire of smoking Camels"

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"THA T CAMEL FLAVOR is something very special," says Ben Hogan (above). Yes, too-fast burning i n a cigarette dulls flavor and fragrance. Camels burn slower, give you a coo l er, more flavorful smoke and less nicotine ( see above)

THE MESSENGER

UNIVERSITY OF RICHMOND

Editor-in-Chief

PHYLLIS ANNE COGHILL

Richmond College Editor

MURRAY BARR

Westhampton College Editor • JEAN LOUISE NEASMITH

Assistant Editors

LEANDER SAUNDERS, JR. HELEN HILL STRAUGHAN LOWE GETTIER

Associate Editors

JOHN DECKER

MARY GRACE SCHERER PAT ABERNETHY JANICE LANE

Art Staff

ED LUTTRELL BOB CARTER

Bminess 111.anager SIMPSON WILLIAMS

Assistant Bmi n ess Manager ROBERT BLACK

VOLUME XL VIII JUNE, 1941 No. 5

Today's insecurity demands that we re-evaluate our standards and our tools of living. We may have to throw overboard many of the material things to which we have attached significance The duty of this college generation is to equip ourselves to judge which values should live-which ones we must fight to preserve as democratic ideals.

From time to time throughout the history of the world tangible evidences of civilization have been destroyed-great cities have been sacked and with them have perished great men and their material contributions. But the spirit which animated the men and their work has lived on century after century. The search for truth, the love of beauty, the fight for liberty - these values have survived.

Today in our American universities we still have the opportunity to carry on this tradition. One medium is the campus publication. With our freedom from censorship the possible scope of individual expression is wide. In Germany the words of men like Thomas Mann with disciplined minds and enlightened spirits were silenced. Today the Hitler regime desperately encourages the Nazis to write, especially escape novels, but censored minds cannot produce creative work successfully. In order to fill the book stalls they must reprint Gone With the Wind ,· and to keep the theatre alive they produce Shakespeare. (They rationalize the latter by explaining that he was really German

[ 2}

and just happened to be born in England.) Comparing our scene with that above we realize the gravity of our responsibility.

Yes, we can write as we please. But we must remember that our academic freedom involves not only privileges but duties. It is a challenge. To meet it our campus publications should publish intelligent writing derived from responsible thinking showing an awareness of the world as a whole and of our influence on the future. Lewis Mumford said in his Faith for Living , "For what are all our fine instruments for rapid communication, if we do not use them to communicate intelligence and to unite and equip the civilized."

Specifically student publications have an important role in the defense of democracy which must not remain static but must be continually changing to meet the needs of each generation. In college we have the opportunity to be educated as the leaders of tomorrow. Through reading we can better equip ourse lves for that leadership; through writing we can mold public opinion, present and future. The campus publication is our tool, for the influences, both directly and indirectly , of student writing are widespread. Functioning as a medium for individual student expression, the campus publication should reflect cross-sectional thinking of the student body. The trends of this thought and the forms it takes will vary. And though in time perhaps the printed word will be destroyed, the spirit behind the best we think and write will survive.

Letters to the Editor

My Dear Editor:

It was with peculiar satisfaction that I read an article in THE MESSENGERby two editors of the Virginia Union University Panther.

I want to congratulate you in the fine publication you are publishing. Continued success, I wish for you and the staff.

Dear Editor: Yours truly, J.WILLIAM DREW, Dean of Men Virginia Union University.

Congratulations on that excellent April number of the MESSENGER!It is the best yet.

Sincerely, GARNETTRYLAND, First editor-in-chief (1891-2).

GUESTEDITORIAL

By JOHN L. LANKFORD, '42 Editor-in-chief, Th e Vir g inia T ech Engi neer.

The student publications that are found on the campuses in America are living monuments to the ideals of freedom and democracy that are receiving such a trying test in the world today. No country in the world can boast a more unrestricted press than the United States.

In the magazines published by the students in our schools are found the principles and ideals that will rebuild a world that is being torn asunder by the bi go try and totalitarianism of some nations . Many colle g es subsidize their publications freely , and render advice and aid to the student staffs. Unfortunately this is not universally true. Some institutions pretend to exhibit an intense interest in student publications, yet they grant insufficient financi a l aid and impose foolish restrictions that discourage initiative and experiment. When the flexibility and freedom of a student publication are impaired , the purpose of the entire institution is defe a ted. College students should write because they ha v e something to say. Articles that are cut , censored , or turned out by mass production have very little real value. Vivid articles by intelligent writers who have an opinion to air or a complaint to make are the meat of which a modern magazine should be made.

Last fall a convention was held at Virginia Tech by members of the Virginia Intercollegiate Press Association. A healthy and cooperative spirit prevailed at this meeting , and the talks and discussions held furthered the cause of collegiate journalism. A notable discovery was brought to light at this convention . Although the publications represented were different in many respects, there was hardly a case in which the experiences and suggestions of one paper did not prove of exceptional value to all the others. The primary purpose of this convention was to foster a spirit of cooperation among college publications. During the course of the year many editors seem to have lost sight of this purpose.

A college publication that attempts to be complete within itself will soon become stilted and stereotyped. Outside contact is necessary to prevent stagnation and lack of interest. No school in

the country produces a magazine so flawless that it cannot learn a great deal from the journals of other schools. Even the engineering magazines of technical institutions can derive a lasting benefit from their associations with the literary magazines of other colleges. Knowledge and development are secured through experimentation with the new and the strange. The world of today is a changing world. While one group is concerned with its own problem, another group is discovering a new and marvelous truth.

Every publication in America has a great responsibility. It is the task of the youth of this country to keep the philosophy and faith of a free people alive. There is no better way to do this than by constant, unselfish journalistic effort.

This school year is nearing its completion, but next year should be marked by the effort of every college publication to expand within its own limits and to become an active part of a larger, unified body of publications that should work for the advancement of free thought through written expression.

The burden of the task of cooperation and unification will fall upon the editors of next year's publications. The position of editor is not a job to be taken lightly. The editor has been honored with the trust of the faculty and the esteem of his associates It is part of his duty to do all in his power to further the principles upon which modern journalism is founded . When an editor merely reproduces the efforts of his predecessor, he is playing the part of a hypocrite Journalism is alive and changeable, and standardization, even of form, is dangerous. It is too easy to become fixed and satisfied in magazine work. Editors should be unafraid and determined to make changes when they feel that the changes will stimulate thought and action. A chain of personal correspondence should be maintained between the editors of different institutions. The men and women who are interested in journalism should know each other more intimately. A spirit of friendly cooperation and mutual criticism can do more for college journalism than any other single factor.

WESTWARD,LOOK! TheLandis Bright

By KITTY CRAWFORD, '41

OF all the people who came from the old world to thrust roots deep into new American soil, none was stronger, morally and spiritually, none was more idealistic and more courageous than 1the Huguenot refugees who found in the wilderness of the colonial frontier the liberty and the toleration they had lost in Catholic France.

Into the sturdy Anglo-Saxon stock stretched grimly along the Atlantic shores , these French Protestants injected a different strain, a different culture, and one which was to

ref t of their privileges, deprived of the equality they had enjoyed so long, attacked at every turn by the fanatic aristocracy and clergy, miserable, persecuted, the French Protestants...:...._menand women who dared face torture and death for their · belief-began to search the world for another home, another country, choos-

PrizeWinningArticle

pulse-quick and strong-in the hearts of future Americans. Rapidly absorbed though it was, its effects upon the development of modern American civilization are marked and significant, not only for their own intrinsic values, but as a memorial to a brave people.

Ninety years passed between the far-sighted and memorable Edict of Nantes, effected in 1595 by the Catholic-convert king Henry IV of Navarre and the blunder of its revocation by Louis XIV in 1685; in that century French Protestants enjoyed full license to settle wherever they chose in the country, to worship almost freely, to receive the benefits of all educational facilities, to hold office, and-a great boon-to use the public cemeteries. Their minister received the support of the king, and Calvinists were put on a footing of complete civil equality with Catholics. In an era when religious intolerance was the rule, a "charter of freedoom" such as the Edict of Nantes was a milestone in the history of man's social consciousness. But a policy of toleration for those of different belief was too radical for France of the seventeenth century, and insidious legal persecution presaged the cruel practices soon to follow. In 1685, under the influence of the Catholic clergy, Louis XIV from his voluptuous court at Versailles sanctioned one of the most flagrant political and religious mistakes in the history of the French nation, which in a few years lost more than 400,000 people. Be-

(4)

ing rather freedom in exile and God in the wilderness than the security of hypocrisy in France. In 1681 a Protestant minister Rochefort wrote a pamphlet entitled "Recit de

l' es tat present des celebres colonies de la Virginia, Marie land, et de la Caorline"; and as early as 1684 there was published in France a brief Recit de la Province de Pennsylvania by the founder himself, William Penn.

England, Ireland, Germany and the Scandinavian countries all received an excellent company of'French refugees during the protracted exodus from 1685.

II

Thirteen years after the blow had fallen upon the Protestants in France, when thousands were fleeting from the terrors of a rabid Catholic regime, Colonel William Byrd I of Virginia, one of the best business men of pre-Revolutionary days, caused a petition to be presen;ted to the Council of Trade and Plantations in London suggesting that Huguenot refugees be allowed to settle on the upper banks of the James River, "affording as good land and wholesome air as any place in America, and there is room enough for them to live comfortably together provisions being there much cheaper and assistances of all kinds nearer at hand."

It was not until 1700 that a group notable enough to be called a company turned to the American wilderness for a home. On July 23 of that year, the Mary Ann of London, with 207 men, women and children aboard, landed at Jamestown after a gruelling thirteen weeks passage.

Although the town of Manakin-popularly considered the center of Huguenot life in Virginiawas of consequence in the lives of the French Protestants only for a few years, and is . remembered now for reasons of sentiment, it was for two decades in the eighteenth century a radiation point for French influence in Virginia , and therefore its founding should be examined attentively.

By barge , by horse , and by foot , the first group under the leadership of the Marquis de la Muce, and of M. de Sailly, toiled their way up the winding banks of the muddy James, past the falls where thirty years later the streets of Richmond were to be laid, and on for twenty miles into uninhabited wilderness. Upon the site of the old village of the Monacan Indians they prepared to build their homes, clearing away the old debris , laying off a few streets, and opening a road to the mill on Falling Creek, where seettlers were to get supplies of meal; the mill was owned, of course, by Colonel Byrd A form of government was immediately effected by these rational Frenchmen under the direction of de Sailly.

A second group, embarking from London on the "Peter and Anthony,' 1 arrived in Jamestown two months later in tawny September under the guidance of their minister M. de Joux, "a man of great force of character , sound common sense indomitable energy and industry"; they reached Manakin with no recorded misadventure or complaint Here they found a form of governrpent already organized, in which de Sailly denied them a part, refusing them rights in the land or in the contributions of the Virginia colonists, unless they would accept his complete authority. Tyranny within three months on virgin soil! With characteristic independence the second group of refugees quietly departed from the town and settled a few miles farther down the river between Manakin Creek and Po-white Creek in a fertile and wellcleared tract. So successfully and promptly did de Joux procure supplies and air for their necessities that in a short time most of the others sought to unite with him, and he soon became the leader of all.

The silent forests and boundless stretches of uninhabited land rolling back from the high protective cliffs of the shallow James were a radical change, for cultured and well-educated French noblemen and bourgeosie, from the highly developed farms and domesticated rural areas they had left at home. They began resolutely, nevertheless, to lay out their settlement by the system then prevalent in France, establishing their village upon the river bank, where all lived together

around a central green called Nicholson Square in complement to Francis Nicholson, Lieutenant and Governor General of Virginia. Bounded on two sides by streets named, appropriately, after Byrd and King William, and surrounded by lots of equal size with ample garden space , the common was the heart of the tiny community, and ambitious plans were made for the location of a church and parish house, the school and a hospital on the corner acres Each settler was granted by the minister a strip of land running back from the river to the foot of the hill-again the French system. On this the colonist was to raise cattle and hogs and wheat and tobacco, and from it to support his family-but not in the manner to which they had been accustomed.

In spite of the comforting resemblance which Manakintowne now bore to an old French village, the winter of 1700-1701 in Virginia was a difficult trial of the strength and courage of the Huguenot refugees: Liberty was a poor protector from midAtlantic snows, and freedom of conscience was no substitute for breakfast and dinner. The kindly government at Williamsburg, a laborious three days' journey away, exempted them from payment of all taxes for seven years, and additionally granted in February one bushel of Indian meal monthly to each person in the community. After the spring thaw , which opened to the settlers again the resources of forest and soil, they began to build permanent houses, to replace the makeshift huts thrown together the preceding autumn. Beginning with posts in the ground , made of thick strong oak, they framed sills and studds along the sills to the upper beam. Some were weatherboarded, and many had a mortared chimney, which "did very well. " The body of their houses was clapboard, flat on the outside, the inside lathed and filled with mortar. In comparison with even the Westover of that day, they were doubtless "very mean huts,'' as Colonel Byrd remarked after a visit to the town in 1701, but to a contemporary Huguenot "they were quite comfortable."

"They worked the fields with hoes, as they did not understand much about plowing ," -these French leaders and scholars who formerly had wielded pens and driven carriages. "They cut down t~ees and were so industrious that they would work late at night and get up before day to cut down another." There were a number of wild horses in the woods in those days, claimed by the ubiquitous Colonel Byrd, who encouraged the French to catch and break them for working and riding, and soon homemade plows dug their [ 5 J

teeth into the fertile earth where formerly hoes bad scratched a hard existence.

The generation after the turn of the century saw a rapid growth and spreading vitality in all the colonies along the beckoning Atlantic coast: increased population, the movement of small farmers into the Piedmont and further expansion into the " Old West , " beyond the first blue range of mountains; the development of trade and commerce and of shipping to the mother country. In no group of settlers was this growth and vitality more marked than among the Huguenots; Mankintowne itself had a thousand inhabitants in the 'thirties, and was constantly sending more and more people to the counties westward as greater opportunities for land opened. In the settlement all soon had slaves to cultivate the fertile soil, and the names of the rapidly increasing children continued to fill the Parish Register. But it was not a long time before emigration from the restricted locality into the spreading valleys of the west, and intermarriage with the upper strata of Virginia families to the north and east depleted the numbers of pure French Huguenots left to cultivate their narrow strips of land running from the river bank to the foot of the hill in Manakintowne.

Into the widening horizon of the western wilderness: Goochland and Fluvanna, Louisa, Albemarle and Buckingham, the wagons and ox-carts moved. A hundred families settled in Rockbridge county, more in Henry and Prince William. The Herndons moved north to Fredericksburg , together with Peter Fontaine and the Maryes Frenchmen stood on the crests of the Blue Ridge, and the valley lay before them like a placid ocean of green; they started downward into another world.

III

The Huguenots who fled to America in the first years of the new century were not only men of inherent courage and spirit; they had behind them eras of breeding and education and culture. They were from France's nobility, from her clergy, from her scholars and professors; the upper middle class-strong, reasoning, intelligent-contributed a large share. It was no stagnant nor inferior blood, no degenerate spirit which was infused into the American soul with the Huguenot immigration: but the searching intellect, the inspired heart, the firm faith in solid values without which no nation can long exist.

Books were a prized possession of the Protestant refugees from France: the Mary Ann carried, in spite of a heavy load of supplies, a cargo of books for a Mr. Roget, valued at £30, a value which is ap-

parent when £30 is "outlay' d" for books , while only £5 is outlay' d for brandy. Further additions were made to the scanty library at Manakintowne by the Rev. Jean Cairon, who succeeded de Richebourg as minister of the colony. He brought with him from England one of the parochial libraries of that time, which were being distributed among the Americans by the devout English parson, Dr. Bray. There were forty volumes in this collection, which was valued at £9 17s; all the works were in English (which the Huguenots soon came to speak) except three in Latin. None was written in French. Judging by comparative standards , forty volumes valued at £9 17s would make £30 worth of books total approximately 125 volumes; an ama zing cargo for a heavily laden refugee ship! It is fitting that the spiritual guide and leader of the new settlers, established in the midst of a foreign community, should be the first to inject the peculiar culture of his people into their alien hosts . The Huguenot pastor became the teacher of a promising little Virginia boy, just as , a generation later, another Huguenot scholar was to teach another promising little Virginia boy, Thomas , son of Colonel Jefferson of Albemarle. William Fit zhugh, in one of his letters , writes that , but for his finding an excellent tutor in the pastor of the Huguenot flock, he would have sent his eldest son to England for education. The boy boarded under the clergyman ' s roof, and as only French was spoken there, he soon came to use it with as much facility as English. Later his fond parent had forwarded from London a French-Latin grammar , a French-Latin dictionary, and French prayer-books for his son ' s use . It would not require an elastic inagination to see in this situation , not an isolated case, but a recurring evidence of the culture of the new settlers and the growing esteem in which they were held by the older inhabitants. Doubtless many of the younger children of the Virginia aristocracy learned their "parley-voos" in the spare rooms of a Huguenot parsonage or in their own homes, from specially chosen tutors.

Many a Virginia gentleman could have taken lessons in the fine art of letter-writing from the pens of an outstanding Huguenot family, the Fontaines: it is no mean talent-even in our day of telegrams and hastily-dashed notes-to turn an excellent letter; and even more in the early eighteenth century-day of grace, charm and manner in English literature-was this gift to be cultivated and extolled. The letters of Peter Fontaine to his kinsfolk in England-where he himself stayed for a while after leaving France-are in the best tradition of eighteenth century letter-writing,

smooth and facile, with neatly-turned phrases and clear, expressive clauses. Particularly evident is the rhythm and balance of each sentence and each paragraph, revealing a sense of harmony and music in words not to be found in a mediocre penman. His vigorous prose and strong militant ideas suggest that his sermons-for he was a pastor also - were artistic creations of fire and spirit, capturing stirring thoughts in swift and trenchant words. It would be fascinating to discover with what trepidation and fumbling for le bon mot a Tidewater planter dipped his plume to answer a Fontaine letter, or cleared his throat to reply to a Fontaine query. Fumbling for bons mots, when spurred by pride, can be good practice for a very young civilization.

Nor was literary ability limited to members of the clergy or to noblemen among the Huguenot settlers: still extant is a document from the entire body of French settlers , written the first year , and untouched by the leaders of the colony. A formal complaint made to the Governor of Virginia concerning their distresses and grievances, this wellconsidered and thoughtful paper, which is eloquent of the high character and attainments of the group has been spoken of as "moderate, publicspirited , abounding in wise suggestions for the future , and confident of early success." In nature it is at once respectfully humble and intellectually re a sonable: a combination requiring a skilled hand. Words well-chosen lucid phrases , graphic description , and grace of presentation mark the paper as worthy of notice, not only from an historical, but from a literary standpoint. From such a status , "Ye Complaint" reflects the culture of a people to whom culture was the last possession on earth , and from whom it could never be taken away

To the church of England established in eighteenth century Virginia , the French Protestants brought renewed vigor and strength: to its formalism they added the fire of religious passion and the spirit of evangelism; into its conservative doctrines they instilled the more radical precepts of the master theologian Calvin; to the great tradition of the Virginia clergy they contributed the names of Latane and Boisseau, Maury and Pasteur and Fontaine. Working under the difficult conditions of the formative years in Virginia's colonial existence, they did noble work in preaching the Christian faith and in upholding the standards of morality and righteousness. Not only were the original settlers of Manakintowne, on the rolling banks of the James, benefitted by the services of their beloved pastors at all times; but their chil-

dren and their families, branching off anew into the unbroken wilderness of the western valley, or into the already inhabited counties nearby, took with them Huguenot ministers as an ever-present reminder of their faith and of their God, took with them the powerful and inspiring doctrines of the Calvinistic creed to strengthen their own hearts and those of their neighbors. To brave the dangers of a wild and new land, to wrest from virgin earth a living for family and self , to leave security and home and country supported only by the ideals of liberty and toleration-this required the encouraging sinews of belief in the infallibility of God and in the divine predestination of man to follow Him forever, wherever He might lead. Because French Huguenots in the early eighteenth century sought insistently for holy guidance in their lives, wrestled earnestly with a very real devil in prayer, and walked humbly before their stern and just God; and because they led their neighbors likewise to live, the growing Dominion of Virginia was stronger and firmer and more deeply grounded in the fundamentals of life and the protestant Christian faith.

Nowhere was the graciousness and charm of old world France, the specific signs of gentleness and culture and good breeding , more apparent than in the homes and home life of the Huguenots. Accustomed as they were to the polished oak and expensive linens of their estates in Europe, in America they were reduced to small cottages, of ten without a vestige of taste and charm within them to warm the lonely heart. Yet they soon covered their homes with grape-vines and the wild-honeysuckle , cultivated exemplary gardens around them, and solaced their souls with hard work and a beautiful view of the river. While English housewives dyed linen yarn of heavy quality and wove stripes and checks for bed and window curtains , the Huguenot lady used white linen or dainty shades of blue, green or gold.

New flavors in cooking were added to the sturdy fare: they were the first to introduce yeast, for bread, delicately flavored omelettes, delicious soups, and appetizing entrees. To "run next door with just a taste of this souffle," and to discuss culinary techniques became the hourly practice, and it is not surprising that French delicacies in food and drink, French manners and table appearance should appear throughout the neighboring homes in Anglo-Saxon Virginia, and thence up and down the community . Particularly excellent was the French wine, which fortunately the Calvinistic fervor of the Huguenots did not prohibit. As early as 1702, according to Beverley, the ener-

getic and persevering new colonists "be'?an an essay of wine which they make of the wild grapes gathered in the woods , the effect of w~;ch was a strong-bodied claret of excellent flavor. Many a bottle of French claret may well have found its way into the welcoming cellars of a_neighbor ,_and as its deep red tones sparkle later 111candlelight , served to cement that bond of friendship fast growing between French immigr~ and English landlord .

From their earliest existence there had been a close tie of friendship and interest between the government of Virginia in Williamsburg , and ~he struggling colony on the upper Jame~; cessation of taxes , donations of food and supplies, passage of an Act of Religious Toleration intended for that colony alone; all cemented that bond. It is not remarkable , then, that the Frenchmen would soon want to share actively in that government , to contribute time and thought to the development of political science in Virginia . What must be remembered , however, making this development remarkable is that these Frenchmen were from an aristora~y of Europe anciently and currently inimical to British Expansion and policies , to British manners and culture, to anything that savored of the British. During the first half of the eighteenth century , war , if not actively in progress, was constantly brooding over England and France, whose colonies naturally imitated that hostile attitude. Yet during this time Pierre and Jean Bowdoin, a1:d Cyrus Griffin , all of direct French descent, sat 111 Virginia ' s aristocratic House of Burgesses and deliberated the future of English and French colonists with impartiality and peace; young Dabney Carr, whose family displayed proudly its French coat of arms, represented Louisa county in the same mighty assembly, and later helped intelligently to lay plans for revolution That _ the ge?~ry of Virginia , which numbered among its families the best blood in England and resisted the influx of the middle class into its circles as strenuously as it did the authority of the king, so graciously and cordially welcomed Frenchmen into its midst who were but one generation removed from a refugee ship and a clapboard hut sp~aks volumes for the inherrent gentility and breed111g,the pervasive culture of the Huguenots who in spite of this Virginia aristocracy were just as richly endowed by their accustomed circles in old France V

Culture is an intangible thing; yet it can be expressed in its essentials: political scie~ce, liter ature, domestic arts, education and learn111g,music,

philosophy. There is one realm of li~e even more in tan o-ible and remote from the prob111gfingers of histo:y : it lies in the values of the soul. A~d it is this quality of spirit which the Hugueno~s 111':irginia infused so generously into Amenc~n lif~ Nothing could be more eloquent of these 111tangible values of the spirit than a simple account of the death of the Rev de Joux , the first pastor of the Protestant flock at Manakintowne He led his people through seven long years of work and hardship, encouraged them always 111the face ~f def eat and disaster, upheld their faith and their determination, pouring out comfort and strength from his inexhaustible source; one morning he was found dead in his log hut. In his one-room home , with unceilinged rafters overhead, which served as bedroom, study , kitchen and parlor, was his " Last Will and Testament," a pitifully noble gesture in the old tradition. Eunmerated there is all his property: one chair , one bed, two chests , and a basket. The scanty cooking utensils were on the hearth , and the pot-rack hung in the low fireplace , where he kept his own flame with a pair of bellows. There were a few earthen plates and a single cup-but there was no table , althoug? there was a fine linen table cloth and four napk111sto match And then there were his books and papers , worn with age and with caressing fingers ; and an engraving of King William and Queen Mary adorned one wall. His personal wardrobe was neat and well-brushed , reflecting the gentility of its origin-but very worn There were a coat a nd a cloak , several gowns , a pair of gloves and some breeches , linen hose , exquisite lace for a cravat , and sterling silver shoe buckles , which would have shone dimly in firelight. Lastly , there was a stocking begun, and yarn to finish it. Total value £10 6s 9d " Lay not up for yourself treasures upon earth where moth and dust doth corrupt and thieves break through and steal. "

Not the least remarkable characteristic of the Huguenots who came to Virginia _ in early years of the eighteenth century was their ability to merge into the existing civilization , blending themselves so completely that by mid-century there was scarcely a pure-blooded Frenchman to be found; by the Revolution they had vanished w~t~ hardly a trace. Intermarriage mingled the families; crosscurrents of culture caused the immigrants to adopt Anglo-Saxon customs just as Virginians accepted Huguenots ' manners as their own; ri:iany o~ the Protestants even moved into the Anglican faiththe final step. The infiltration of the newer people was rapidly completed.

Yet it was not a matter of m111ontyabsorption by

a majority, with the consequent loss of distinctive values and peculiar traits; rather it was the enrichment of one group by a smaller, with the consequent strengthening of the culture and character of each. One need remember only the names of Peter Fontaine and Drury Lacy in the ministry; Matthew Fontaine Maury in science; Captain Latane and Jack Jouet in warfare; and in government Cyrus Griffin, president of the Continental

Congress in 1 788; George Washington, whose ancestry has been traced back to the Huguenot Nicholas Martiau; Jack Sevier, the great figure in the early history of Tennessee; and John Tyler, president of the United States to realize that the fusion of the blood of the French Huguenot and the Anglo-Saxon stock in Virginia in the eighteenth century has resulted in the enrichment of all American life.

Sonnet

So, you are gone-my world is mine again, And I am free to give my heart at will; And yet-like silence swells the sound of rainI hear your voice whenever I am still, Alone, and idle; as a ship at sea Holds, in its wake, the sad eyes of farewell That watch it after passing-so with me; Though why this should be, I can hardly tell. I did not love, nor weep when love passed byHaving or lacking it is all the sameBut somehow I recall you, though I try To fight this memory, forget your name. Ironic, that the one who did not care Should be so injured, and beyond repair!

NANCY MASTERS, '44. [ 9}

Perseus'n' Medusa

By MILTON FRIEDENBERG, '44

0L' Polydectes was de main kingfish 'roun 'bout Seriphos County. He was a killer. He had hissef a house bigger 'n de Town Hall, an', man! I mean he lived in style. Well, 01' Polydectes wasn' 'zac'ly a' hones' politician. I don' mean he was dishones' (' cause ef I said dat, an' he got wind o' it, wouldn' be no more lef o' me den a grease spot) but I can't say dat I agrees fully wid all his policies. He had a cute li'l habit o' lettin' all de crooked gamblers open up all de gamblin' houses dey wanted, ( fo' a slight fee, o' course) and den when dey was ridin' at full speed, he'd sorta pussyfoot on in and take over de gamblin' parlos fo' hissef. An' he had a harem fulla de payinest, purtiest high yallers I evah did see.

Now 01' Polydectes had workin' fo' him a black gal whut was really a catbird. Her name was Diana. She won' so young, but she had hersef one o' dem wasp waist corsets, an' sprayed hersef wid dat "Midnight in Harlem" perfume an' wore dem low cut dresses, 'til she had 01' Polydectes 'mos' crazy. He would run 'roun' aftah her wid his tongue hangin' out, worryin' de life out o' dat pore chile. But Diana, she won' no fool, an' she Ies' natcherlly didn' like 01' Polydectes. But she stayed on workin' fo' him as his housekeeper, enyhow.

Polydectes got so he even offered to marry her, but she jes' turn 'roun' an' look at him an' say, "What yo' talkin' 'bout, Black Boy?"

Well, Polydectes tried 'n' tried, but he see he won' makin' no headway, so he fixed it so dat Diana couldn' git no job nowhere else in Seriphos County, but workin' fo' him. So she worked fo' 01' Polydectes, but she won' even gettin' union pay an' hours.

Now Diana had a son named Perseus, an' he was de cause o' all de trouble. It won' dat he won' a nice boy, it was jes' dat he had been born dat caused all de fuss. Diana's pappy had been a big shot in some far off county, an' when Diana had Perseus, he'd been mad as all git out. De reason was dat Diana won' married, an Perseus turned out to be a high yaller. Diana was real young den, but her pappy hadn' let dat stan' in his way. He reserved Diana an' Perseus a seat on de Orange

[ 10]

Blossom Special, bought 'em a ticket fo' as far as ten dollars would carry 'em, an' let 'em go. Dat's how dey come to end up in Seriphos County.

Persy was a hard workin' mamma-lovin' man. Diana always did all she could fo' Persy, an' he 'preciated it. He tried to show his 'preciation to his mammy by keepin' away from wine an' wimmen. Ohhh, de wimmen ran aftah him, but Persy wouldn' have nothin' to do wid ·em. He didn' play craps, an' he didn' roam de street at night like most o' de othah boys. He tried hard to git a good job, but Polydectes had seen 'bout him, too, an' de only job dat Persy could git was workin' in de gravel pit, shovelin' gravel all day long under de hot sun. He didn' hardly git no pay, neither.

One day Persy come home hot 'n' tired, after a hard day's work in de gravel pit. He had a li'l room in Miz Batts' roomin' house over in Webber's Alley. Well, he washed up fo' dinnah an' den sot down wid de res' o' de boarders fo' de evenin' meal o' corn pone an' chitt'lin's. While he was eatin', he glanced ovah his forkful o' juicy chitt'lin's an' he seen a purty gal settin' 'cross from him an' givin' him de eye. Dey was purty eyes, too, an' dat gal was rollin' 'em 'roun' like marbles in a glass.

"Ummmmmmmm-umm," said Persy to hissef, "dat chile is sho' pas' de killer. Wondah whut she's doin' here? I know ain' nevah been no thin' like dat in Webber's Alley befo'. I gotta steer clear o' her, 'cause I don' mess 'roun' wid de wimmen folks, tho' at times I think I mus' be crazy."

Well, aftah dinnah, Miz Batts stood up in front de table an' clap her ban's an' say to all de boarders:

"Chillun, I want y'all to meet Miss Otelia McKinley, whut is gonna be one o' our new boarders. She jes' got in from Sain' Louie, so I want y'all to be specially nice to her. . . . Perseus, Miss McKinley got de room nex' to yo's, so ef its awright wid you', would yo' min' show in' her to her room?"

Now Perseus didn' wanna meet Otelia, but de way Miz Batts axed him, he couldn' hardly say naw. So he jes' nodded his head an' said "Y assum" real quick an' led de way.

Otelia McKinley won' really from Sain' Louie.

She was one o ' Polydectes gals whut he had sent to seeduce Persy. 01' Polydectes figgered dat ef he could git Persy to run away wid dis here gal , Diana would jes' marry him out o' grief an' disappointment. So he tol ' Otelia to put on plenty lipstick , an ' wear plenty thin dresses wid not much on underneath , an ' he sent her to Miz Batts boardin ' house to work on Persy . O' course , Percy didn ' t know nothin ' 'bout dat , so he didn ' t have de slightes ' suspicion o' whut Otelia was gonna do

Dey started up de steps wid Perseus first , carryin' de baggage, an' Otelia close behin '. Dey got to de top an ' Persy led de way down de li'l hall an' put de bags down. He turned an ' started to leave.

"Hold on here a minute , honeychile , " said Oteli a, " would yo ' min' openin ' mah doah? I nevah was much wid a key "

" Yassum ," said Perseus

While Perseus was fittin ' de key to de doah , Otelia put her ban' on his shoulder an' blew down his neck

" Ooooo ," said Persy. " Don ' do dat woman It mak es me nervous ."

" Don ' do whut ?" said Otelia wid a wicked g leam in her eye. " I can't hep it ef I coughs."

" Nawm ," said Perseus.

Well , he got de doah open, an' sot de bags insid e ' n ' turned ' roun' ready to leave.

" Oh , Persy , Honey, would yo' hep me unpack? I jes ' knows I can ' t do it all by mah li'l self."

" Sain ' Louie woman ," said Persy, " I don' know what yo' is up to, but yo' is gonna have to do yo' own unpackin' , ' cause I don' want no woman messin' ' roun' wid me. I gotta Bible meetin ' at seben o'clock , an' I gotta change mah clo ' s ."

Wid dat, Persy stormed outa de room an ' slammed de doah , leavin ' Otelia standin ' dere wid her mouth hangin ' open Den Persy run into his room an ' slammed de doah an' locked it tight, ' cause he didn ' wanna take no more chances.

" Whew, " said Perseus as he took off one shoe, " Whew. "

"Whut yo' whew in' 'bout , Black Boy? " said a woman ' s voice in de corner.

" Who dat ? Whut yo ' doin' in here?"

" Don ' yo' know yo ' Ant Minnerva whut is supposed to be yo' guardian angel since she died ten years ago? "

" Well stuff mah mouth wid a catfish! Whut yo ' doin ' here, Ant Minnie? I tho't yo' was dead. "

"Well, I was dead, but I come back ever' now 'n' den to he'p you an' yo' mammy when things ain ' rollin' so good. An' it look like to me dat dis here is one o' de times when things is specially not roll in' so good."

"You can say dat agen, Ant Minnie ."

"Das whut I figgered, so I come here to he p out you an' yo' mammy. "

" I sho Lawd hope you can he ' p us. "

"I can, Persy , but it ain ' gonna be no peaches an ' cream fo' yo'. Yo ' gonna have to run risks an' yo' gonna run inta plen ' y trouble. But if yo ' s willin ' , I can he'p yo' out. "

'Tm so willin ' , Ant Min , dat I'm ' bout to bust a gut. C'mon, tell me 'bout it. "

" Well now Perseus , here ' s de way things stan'. Up in Harlem dere ' s a gal called Medusa Brown. She sho is a purty gal. But she ' s a wil' gal, Persy , an ' she can turn a man ' s heart to iron wid her lovin ' ways . She can get a man to steal candy from a baby or to swipe his gran ' ma ' s false tooth ef he tho ' t 'twould make her like him eny more. Some o ' dose fell a ' s got vericlose veins from standin ' in line jes' waitin ' to git a look at her. ' Tain' no two ways 'bout it , dat gal's a honey. Her face used ta change men to stone , but dat was befo ' she started usin' dat new suntan make-up. Enny how, Persy, yo' ain ' gonna h a ve no easy job. But ef yo ' can bring Medusa back here to Seriphos County, I can carry on from dere. Don ' let nothin stan' in yo' way an ' don' let nothin' scare yo ' , ' cause I'll be on de job a-guardianin ' Here a hunnert dollar bill. Buy yo' sef some yaller shoes an' a green plaid suit an ' a orange necktie an ' a purple shirt. Make dat Medusa Brown think dat yo'r a reg'lar sharper. Ef yo ' need more money , honey, jes' call on me, an' I'll put it in yo ' pocket."

" Y assum, Ant Minnie, I' se rarin ' to go ."

"O.K. , Persy boy , hop to it. "

De first thing dat Perseus did was to hot foot it down to Elmo's tailah shop to see ef he could fin ' hissef a fancy suit real quick It jes' happen dat Elmo had made a green an ' yellow suit fo' a fellow jes ' ' bout Persy's size whut had died from an overdose o' gin So Persy took de suit widout enny argument. Den he trucked on down to Henry's Footery Emporium an' got hisself a pair o ' yaller shoes whut made de flowers blush wid envy. Further down de street at Havey ' s Haberdashery , he got a pair o ' silk sox , a orange tie an' a purple shirt. He went back to Miz Batts', changed his clo's, an' went down to de train station, dressed fit to kill. He got a ticket to Harlem and got on de train, all set fo' a great adventure.

Well, de time went by purty fas', an' 'fo ' Persy knew it, dere he were in Harlem. He started walkin' up Lennox Avenue, an' he look to de lef' an' he look to de right an' all he could see was sin.

" Lawdy, " tho't Persy, "I gonna have a devil o'a time keepin ' mysef a hard workin' mamma-lovin ' [ 11]

man. Dis here place is a reg ' lar Sodden 'n' Gemorrah."

"Ant Minnie," he whispered to de air, " where I gonna fin ' dis here Medusa Brown?"

" At de Savoy Ballroom."

" I gotcha , Ant Min, an ' I'm on muh way."

So Persy walk up an' down de streets o' Harlem, axin folks which way was de Savoy, an' would dey direc ' him dere? Seems like nobody in Harlem cared 'bout nobody else. Dey all grunted an' wen ' on dere way . Finally Perseus heard a lotta loud music an ' seen a lotta bright lights, an ' dere he was , right outside de Savoy Ballroom.

" Ummmm-um , " say Persy, " dis here's quita place. "

So he went in an' sot hissef down at one o ' de ring-side tables . Purty soon a waitah come up to him an ' say,

" Yassuh , whut can I do fo ' yo'?"

' 'I'll have a fat back san ' wich on corn bread, an'a glassa milk ."

" We ain't got no fat back. How 'bout some patty de foy grass ."

"O.K ." say Persy. 'Tm game ."

" An' 'bout dat milk, sub, whut is dat? Do yo' make it wid gin or scotch? "

" Naw, milk De stuff whut comes from cows. "

" Cows? "

" Yeah. Dem things whut goes mooooo ."

"I reckon I bettah bring yo' a Harlem Highball. Dat'll make yo ' go moooo."

" O.K., " say Perseus ' Tm still game. "

De waitah lef him an ' jes' ' bout dat time de floah show started. Some o' de purties' gals widout some o' de purties' costumes dat Persy evah seen come out on de floah an' do a li'l dance. Den two bee-utiful black gals wid one bee-utiful high yaller in de middle come out an' start to sing. Some man in a fancy suit an' a top hat come out on de floah to make a 'nouncement.

" Ladies an ' gennamun," he say, " erlow me to present de t' ree Brown sisters, Leatrice, Beatrice, 'n' Medusa. Dey sing ' n ' swing undah de name o ' de T'ree Harpies."

Den dose T' ree Harpies started singin' a sinful song. Perseus didn't like dat , but ever-body else in de place did.

Well, dey got t' rough singin' an' ever'body in de place started a stompin' an' a hollerin'. 'Fo' long, Persy saw dat Medusa was lookin' ovah in his direction, so he sorta wink his lef eye. Medusa.

she wink right back, an' purty soon she come ovah ' n' sot down by Persy. Persy, he didn ' t know whut to do, 'cause he ain ' nevah been wid a woman like Medusa befo '.

"Wassa mattah, han ' some, ain'cha havin' a good time?" say Medusa

" Sho . Sho."

"Cmon, big boy, buy me a drink."

"O.K., " say Perseus. " Waitah, bring dis lady a glass a ice tea "

" Ain ' yo ' a card? " say Medusa " O.K ., Joe , I'll have a cherry malted zombie "

Well, while all dis was goin ' on, Ant Min, she ain' was'in no time . She knowed dat Percy would ha ' hissef a time tryin' to take care a Medusa, so she fixed it up dat Medusa get served a cherry malted zombie wid a Mickey Finn in it.

De waitah brought de drink, an' Medusa didn ' waste no time in drinkin' it. An ' soon as she did dat, she was out colder ' n a dead catfish

" Quick, Persy, pick her up an ' run outside, " say Ant Minnie.

So Perseus grabbed up Medusa in his arms an' flew outa de doah wid all de waitahs chasin' him.

" Cmon, Persy boy, clomb up on mah back , ' n hol' on to Meddie an ' away we'll go."

So Ant Minerva spread her wings an' away dey flew, right smack iota Seriphos County

When 01' Polydectes saw Medusa ('cause dey had landed right at his front doah) he jes ' blink his eyes

" Lawdy , " he say. " She look like ' Midnight in Harlem ' smells. "

'Bout dat time Medusa awoke an' when she saw all de finery of 01' Polydectes' house, she dido ' min' de kidnappin ' at all.

"Medusa, " said 01' Polydectes, "will yo ' marry 1" me

"Why cert' ny, preshous. Dat is, ef dis is yo' house "

"Nobody's but," say 01' Poly, " so I hereby declares us united in holy wedlock Perseus, I makes yo' Prime Minister, an' I appoints Diana Official Housekeeper o' de palace."

Den he give Perseus his scepter an' he turn to Medusa.

"Medusa, honey," he say, "c ' mon wid me, I wanna talk ovah sum pin ' wid yo'."

Well, dey wen', an' das been foah weeks ago , an' dey ain' been seen since.

[ 12]

LeafTornFroma Book"

By KIRA NICHOLSKY, '41

Reverie

Why d o I remember

Th o se small and fleetin g things,

The wind blown throu g h the treet ops ,

The sea g ull ' s silv er wings?

The sea' s lull gentle sway, Why d o I remember

When I'm so far away?

Why do I remember

The to y that is half-broken ,

A leaf torn from a book , A childish wish unspoken?

Why d o I remember

A frightened pair of eyes,

A g leam and then a blackness ,

A sigh of swift surprise?

Strange , I should remember , It w as so long ago , Yet then I felt tranquillity , Th a t now I do not know.

Publi s h ed in The B ook of Co ll ege Verse, 1938, a nd O u t sta ndi n g C ontemporary P oets, 19 39

The crickets call eternal monotones

And ni g ht has spread its black wings over me: I try to g rasp the velvet darkness close

And hold it near - forget my own identity, Because my feelin g s run away before my brain; I know you never will come back again

The other day a light had died within your eyes, You looked at me, a pallor in your face , And all the hidden thoughts of mine , my fears You read - and through a timeless space

Came echoes-repetitions of my doom

And all intoned the bitterness of gloom

You knew it had to come, to end like this I was too greedy - and grasped too tight

A bond which is composed of futile dreams, A memory as whimsical and light

As sunset rays, which deepen into night, And sweep beyond abysses out of sight.

I held precarious balance without care, Drew my whole so ul into an ashless fire, I should have known it was too late; That Destiny builds beyond desireAnd now on broken wings the hours fly Because yo u uttered it- your last goodbye.

f f f

Time is a wounded bird, Dragging its useless wing

Across my weary brain, With sharp and searing pain Tearing my world apart.

Low lie the stars tonight , Cradled in the valley , And arid, cruel moonglow Burns far within-I know A fragment of infinity.

Publi sh ed in TH E ME SSEN G E R, Oct o be r, 1939.

I ask for little things; You give me goldI ask for moonlight low On slanting roofs Like silvery snow. I ask for melodies You give me tunes , But disregard the harmony of spring, And you forget the rhythm of the rain, Or flight of birds, or winds__:_ I ask you always For such simple things.

Publish e d in THE ME SSE NGE R, Oct o be r , 1938.

I know the very soul of me has gone Into the new , green earth after a rainI must face this loveliness alone

For I am left bereft again.

The slim white birches ' beauty on the hill Has tied me to their eagerness to live And helplessly I stand, letting the still Cool night swoop low and give Me solace-but I cry for you, For you have bound me to your beauty, too.

[ 13]

Almosta LoneEagle

By T. E. WARRINER, '42

]CNDBERGH controversies have reached a high watermark lately. The Lone Eagle has been accused of bucking so-called Americanism, has declared England's cause lost beyond doubt, has commented on Nazi efficiency, has tended to minimize the strength of democratic government, has spoken to predominantly Bund audiences, has fought for absolute isolation from the European conflict, has been accused, excused of Fascist sympathies, and has brought upon himself the indignation of the nation's President and administration leaders.

Richmond College professors have followed the nation's trend to respect but disapprove of Lindbergh's attitude and opinions. Varying all the way from violent disagreement to agreement, thirteen members of the faculty have given their criticism of the man who was hailed as a hero in '27. Terms such as "inclined," "believe," and "hope," though minimizing the effect of such a poll, nevertheless, fail to prevent it from proving that, as a group, the thirteen think Lindbergh off the track.

Said Dr. R. C. Astrop: "Yes, I think the man is sincere, but his opinions come from bias. You see, looking at it from a psychological standpoint, the very fact that England paid little attention to the 'man who flew the Atlantic' while the Germans have decorated him with medals, feted him, and flaunted their military might in his honor would make him inclined to hold the British in disfavor. Besides, you know, Lindbergh doesn't recognize the tendency of the German people to give up the ghost when they first begin to suffer defeat. England needs only to get the upper hand once or twice, and the Nazis will be ready to quit. England should be given all the aid necessary to administer a licking."

Dr. Lewis F. Ball, English professor, doesn't think that Lindbergh is playing a fair game with democracy. He voiced this vociferous opinion: "He's a jackass, and you can add those eminent statesmen, Burton K. Wheeler and Gerald Nye to the same category. He is talking now about something which he has seen only from the surface. Personally, I think he is an out-and-out Nazi and a menace-no, not a menace, because people don't consider his opinions that much, but as far as I can see, he's completely deluded. His wife's

book, Wave of the Future, is merely a glorification of the Nazi state. Both of them have been dazzled by Nazi efficiency. Did you see the news reels? Did you notice how the Bund members applauded his remarks? Just a picked audience. I think we ought to help England now. "

Co-worker with Dr. Ball in the English department, Dr. E. C. Peple, declared: "I would like to believe that he is sincere in his statements. It is difficult now to say exactly what I think of him. Naturally, I am not an exponent of his policies. He has never said that he hoped England would obtain a victory. This fact alone makes me wonder about his allegiance to democracy. Nye and Wheeler are politicians. They have not convinced me, as much as has Lindbergh, of their sincerity."

"He· is voicing a form of defeatism that we don't need now," said Business Manager of the University of Richmond, Robert M. Stone. "Lindbergh has a great deal of common sense. There is a lot of sanity in what he says, however, not what we need at the moment. He has the outlook of the last chicken on the roost who hopes that the weasel will get tired of coming back before it catches him. Nye and Wheeler, fooey, they' re both isolationists for political reasons. They' re much better agents for Germany than Lindy. Both remind be of an old ostrich hiding its head in the sand against reality."

Dr. J. S. Pierce of the Chemistry department, said: "I think he's sincere, and that he believes he is doing the best thing for the United States, but his reasoning is foolish. I can't understand why he should permit the applause of German sympathizers without vindicating democracy. Nye and Wheeler are pacifists."

Professor Alton Williams, Dramatics head, is inclined to favor Lindbergh's policies. "I regard him as an international philosopher," he stated. "He has traveled considerably and understands the situation. Many people discount his abilities by saying, 'the man soloed the Atlantic and is an authority on aeronautics, but why should we accept his opinions on governmental and international problems?' Such remarks are silly. He knows what he's talking about. He proved that two years ago when he warned England of Germany's military strength. They poo-pooed him. Now, he's warning us. We're making a mistake, I believe. We're [ 14 J

on the same old road to war again." Questioned on W a ve of the Future , he replied , " There is not a Nazi sentiment expressed in the entire book It is a beautifully prepared philosophical treatise outlining the trend toward social and economic equality. The two congressmen who have been accused of playing politics are just as sincere as Lindbergh. "

"Lindbergh has been driven to a form of stubbornness by criticism," asserted Dr. S. W. Stevenson. "His failure to declare himself in favor of British victory is not as indicative an omission as people would have us believe. Events may prove me to be a liar, but I don't think he favors Nazism over democracy. His policies are not in accord with my views."

Dr. Ralph C. McDanel, professor of History, doesn't appreciate Lindbergh's stand. " He quite obviously is partial to the Nazi governmental setup. Not in the extreme, of course. I would like to think that he seeks the best interest of democracy but his declarations don't seem to support that idea. It looks as if he has decided Germany will win the war and has accepted it as an inevitability. He, Wheeler, and Nye are certainly inconsistent. All three tell us there is no danger from abroad as long as we stay within our hemisphere, and yet, all three tell us to arm to the teeth I wish they would explain their logic."

Dr. Solon B Cousins, professor of Bible, said, "Lindbergh's father was a pacifist. That might assist in explaining his contentions. His whole attitude, however, lacks seasoned maturity."

"Two weeks ago I thought him a sincere, though misguided patriot," said Joseph E. Nettles, Alumni Secretary. "Now I am at a loss what to believe. If he isn't partial to Germany, he ought to say so. He didn't take advantage of his last opportunity when the pro-Nazi audience cheered his statement that England was lost. Then he should have , by all means, rebuked them. Nye and Wheeler, coming from inland states, are playing politics with the voters back home."

W. L. Prince, professor of Education, asserted: " The President's recent remarks in regard to Mr. Lindbergh were extremely unfortunate. His comments were unfair and too pointed for a man in his position. Lindbergh should never have been called a 'copperhead.' That is uncalled-for criticism . In addition, I think that quite a number of our people are jumping at conclusions when they

conc lude that he is pro-Nazi in sentiment. His neglect in declaring himself in England ' s favor should not be regarded as a purposeful omission. His wife has offered no objections to his stand , and, surely, we wouldn ' t expect a Morrow to be anything but loyal to democratic ideals. That family has been associated with United States diplomacy for years. I, with him, have serious doubts that we can give England any effective assistance now; however, I believe that, regardless, we should attempt with all the forces we can muster to help the British overcome Nazi military power. He is making a mistake in giving up all hope."

Dr. J. W. Bailey, Biology department head, said, "Lindbergh has made a fool of himself in the methods he has employed. He knows something of Nazi military strength and his warnings two years ago have proved true. But he is not qualified to speak on the present issue of aid-to-Britain because he could not, and does not fully appreciate or understand the issue . Politicians Wheeler, Nye, and Walsh are feeding the voters back home. "

Professor of German, F . C. Ahrens, believes: "Lindbergh is sincere, but suffers from a form of defeatism. The midwest environment of our pacifist senators is the cause of their campaign for isolation."

So there we have it. Take your pick of opinions and criticisms. One professor calls him an "international philosopher" and agrees with Lindbergh ; two vehemently do not approve of his methods , his ideas, or his "insincerity"; one is hanging on the fence, inclined to ride with the two disapproving demagogues; another appreciates Lindbergh's outlook and agrees on every point except that he does think we should help Britain. All others concur in the opinion that Lindbergh is absolutely sincere and is advocating what he considers best for the United States, but they do not support but very few of his contentions.

All except two say that Nye and Wheeler are "playing politics." One of this minority says that they are seeking an advantageous position for this country; the other puts them in the category of " pacifists" and lets it go at that.

Now, there it is in black and white. Next year, or perhaps the year after that, or perhaps in 1950, one or more of the above masters in their respective fields can say, "You see, I was right. "

RICHMOND COLLEGE

TIME marches on! Four years have once more flown like a rosy dream into the misty past. The Class of 1941 has reached that year for which it has so long been striving. The dread reality of the moment has many of the honored seniors in its clutches, and most of them wish they could suffer the pleasure of another four years. But this cannot be. The materialistic instinct of mankind presses them onward to what they hope will be a better, yet softer life.

Little do they know that by far the most glorious years of their existence have already drifted down the stream of life. There is one who knows and is ready to tell all. It is the crystal bull who, with froth at the mouth and smoke at the nostril, speaks ....

Ed Arendall is roaming a lonely beach near Singapore with a wild look in his eye and his white hair dragging in the surf. He is muttering something about a board and appointments. Who knows?

In another distant part of the globe, Russia maybe, a slim young-looking jailer named Casale is shoving a flat bowl of fried dog bones under the barred door to a baritone voice. Yes, the voice is all that is left of John Moore after he completed his command performance for Stalin. "Sally" just couldn't find another job; \ that's why he is a Russian jailer. ' Joe Wornom is enthroned in the edi- t 'tor's_ office of th~ New Yark · Times. He has his feet on the '·"'"'"'! ,_, , , ···- desk and all the staff are women. Men weren't fast enough for Joe's paper. It is a tabloid now, and Joe Nettles is the senior editorial writer.

Earl Fox was the most successful man of the class. He is the captain of a whaling

vessel and has been working for three years. Yesterday the crew sighted the first whale; Fox fell overb?ard in his excitement and drowned trying to explarn to the men how to rescue him.

Ed Garber is the husband of a gold mine. She, the gold mine, almost got elected president of the United State: but was beaten out. (See Westhampto? propheoes.) Ed takes women running things mighty hard as if he hadn't had plenty of experience in college.

Tommy Pugh has become "The Leader" of the greatest atheist movement on earth. He traveled back and forth so much from Fredericksburg, that he wore himself and his pants out and decided not to think anymore. This forced him into his latest paths of sin as "The Leader."

Bill Parkerson is a politician without peer. He gets votes by throwing buckets of water at people; only Ross votes for him. He knows the name of all the taxicab drivers from here to Norfolk and is working on the ones in Washington.

Johnny Locke is in a sideshow as "The Noseless Boy Wonder." His nose was taken off in Massie' s latest brain child, The Web, and they have not been able to find it in the office yet. Johnny's hair is turning blonde, and he shows off in the show by demonstrating how to be a shortstop.

Massie, now that we have mentioned him, must be ~ncluded. He has white hair that sticks up ~traight and wears hornrimmed glasses. He has Just completed his second trip to the moon. The formula for his rocket was a "whipper-do"; a few volumes will soon be written to explain it.

Mike Barr is now the editor of a chain of love m~~azines. ~e liked Saunier' s article ( See first edition of this rag) so much that he decided to produce similar material for college editors who couldn't fill their sheets. He doesn't care whether the stories are true or not but they must come in on time.

Joe Wiggins is still making money hand ovec fist from the interest he gets from the capital in:7ested a~ter _the T. Dorsey venture. W ornom puts rn an editonal about how scandalous it is once a week, but it doesn't do any good. Wiggins just keeps on collecting, the filthy capitalist!

Ed Adams read his books on real estate at the

Harvard business school wrong. He bought up a few thousand South Sea Islands and couldn't get .rid of them. He doesn't want to as a matter of fact. "Life in a sarong is quite the thing," reports the former Alpha Sigma Sigma member of the University of Richmond.

Jimmy Turkington got his home town's name changed from Avon-by-the-Sea to Avon-by-theBar. He is heading the latest prohibition movement which seems to have gotten itself reversed.

(In the above pile of stuff any similarity to persons living or dead is purely on purpose. No law suits permitted.)

WESTHAMPTON COLLEGE

THERE was a sudden burst of light; it almost blinded me. You know, light does funny things to your eyes after you have been in solitary for six years. The warden came in with a whole bunch of papers and said, seeing as how I'd been in for six years, it wouldn't hurt none for me to see what was goiug on on the outside.

Egad, Mayme Frayser O'Flaherty (known to her friends as Mainly Pleasure) has been elected President of the United States on a solid platform of food, fun, and fellowship. Mr. Roosevelt finally died.

Bernice Stephenson and Elsie Vernon Satterwhite are well known for their excellent ballet. They have toured this country and danced before the European dictator. The ballet is giving a benefit performance for the Social Activities Building at Richmond College.

Sarajayne Payne has put on the market six of her eight headache remedies. They go under the trade names of Sara's Soother, Payne's Pain Preventer, The Headache Heckler, Take Before You Ache, and her last and most potent drug is called Bash that Head. It is a sure cure of all ills.

Flossie Lafoon has just published her fortieth child's book. This last is called "The Adventures of Mother Goose, or Who in the heck thought May Day was a good idea?"

Margaret Forrer owns all the newspapers in the country. She is now deep in a campaign to expose the clever blackmail artist, Mildred Howerton, who has taken thousands of dollars from the widows of Alaskan miners. Mildred uses the alias of "Maggie the Haggie."

Margaret Purcell is the physical education director of the Amazon School for Bouncing Bells. She also writes a syndicated article which screams at fat housewives, "Which Way Beauty?"

Ann '1· ~r,. Phillips 1s one of the foremost portrait painters that America has produced. Her motto is "Figgers never lie," and she paints all the bulges in the queer places.

Dottie Hewes burst onto the stage of the Metropolitan Opera Company. After she had sung the aria from the well-known "Das Horsen Man Mi tout a Headen," someone shouted, "Who let that in?"

Miss Hewes is now on the first row, third left, of the National Chorus.

Mary Owen has gone to the South Sea Islands as a missionary to the unclothed heathen. When we last heard of her, she had a nice suntan and a sarong.

Jean Neasmith has never made up her mind. The latest count revealed that 45,000 men rise up and call her sweetheart. But her heart still belongs to Daddy, who through the years has grown quite fond of it.

Kitty Crawford has just published her third Pulitzer Prize book. The first was called "True Love," the next "Love, True?" the last and her masterpiece "Love? ? ?" The greatness of Miss Crawford's work lies in her realism.

Margaret Brittingham is the Chief Justice of the Supreme Court. She holds court from twelve to twelve-one on every Tuesday, Thursday and Saturday. Her chief interest in life is her great library of Elsie Dinsmore books; Elsie was such a good girl.

Lois Campbell is in the circus. She is the bareback-rider. To add novelty to the situation, both her back and the horse's are bare.

In the next cell I heard a rough, fiendish laughter. That is what remains of Louise Morrissey, driven mad by the class of '41.

The warden came back and took the papers. I'm in here for the next ten years. Suppose I can't gripe, after all-I did slug the guy harder than I expected to.

Signed, 895634299999.

[ 17]

Adviceto Poets

By FLORENCE DICKINSON STEARNS ( President of the Poetry Society of Virginia.)

THIS short article is in response to the request for a few constructive suggestions that may interest those young people who are seeking a straight path to technical proficiency.

First, I think that the individual should be thoroughly convinced of the value of poetry. It is well to remember that Chaucer gave his name to an age. We have forgotten most of what happened then, and know it only as " the age of Chaucer." Shakespeare is the best known man of his time. His poetic genius has cheated oblivion for centuries, and the organ music of Milton is still rolling down the "corridors of time." Louis Anspacher, who is acknowledged to be the most brilliant lecturer in America, says that Poetry is the greatest of all the arts.

No one, however, can write real poetry without a knowledge of technique. It is like climbing a steep hill in shoes with high heels to try and write poetry without a knowledge of the basic principles which support its structural quality.

I would like to advise getting a good book on the Craft of Poetry, and trying to absorb it understandingly. Then put the suggestions into practice. You will finally be able to write without thinking about the principles of technique. When you learn music, you do not think of each individual note while you are playing piano. It is this way with poetry. It is, too, something like learning a language. The day comes when you feel as thouo:h you had entered a new and delightful country where you are made to feel at home.

Have you a "feel" for line balance? It is quite possible to acquire it with practice, and-it is most important. There is the lyric with irregular feet and arbitrary rhyme. It is very popular now. One finds many poems written with this model in view. It is quite successful if one understands line balance. How to be stimulating without sacrificing; the meaning of a poem is a question that should engage the sincere writer. It is easy to be vague. It is easy to give the reader a shock, but the same poem cannot repeat the shock and why attempt it?

Then how can one be stimulating? One way is by the original placing of adjectives-used sparingly,

[ 18]

however. It is devastating to clutter up a poem with adjectives. But take this phrase of Joseph Auslander: (he is speaking about spider webs-) "A city of stealthy silk and silver." Suppose Mr. Auslander had said, " A city of shining silk and silver." You may see how much the poem would have lost. The word "stealthy" immediately takes the line out of commonplace.

In rhyming there is, it seems to me , a tendency to lounge along the line of the least resistance-to take, in short, the obvious rhyme, but to get line balance it would reward you to rhyme a one beat word against a two, three, or even four beat word. For example:

A small secluded lake that is

A turquoise in parenthesis.

To be highly proficient in the niceties of technique is to get yourself clear of the banal. Have you ever noticed the effect of three sequential accents? It is stirring Take these lines from Chesterton ' s "Lepante":

"Stiff flags straining in the night blasts cold, In the gloom black purple, in the glint old gold " This poem is superb, but much of its fascination comes from the three accents in sequence. It has been pointed out that the difference between poetic rhyme and prose is, mechanically speaking, not very great, but there is a fundamental verity that absolutely differentiates them. Take this from a certain short story:

"They-( speaking of a colorful procession) -"They were like bright winged birds, blown by a vagrant wind from an island in the sea forever purple with undying summer."

It is not hard to see that this is poetry.

Poetry, it seems to me, should transcend the intellect. Poetry should be beyond good and evil. One should only evaluate it as good or bad poetry -per se. Poetry should be set free. Set free from what? From sides, from left wing negation, from ugliness, from celebrating machines. It should take machines for granted, as a part of the new economy. Poetry should be generous and splendid , and not an art punctuated by Ash Wednesdays.

Let us all try to make it so.

tf:te?new

(With appreciation to Shakespeare's The Taming of the Shrew from which these scenes afforded a one act play, not with people, but with marionette cats, constructed in the University of Richmond Marionette Studio. . . . As one student has said, "What! has Shakespeare gone to the cats!")

This parody was written and adapted by the Marion ette Repertory Theatre Directors, Caroline S. Lutz and Richard L. Scammon, and by the classes in Puppetry for the Spring Production, April 25, 1941, at McVey Hctll Theatre, St. Catherine's School.

CAST

CATS

( In order of appearance)

Petrnchio

BETTYWOODSON

Kc,tharin e EVELYN MCAULEY

Grumio . .. ................... MARY OWEN

Hortensia VIRGINIA MAYO

Tail or MARY DUANE HOFFMAN

Vincentio ............... BETTY MACMURTRY

Horse .................... ANN WOODWARD

Special Assistant to the Puppeteers, MARTHABEAM Acknowledgment to the Shakespectre Specialist BETTY BURNS NUCKOLS

SCENE ONE: Katherine's Box

SCENE Two: Petruchio's Box

SCENE THREE: The Alley Between DANCE SPECIALTY

INDIAN BALLET

Puppeteers: ARTHUR BROWN, LOIS JEAN FITZSIMMONS, JIMMIE FRANKLIN, JEAN HOOD, ALLENE JONES, JEAN NEASMITH, PRISCILLA POTEAT, MARY GENE SHELBY, KATHLEEN WILLIAMS.

Dance for Four Figures .... CHARLESS. SKILTON

Celebrc:ttion Dance ........ CHARLESS. SKILTON NEGRO INTERPRETATION

Voice FRANCISFOSTER,Virginia Union Univ. lvlanipulation RICHARDL. SCAMMON

a. THE CREATION, a Negro Sermon ........ JAMESWELDON JOHNSON

b. ATER BoY, a Work Song C. CONTENTMENT BENJAMIN B. VALENTINE

SCENE I ( from Act 2, Scene 1)

Petruchio: Good meow, Kate; for that's your name, I hear.

Katharine: They call me Katharine that do not talk of me. ( Moves a step.)

Petruchio: You lie, in faith; for you are call'd plain alley Kate. But you are Kate, the prettiest cat in Christendom, Cat of Kate Hall, my super-dainty Kate. Take this of me, Kate of my consolation; hearing thy mildness praised in every town, thy virtue spoken of, and thy beauty sounded, yet not so deeply as to thee belongs, myself am moved to woo thee for my wife.

Katharine: Moved! in good time: let him that moved you hither, remove you hence: I knew you at first that you were a moveable. (Coming to him.)

Petrurhio: Why, what's a moveable?

Katharine: A join' d stool.

Petruchio: Thou hast hit it.(He sits right.) Come, sit on me.

Katharine: Asses are made to bear, and so are you.

Petruchio: Women are made to bear and so are you. (Cracks whip.)

Katharine: No such jade as you, if me you mean. (Laughing and pointing.)

Petl'uchio: Alas, good Kate, I will not burden thee; for knowing thee to be but young and light-

Katharine: Too light for such a swain as you to catch; and yet as heavy as me weight should be. (Prances.)

Petruchio: Should be! Should be! (Cracks whip and hits her.) Come, come, you wasp; i' faith, you are too angry. (He turns back on stool.)

Katharine: If I be waspish, best beware my sting.

Petruchio: My remedy is then to pluck it out. ( Approaches her.)

Katharine: Ay, if the fool could find it where it lies.

Petruchio: Who knows not where a wasp does wear his sting? In his tail. ( Gets up.)

Katharine: In his tongue.

Petruchio: Whose tongue?

Katharine: Yours, if you talk of tails: and so farewell.

Petruchio: (Kate turns left.) Nay, come again, good Kate, I am a gentle cat.

Katharine: That I'll try. (She strikes him-offstage noise.)

Petruchio: I swear I'll' paw you, if you strike me, you are no gentle cat.

Petruchio: Nay, come, Kate, come; you must not look so sour, indeed you are a sourpuss. (He moves toward her.)

Katharine: It is my fashion, when I see a crab. (Runs to him, fist up.)

Petruchio: Why, here's no crab; and therefore look not sour.

Katharine: There is, there is. (Fist shakes twice.)

Petruchio: Then show it me.

Katharine: Had I a glass, I would.

Petruchio: What, you mean my face?

Katharine: Well aim' d of such a young one.

Petruchio: Now by Saint George, I am too young for you.

Katharine: Yet you are wither' d.

Petruchio: 'Tis with cares.

Katharine: I care not.

Petruchio: Nay, hear you Kate, hear you; in sooth you scape not so. (He grabs her.)

Katharine: I claw you, if I tarry; let me go. (She struggles.)

Petruchio: No, not awhit; I find you passing gentle. 'Twas told me you were rough and coy and sullen, and now (Walks) I find report a very liar; for thou art pleasant, gamesome, passing courteous, but slow in speech, yet sweet as mint in spring. Thou canst not frown, thou canst not look askance, nor bite the lip, as angry wenches will. ( Arm and arm, strolling up and down the stage.)

Why does the world report that Kate doth limp? 0 slanderous world! Kate like the hazel-twig is straight and slender, and as brown in hue as the hazel nut, and sweeter than the kernels. 0, let me see thee walk; thou dost not halt. ( Moves away.)

Katharine: Go, fool, and whom thou keep'st, command. (She purhes him and goes.)

Petruchio: (To audience.) Did ever Dian so become a grove as Kate this chamber with her princely gait? 0, be thou Dian, and let her be Kate. And then let Kate be chaste and sportful !

Katharine: Where did you study all this goodly chatter? (Down on fioor, hand up.)

Petruchio: It is extempore, from my rnother-wit. (Proudly.)

Katharine: A witty mother! Witless else her son. ( Aside to audience.)

Petmchio: Am I not wise? (Larg e sweep of whip.)

Katharine: Yes!

Petruchio: Yes. Therefore, setting all this cat chat aside, thus in plain terms. (With whip motions to her where to stand.) Your father hath consented that you shall be my Kit; your dowry 'greed on; and, will you nill you, I will marry you. (Controls her with whip.) Now, Kate, I am a husband for your turn; for, by this light, whereby I see thy beauty that doth make me like thee well, thou must be married to no man but me; for I am he am born to tame you. (Cracks whip fiercely.) Kate, and bring you from a wild cat to a Kate conformable as other household Pets. I must and will have Katharine for my kit. (Embraces her.)

SCENE II

( from Act 4, Scene 3)

Grumio: No, no for sooth; I dare not for my life. (Backs in.)

Katharine: The more my wrong, the more his spite appears: what, did he marry me to famish me? Beggars, that come unto my father's house upon entreaty have a present alms; if not elsewhere they meet with charity: but I, who never knew how to entreat, nor never needed that I should entreat, am starved for fish, giddy for lack of sleep, with oaths kept waking and with brawling fed: and that which spotes me more than all these wants, he does it under the name of per£ect love; as who should say, if I should sleep or eat, 'twere deadly sickness or else present death. I prithee go and get me some repast; I care not what, so it be wholseome food.

Grumio: What say you to a nice piece of fish?

Katharine: 'Tis passing good: I prithee let me have it. (Rubs mouth.)

Grumio: I fear it is too choleric a fish. (Strokes whiskers.) How say you to a fat kidney finely broil' d? •

Katharine: I like it well: good Grumio, fetch it me.

Grumio: I cannot tell; I £ear 'tis choleric. What say you to a tin of salmon and milk?

Katharine: A dish that I do love to feed upon.

Grumio: Ay, but the milk is too watery.

Katharin e : Why then, the salmon and let the milk rest.

Grumio: Nay that I will not: you shall have the milk, or else you get no salmon of Grumio.

Katharine: Then both, or one, or anything thou wilt.

Grumio: Why then, the milk without the salmon.

K ath ctrine: ( Rises.) Go, get thee gone, thou false deluding slave ( Beats him.) that feed'st me with the very name of fish: sorrow on thee and all the pack of you, that triumph thus upon my misery! (Whimpers.) Go, get thee gone, I say. (Kicks him, and drops down weeping.)

(Enter left.)

Petruchio: How fares my Kate? What, sweeting, all amort?

(Enter left.)

H ortensio: Mistress, what cheer?

Katharine: Faith, as cold as can be. (Lying down -head up.)

Petruchio: Pluck up thy spirits: look cheerfully upon me. Here love; thou see'st how diligent I am to dress thy fish myself and bring it thee: (Katharine rises and reaches for the fish.) I am sure, sweet Kate, this kindness merits thanks. (Pushes fish toward her nose.) What, not a word? Nay, then thou lovest it not; and all my pains is sorted to no proof. Here take away this dish.

Katharine: I pray you, let it stand. (Reaches paw for plate.)

Petruchio: The poorest service is repaid with thanks; and so mine, before you touch the meat.

Katharine: I thank you, sir. ( Meekly.)

H ortensio: Signior Petruchio, fie! you are to blame.

[ 21]

Come hither Mistress Kate, I'll bear you company. (Takes dish.)

Petruchio: ( Aside.) Eat it all, Hortensio, if thou lovest me. (He eats fish.) Much good do it unto thy gentle heart! Kate, eat apace, and now, my honeycat, we will return unto thy father's house and revel it bravely as the best (He rants this.) with ruffs and cuffs and bells and things; with caps and boots and double change of bravery, with amber bracelets, beads and all this kn'avery. What, hast thou dined? The tailor stays thy leisure, to deck thy head and tail with ruffling treasure.

(Enter tailor.)

Tailor: Here is the cap your worship did bespeak.

Petruchio: Why, this was a moulded on a porringer; a velvet dish fie, fie! 'tis lewd and filthy: Why, 'tis a cockle or a walnut-shell, a knack, a toy, a trick, a baby's cap: away with it! Come, let me have a bigger.

Katharine: I'll have no bigger: this doth fit the time, and gentle kittens wear such caps as these.

Petruchio: When you are gentle, you shall have one too, and not till then.

H ortensio: ( Aside.) That will not be in haste.

Katharine: Why, sir, I trust I may have leave to speak; and speak I will. I am no child, no babe: your betters have endured me say my mind, and if you cannot, best you stop your ears, my tongue will tell the anger of my heart.

Petruchio: Why, thou sayest true; it is a paltry cap, a custard coffin, a bauble, a silken pie: I love thee well, in that thou likest it not.

Katharine: Love me or not, I like the cap; and I will have it!

Petruchio: Thy gown? Why, ay; come, tailor, let us see't. 0 mercy God! what masquing stuff is here? what's this? a sleeve, carved like an appletart? Here's snip and nip and cut and slish and slash. Why, what in devil's name, tailor, call' st thou this?

Hortensia: ( Aside.) I see she's like to have neither cap or gown.

Tailor: You bid me make it orderly and well,

according to the fashion and the time.

P etruchio: Marry, and did; but if you remembered, I did not bid you mar it to the time. Go, hop me over every kennel home, for you shall hop without my custom, sir: I'll none of it: hence! make your best of it.

Katharine: l never saw a better fashioned gown, more quaint, more pleasing nor more commendable: belike you mean to make a puppet of me.

P etruchio: Why, true; he means to make a puppet of thee.

Tail or: She says your worship means to make a puppet of her.

P et ruchio: 0 monstrous arrogance! Thou liest, thou thread, thou thimble, thou yard, three-quarters; half-yard, quarter, nail! Thou flea, thou mit, thou wood-pussey, pole-cat, alley-cat, catfish, cat tail, bob cat! Braved in mine own house with a skein of thread? Away, thou ragg, thou quantity, thou remnant. (Tail or backs out of way. Covers fac e .) I tell thee, I, that thou hast marr' d her gown.

Tail or: Your worship is deceived; the gown is

Grumio:

Tailor:

Grumio:

Tail or:

Grumio:

Tailor:

I gave him no order; I gave him the stuff.

But how did you desire it should be made?

Marry, sir, with needle and thread. But did' st thou not ask it should be cut? Thou hast faced many things. I have.

Grumio: made just as my master had direction: Grumio gave order how it should be done.

Face not me: thou hast braved many men; brave not me; I will neither be faced nor braved. I say unto thee, I bid him cut it to pieces: ergo, thou liest.

Tailor: Why, here is the note of fashion to testify.

Petruchio: Come, come-stop this pussey-footing -and read it.

Grumio: The note lies in's throat, if he say I said so.

Tailor: (Reads.) Imprimis, a loose-bodied gown:

Grumio: Master, if ever I said loose-bodied gown, sew me in the skirts of it, and

beat me to death with a bottom of brown thread: I said a gown.

Petruchio: Proceed.

Teti/or: (Reads.) With a small zipper cape:

Grumio: I confess the cape.

Tailor: (Reads.) With a trunk sleeve: Grumi o : I confess two sleeves.

T ail or: (Reads.) The sleeves curiously cut:

P etruchi o : Ay, there's the villainy

Grum i o: Error i' the bill, sir; error i' the bill. I commanded the sleeves should be cut out and sewed up again; and that I'll prove upon thee, though thy little finger be armed in a thimble.

Tail o r: This is true that I say and thou should know it.

·H o rt ensia : God-a-mercy, Grumio! then he shall have no odds .

P et ruch io : Well, sir, in brief, the gown is not for me.

Grumi o : You are i' the right, sir; ' tis for my mistress

P et ru chio: ( Aside.) Hortensia, say thou wilt see the tailor paid. Go take it hence; be gone, and say no more.

H ort ensia : Tailor, I'll pay thee for thy gown tomorrow: Take no unkindness of his hasty words: away! I say; commend me to thy master. (Exit tailor.)

P etru chi o : ( M o ck h er oic.) Well, come, my Kate: we will unto your father's even in these honest mean habiliments: our purses shall be proud, our garments poor; for 'tis the mind that makes the body rich; and as the sun breaks through the darkest clouds, so honour peereth the meanest habit. What is the joy more precious than the lark, because his feathers are more beautiful? Or is the adder better than the eel, because his painted skin contents the eye? 0, no, good Kate; neither art thou the worse for this poor furniture and mean array, if thou account' st it shame, lay it on me; and therefore frolic: we will hence forthwith, to feast and sport us at thy father's house. Go, call my cats, and let us straight to him; and bring our horses unto Lon gland end; there will we mount and thither walk on paws. Let's see; I think 'tis now some seven o'clock, and well we may come there by dinner-time .

Katharine: I dare assure you, sir, 'tis almost two;

and 'twill be supper-time ere you come there.

Petruchio: It shall be seven ere I go to horse: look , what I speak or do, or think or do , you are still crossing it. Sir, let's along: I will not go today; and ere I do, it shall what o'clock I say it is.

H ort ensio: ( Aside.) Why, so this gallant will command the moon. Come!

( Katharine follows them to the door , then turns , climbs up the steps , bemoaning her fat e, and si nks down , sobbing , as the curtain goes down.)

SCENE III

( from Act 4, Scene 5)

(P etl'ttchio and Kath arine enter, mounted on an old sw ay back white hors e.)

P etruchio: Come on, i'God's name; once more toward our father's. Look you! how bright and goodly shines the sun!

K ath ari ne : The sun! the moon: it is not day now.

P etruchio: I say it is the sun that shines so bright. (Cracks whip.)

Katharine: (Pctuse.) I know it is the moon that shines so bright.

Petruchio: Now, by my mother's son, and that's myself, it shall be moon, or star, or what I list, or ere I journey to your father's home. Go on, and fetch our horse back again. Evermore cross ' d and cross'd; nothing but cross ' d. (Prances up and down.)

Hort ensia: Say as he says, or we shall never go.

Kc,tharine: Forward, I pray, since we have come so far, and be it sun or moon, or what you please: and if you please to call it a rush-candle, henceforth I vow it shall be for me .

P etruchio: I say it is the sun.

Kath arine: I know it is the sun

P etruchio: Nay, then you lie: it is the blessed moon: but moon it is not when you say it is not; and the sun changes even as your mind. What you will have it named, even that it is; and so it shall be so for Kitty Kat!

H ortensia: Petruchio, go thy ways; the field is won.

P etruchi o : Well, forward, forward! but, soft! company is coming here. (Enter old man, Vincentio.) Good morrow, gentle mistress: where away? Tell me, sweet cat, and tell me truly too, hast thou beheld a: fresher gentlewoman? Such war of white and red [ 23]

within her cheeks! what stars do spangle heaven with such beauty as those two eyes become that heavenly face? Fair lovely maid, once more good day to thee. Sweet cat, embrace her for beauty's sake.

H ortensio: A'will make the man mad, to make woman of him.

Katharine: Young budding virgin, fair and fresh and sweet, whither away, of where is thy abode? Happy the parents of so fair a child; happier the man, whom favourable stars allot thee for his lovely bed-fellow!

Petruchio: Why, how now, Kate! I hope thou art not mad cat: this is a man, old, wrinkled, faded, wither' d, and not a maiden, as thou say'st he is.

Katharine: Pardon, old father, my mistaking. Eyes that have been so bedazzled with the sun that everything I look on seemeth green: now I perceive that art a reverend father; pardon, I pray thee, for my mad mistaking.

Petruchio: Do, good old grandsire; and withal make known which way thou reavellest: if along with us we shall be joyful of thy company.

Vincentio: Fair, sir, and you my merry mistress, that with your strange encounter much amazed me, my name is call'd Vincentio, my dwelling Pisa; and bound I am to Padua; there to visit a son of mine, which long I have not seen.

Petruchio: What is his name?

Vincentio: Lucentio, gentle sir.

Petruchio: Happily met; the happier for thy son. And now, I may entitle thee my loving father; the sister to my wife, this gentlewoman, thy son by this hath married. Wonder not, nor be not grieved: she is of good esteem, her dowry wealthy, and of worthy birth; beside so qualified as may beseem the spouse of any noble gentlewoman. Let me embrace with old Vincentio (Kiss.) and wander we to see thy honest son, who will of thy arrival be full joyous.

Vincentio: But is this true? or is it else your pleasure, like pleasant travellers, to break a jest upon the company you overtake?

Hortensia: I do assure thee, father, so it is.

Petruchio: Come, go along, and see the truth hereof; first kiss me, Kate, and we will.

Katharine: What, in the midst of the street?

Petruchio: What, art thou ashamed of me?

Katharine: No, sir, God forbid; but ashamed to kiss.

P etruchio: Why, then, let's home again Come sirrah, let's away.

Katharine: Nay, I will give thee a kiss: now pray thee, love, stay.

Petruchio: ls not this well? Come, my sweet Kate: better once than never, for never too late.

REVIEWS

the design of the background and lighting made me feel like a midget in the distance peeping through the keyhole at a strange but fascinating world." (Helen Ridgley). ". . . you can also regard the show as a symbol of America where different people live together and work and play together in comparative peace: white people, red people, and black people; and each one contributes to American civilization." (Ilse Schott). ". the entire production was an evolution from the godless 'shrew,' through the less godless savages, to the simple beauty and realism of Christianity. In the same way the first part represented mental power, the second physical power, and the third spiritual power." (Lowaita Rowland). ". the necessary finish to the design so that instead of seeing little figures worked on strings by people, we saw real people, acting, talking, living, and-to us-breathing." (Shirley Huxter). " it made me conscious of my own smallest gesture." (Dolly Dorsey). ". so many people who thought of puppets as a crude, childish form of entertainment before, have enlightened ideas. I heard a person who had been living in the dark, as far as the light of puppets was concerned, say, 'It's hard to believe they don't live and breathe, for I feel sure they have a soul.' " (Barbara Lewis). "The greatest tribute I could pay to any performance--it looked as if Disney had had a hand in it somewhere!" (Ann Oakes). " it was obvious that the puppeteers had been trained in their lines, for the feeling of the play, as well as the character was interpreted." (Jeanice Johnson). " . . . each costume brought out the type of person the cat was supposed to portray-so well that the character was expressed almost before the lines were spoken." (Louise Cardoza). "The Indians proved magnificent in their reproduction of body contour

[ 24]

and the music lent to the fascination of movement and scene. The negro creation, his movement, his expressive hands, and magnificent character seemed to hold every essence of the Deep South a captive in his manner. The Water Boy seemed so real that one felt he might reach out and shake one's hand-he brought the illusion of the Creator down to the audience and held them spellbound with the mere raising of one of his expressive hands." (Francis Ellis). "In the Negro Interpretation the old familiar music brought you into the

very spirit of the South as it was long ago. It was important in that it caught up the edges of your mind and bound your thoughts together on that subject." (Mary H. Turner). "A puppet show should have variety of design. Music, the dance, costume, setting, drama, lighting, indeed all the arts have their place in puppetry, and it is a very valuable, although a new art. It is considered by some to be designed for children, but indeed it is as much for adults, as only they can understand its complexity of design." (Ann Evers).

My heart is a wounded doeIt stumbles, and fails to rise; The spirit and lifeblood flow, There is death in the staring eyes.

And you were the huntsman strongYou trapped it with soothing word In the midst of a wood so long That no one has seen or heard.

NANCY MASTERS, '44. [ 25]

Calendar for Graduates

Thursday-June 5

4:00 P.M.-Picnic for Senior Classes of Westhampton and Richmond Colleges at Swift Creek.

Friday-June 6

5:00 P.M.-Westhampton Sophomore-Senior Garden Party in Shepherd Memorial Garden.

9:00 P.M.-Westhampton Junior Reception to Seniors in Social Center Building (Dance )

Saturday-June 7

1:00 P.M .-Luncheon for Richmond College and Law School Alumni as Guests of the University . Formal Induction of the Senior Class into the General Society of Alumni and Presentation of the Alumni Medal at Sarah Brunet Hall.

2: 15 P.M.-Presentation of Senior Class Gift to Richmond College. Dr. F. WI. Boatwright and Earl Fox.

3: 00 P.M.-Richmond College Alumni-Senior Softball Game at Millhiser Field.

4:00-6:00 P.M.-Art Exhibition and Tea at Westhampton College Social Center Building.

8:00 P.M.-University Band Concert at University Lake.

8: 30 P.M.-University Players' presentation of "Spring Dance" in Luther H. Jenkins Memorial Theater.

Sunday-June 8

5: 30 P M.-Dean's Supper to the Westhampton Seniors.

7:00 P.M.-Academic Procession. Baccalaureate Sermon by the Reverend V. Carney Hargraves, B .A., M .A ., Th .G., of Germantown, Philadelphia, Pa. in Henry M. Cannon Memorial Chapel.

Monday-June 9

10: 00 A.M.-W esthampton College Senior-Sophomore Breakfast in the Dining Room.

4:00 P M.-Presentation of Window and Reredos in Henry M. Cannon Memorial Chapel.

5:00 P.M.-Daisy Chain Exercises. Westhampton College.

6: 30 P.M.-Dinner for Seniors and Alumnae of Westhampton College and Woman's College, Mrs May Thompson Evans, presiding. Formal Welcoming of the Senior Class into the Alumnae Association. Program in Honor of the Richmond College Alumnae, 1898-1914. Social Center Building .

8:30 P M .- Westhampton College Alumnae Musical Program. Violinist, Rita May Baker, ' 24. Reception Room, Social Center Building.

Tuesday-June 10

1 :00 P.M.-Westhampton College Senior Luncheon. Country Club of Virginia.

4:00-5:00 P M.-President's Reception to the Graduating Classes, their Families, Trustees, Faculty Members and Guests. President's Home, Bostwick Lane.

7:00 P M -Academic Procession. Commencement Address by the Honorable Clifton A. Woodrum, Member of Congress from Virginia. Award of College Honors. Conferring of Degrees. President's Message. Luther H. Jenkins Theater.

[ 26]

Alma... Ma.ter

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Si n ce the class of '41 has -tried to revive this "A lm a Mater " we print this page so that everyone may have a copy of th e words a nd music. D1'awing by MARGARET PURCELL.

By BILL MANER, '40

At the editors' request, Bill Maner, class of '40, writes to tell us what he is doing in his work as a graduate student in the Department of Dramatics at University of North Carolina.

Tthem. Giving the group a boost in prestige when they are young by copping the Pulitzer award for In Abraham ' s Bosom some fourteen years ago, he has worked along with them, helping to draw more and more students from farther and farther away

HE Carolina Playmakers and Folk Plays are each year. Prof. Alton Williams came from Calitwo terms that are practically inseparable. fornia to work with them.

In any mention of one, the other springs up Coming from the University of Richmond last automatically, like a shadow. When Proff Koch fall on one of five Rockefeller Fellowships in the came out of the West, scattering playbills and department of dramatic art, it was all new to me. pamphlets about his folk-plays and himself from Where Prof. Williams carries the full burden of Dakota to Carolina, he started something that has the entire department of drama on his shoulders been as much a part of the University of North at Richmond, here the staff is considerably larger. Carolina as Davie Poplar, under which the Uni- Since seeing the Playmakers in action, it is a conversity was founded in the eighteenth century. stant source of amazement how the University In the twenty-three years since, students have Players can do the competent work they do, and come and gone, turning out year by year, plays, do it so well, with only one person. Here we have plays, plays; some bad, some good, some fair, some a designer, who dreams up and produces all the that were god-awful. "Write what you know" has scenery for the six major productions and the been his creed; it hasn't been his fault if some of eighteen one-act productions every year; a coshis students didn't know much. He has had all turner and her assistant who create trappings for sort, but Paul Green is compensation enough. But the actors; a shop assistant who constructs the to Proff Koch everyone is a potential Paul Green, scenery; a technical director who teaches the techor a potential Maxwell Anderson, who was in nical courses and directs several plays a year; two school at the same time Proff was teaching at the other directors who also teach courses in acting, University of North Dakota. They come, they scenery, and directing; a professor of radio and write plays, they go. Many of them are never heard speech; an assistant in radio; an assistant in exof again. Most of them never write again. But perimental drama; a stage manager for the Playturn the pages of the thirty-odd large scrapbooks makers' Theatre, and Proff Koch, director of the in his office, and you will find that he hasn't for- whole works. In addition to this, there are several got one of them. Let them make a newspaper, a secretaries who handle the correspondence for the magazine, a book with an accomplishment, and several offices; and there is me. Proff will hear about it, add it to the scrapbooks, On the playbills I am listed, next to last, just and they become Playmaker immortals. They are above the credit line to the photographers, as quoted, they are feted, they are pointed to with "Assistant to the Director." Assisting the director pride. means calling rolls in his classes in playwriting

In the Playmaker religion, Proff Koch is the and dramatic literature; grading and filing daily father, Paul Green the son. Paul Green has been reports of plays read in the classes; giving and of immense benefit to the Playmakers. Now one grading the exams and quizzes in the classes. Also, of the staff, he conducts a class in full-length play- writing publicity stories and articles about The writing, a stimulating round-table discussion of Playmakers and the director, and then persuading plays in the process of being made, of philosophi- the campus daily and the state papers to run them cal ideas, of practical stage problems, of ideals, of -to tell the world about us. Every now and then it the world. Plays are read, they are praised, merci- means running over to the Book Exchange for a lessly torn apart, reworked, discussed, rewritten. package of Granger tobacco and a box of matches. And the Pulitzer prize-winning playwright of Interesting work, of which there is always more North Carolina sits in humility on a level with to do, since the classes number in the thirties and precocious upstarts and worries and fights with forties. In addition, two classes per quarter on

[ 28}

the graduate level-( the full graduate load is action. The others range from radical expresthree )-keep me jumping. sionistic drama to straight farce comedy.

If there is time to get it in, a student can work On the bill in rehearsal now there are plays by on any department of the theatre he wants, and an undergraduate from North Carolina ( a play there is more than enough for him to do. With about a country family), a comedy about New six public productions a year, each running four England people in 1884, and a comedy by a French nights, there is plenty to be done. On the first show emigre who enrolled in the University after leavof the year, Saroyan's "Love's Old Sweet Song," I ing France when Hitler moved in. He protested was pulled in to replace a minor actor-playing a that he could not write folk plays, since he did California sheriff in one short scene. These things not "know ze American folk, and had never been a seem to run in cycles, for about the only role I farmer in Indiana or any of zose places" but in played at Richmond was a certain Second Police- Proff's all-embracing fold, folks are folks, no man in "Winterset," which I played with a boil matter where they come from, so his play about on my neck, and of which the papers remarked, wealthy emigres coming o"'.er on the liner Man"his performance was wooden." Paul Green's hattan is a "Folk Play," and Proff has another display, "The House of Connelly," was the second ciple who has heard the words of the master and production, and was taken on tour for two weeks written a play. And he's all the way from Paris, after the school production. This was the thirty- France. seventh time The Playmakers had taken their pro- Of the seventy-five or so plays that are written ductions on tours, reaching at one time or another every year here, about eighteen are produced. ConBoston and Dallas, and points between. sequently, hopes are high and competition keen Gilbert and Sullivan's "Patience" was done in when the deadline rolls around. With ten days to February with a cast of fifty in full opera style, cast and stage the plays, the students are hard put drawing talent from the music department as well to make it, but they do it, some of them well, some as the drama. The next month we presented the of them not so well. The author serves as general world premier of a new play by a former Play- handyman, lending his assistance wherever it might maker from Oklahoma, "The Marauders," a so- be needed-even filling in when one of the actors phisticated drama of rich Indians in the West. drops out. In my own case, I was rehearsing the Next came "Family Portrait" with four sets and principal role, hoping day by day to find someone seven set changes, with yours truly on the stage to fill it, and at the same time painting scenery crew. And now, as the last production of the year, and making properties, including two funeral we are presenting "Romeo and Juliet" in a new out- sprays, one in the shape of a buffalo, galloping. door theatre seating over a thousand, and a special Rehearsing, rewriting when we found that the acsetting over twenty feet high, with real horses on tion wouldn't fit in with the dialogue, and trying the stage. Every night I sit and take notes on re- to keep two ten-year-olds in hand was enough to hearsals as rehearsal assistant. give one the "screaming meemies." But the show

In between all these productions are six pro- was produced, and people laughed, which was all ductions of new one-act plays written in the classes that was wanted, so everybody was happy. -Experimental Productions, they are called, and It is not all play-acting though. With a good, the audience is admitted free. They are also given sound, scholastic English department to supply the a chance to comment and criticize, and the author courses in English dramatic literature, and a wide has to stand up and fight them off. Experimental range of professors for the drama of the rest of only in the sense that they give the author a chance the world, the graduate student gets a sound backto see performed what he has written; they are ground in drama through the ages. Taking my almost entirely in the hands of the students. Grad- minor field in English drama, right now I am in uate students in the directing classes direct, and the midst of a study of Shakespeare's tragedies, the scenery is left almost entirely up to them, the with a thorough investigation and discussion of designer and shop assistant giving advice and as- fine points of the Elizabethan drama. In addition sistance where needed. Very little scenery is used, to the purely creative side of the dramatic art old settings being tricked up and repainted. These are the Carolina Folk Plays of song and story. courses, they also have their scholarship. Today, Usually there is one really "Folky" play on the I spent an hour in class reporting my findings on bill-a scene in the kitchen of a farmhouse, with the theatres of the Restoration; and all because I somebody carrying a heavy burden and either get- had said I wanted to produce a Restoration comedy ting rid of it or dying during the course of the some day.

[ 29]

Coming as they do from all over the country, the graduate students here make up an interesting and cosmopolitan group, a group of highly different background and opinions, but all interested in the same thing. And they are not here merely to listen; last quarter an extra-curricular discussion was organi zed, and an intensive study of the Rus-

sian theatre gave us something that was not offered in the classrooms.

The Carolina Playmakers have to be seen to be believed. Chapel Hill is a beautiful town , the University is a really free-seat of learning .

If you don't know what a folk play is , ask Prof . Williams

T he Chap el ctt rest or ed F ort R ale igh, R oanoke Island, Nort h Car o lina Paul G reen, d istinguished alumnus of th e Carolina Pl aymakers, is the au thor of " T he L ost Colony," pla y ed at R oanoke I sl and d 11ring the past f our sum me rs.

.fletween 1lze.flo-o-lc-Enrl~

My Name ls Aram. By William Saroyan. Harcourt, yell too loud when he receives the whipping he Brace and Company, 1940, New York. knew he would get.

The most entertaining literary hash I've read One of the best passages is the conversation besince busier times have prevented my absorbing a tween Aram, his youthful business manager, and daily chapter of Benchley in Miller and Rhoad's an elderly Presbyterian lady who wishes to use book shop is My Name is A ram, a dish mixed by Aram' s sweet soprano in her choir. "You have a one William Saroyan, a writer. A writer, that is, lovely voice, and what's more it's Presbyterian," in that he places on processed wood pulp a series states the old lady. "Raise your offer or we go to of characters which may, or may not, be deciphered the Baptists," counters Aram's friend. "He's got a by puzzle fans. The individual characters may be voice like an angel." The bickering runs for several understood, but to understand the thing as a whole pages and concludes with a deal, sub rosa, through takes digging, brother, digging. which Aram and his business manager each get a

My depraved tastes do not call for a book to satisfactory salary, on the stipulation that the busifollow its classification to be enjoyable. If an in- ness manager, who has a voice like a camel, will dividual professes to have written a book of short move his mouth but fail to sing. Situations of stories and turns out a collection of satire, charac- youth like the above brighten the book in many ter sketches, peculiar philosophy and funny situ- places. Saroyan has created a type of Armenian ations, with a dash of tripe, I'm very well content Penrod, but one whose background is more unique. if I'm better or happier for reading it. Just because The volume abounds with interesting character it's a helluva collection of short stories is no rea- sketches. The "old man," leader of the clan, tops son it can't be a similarly entertaining bit of these. His word is law, and the family meetings at reading. which he presents this law are cleverly drawn.

The collection of words in question is a series The old patriarch will take the head of a younger of sketches, short stories and what-have-you, sup- member of the family in his big hands, peer into posedly told by a young California Armenian, one his eyes, and pass judgment. There is no appeal. Aram Garoghlanian. We follow said Aram Saroyan does not bother to use quotation marks, through many experiences, some entertaining, and although this is understandab ly somewhat dissome far-fetched, some tripe. But in the telling concerting at first, the reader soon grows acof all these incidents Saroyan has succeeded in customed to it. Saroyan stays clear of involved capturing much of the simplicity of thinking of a sentence structure, and the result is a faster child; as Aram progresses the perspecti~e of smoother reading. ' thought typical of his age and background is de- The only consistent qua l ity of the volume is the veloped significantly and accurately. Though he's peculiar philosophy of the characters, young and been whipped many times for playing hookey to o l d. Not numbering any California Armenians go to the circus, his rating sheet still shows for the among my closer acquaintances, I cannot vouch circus, and he runs out of a class at a word from his for the authentici ty of the attitude, but I can say side-kick. "What did you come to school for?" in- it is an engrossing one. The "old man" considers quires side-kick. "You know the circus is in town." wisdom an inherent quali ty of his line, and is of Here there is a slight pause, sufficient only to allow the opinion tha t books confuse the issue. All the the stimulus to travel from Aram's ear to his brain same, he is proud of Aram's post-circus school and thence to his leg muscles-and Aram is rapidly achievements, and leads the clan to a schoo l prodeparting immediately ahead of a st ring of threats gram to hear the boy perform. hurled by the teacher. On the morrow he co- I can picture Saroyan writing this book. There operates with the principal by promising not to is a tall, tall glass at his side, and he is flanked by [ 31]

Joe Miller, a bound volume of Krazy Kat, a notebook of funny incidents thought up over the weekend, and a dictionary of Armenian names. When his mind has created the characters, some possible, others impossible, and when he has permeated his thought with the "old man's" philosophy, he begins collating. He doesn't write; he collates. He picks up an idea, develops it, and it's in the book.

The faults lie in the overdevelopment of some of the ideas and in their erratic relation to each other. Saroyan, to me, has a warped sense of proportion.

And oh yes, I forgot his sense of humor. Any man who would title a story, "The Three Swimmers and the Grocer from Yale" has a sense of humor.

PAUL SAUNIER, JR.

* *

EnglishVersusScience

I'll sit in a hammock with Spenser, While you feed your white mice and rats. I'll travel through centuries of writers, But you'll find the t~pe worms in cats!

I'll sing in the sunshine with Byron; I'll dine with a Shelley or Scott. You'll sweat over beakers and test tubes To get what Le Voicia got.

You work with the living and future. I work with the past in their tombs. But I'll never wear nitric acid, Or weep from formaldehyde fumes.

I drop in a little of Milton, I stir with a Dickens or Gray; My mixture will be there tomorrow, And will not change at all from today.

You put in a dropper of acid, You sprinkle with water and lookY our mixture won't be there tomorrow, Or either will you or your book.

I'll stick to my castle with Shakespeare, You stick to your test tubes and cat. I like to hear tales of your ventures, But don't take me further than that!

HARRIETT LEWIS, '43.

[ 32}

PATRICIA MORISON

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