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some time supported the famed producer Max Reinhardt, for whom he built a theatre. So fond was he of appearing in the public limelight that he lived with all the pomp and ceremony of royalty, even traveling in the Kaiser Karl's private parlor car, which he bought.
The Castiglioni crash expected, either by the public or by Castiglioni who, as his name indicates, is an Italian, and who, when the crash came, had taken care to be in Italy, where (so it was rumored) he had kept himself popular by supporting the Fascisti.
The precise nature of the causes of the crash were obscure. A warrant for his arrest on a charge of fraud was, however, issued; but the bird had flown, allegedly with securities of high value. The Austrian State said that if he deposited $4,200,000, he could return unmolested.
The war in China (TIME, Sept. 15 et seq.) continued with unabated violence, but was destitute of decisive results.
LATIN AMERICA Notes
Argentina. The Argentine Senate requested the Government to inform the Holy See that its Papal Nuncio (Pope's Ambassador), Mgr. Giovanni Beda Cardinale, is no longer persona grata and that the Argentine Minister to the Vatican, Garcia Mansilla, will be replaced. No reasons for the action were given; but it was assumed that the Senate was displeased with the Pope for having appointed Mgr. Michele de Andrea Apostolic Delegate from South America instead of Archbishop of Buenos Aires; and peeved with Señor Garcia Mansilla for having failed to secure Mgr. de Andrea's nomination for the latter post.
Chile. The Chilean Government sent orders abroad for 40 of its 51 military attachés to return. Henceforth military officers will be retained only at the Legations in the U. S., Britain, France, Brazil, Argentina and Ecuador. Five officers were permitted to complete military studies in France. Economic reasons dictated these orders. All unnecessary Legations are likewise to be suspended.
The following books, economically, politically, historically, or biographically related to Foreign News, have recently been published in the U. S.: Under the Stuarts
HISTORY OF THE TORY PARTY-Keith Feilding Oxford University Press ($6.00). The period which this book covers (1640-1714) is one of the most alluring in the history of England. The execution of Charles I, the advent of Commonwealth and Protectorate, the restoration of the Stuarts, the bitter quarrels of the Puritans and Cavaliers all combined to give the period an adventurous spirit unequalled in history and not often excelled in fiction. The book is scholarly, accurate and an original contribution to knowledge of great importance.
CONFLICT OF POLICIES IN ASIAThomas F. Millard-Century ($4.00). A searching inquiry into the international policies of the Far East from the Paris Peace Conference to the Washington Conference, with special reference to the rôle of the U. S. in China and Japan and the Oriental aims of European countries. Mr. Millard writes with a force which plainly indicates that he is master of his subject. If his views cannot be generally accepted, they at least provide food for thought.
SUPERS AND SUPERMEN-Philip Guedalla-Putnam ($2.50). The brilliancy of the author, apart from the unnecessary display of erudition, cannot be gainsaid, but it is that type of brilliancy that depends rather upon literary tricks than upon honest intellectual effort. Great men, past and present, some greater than others, form the subject matter of the book. It never fails to be amusing although it often succeeds in being grossly unfair, as, for example, when Virgil's metaphor is applied to Belloc and renders Belloc, horrida Belloc.
Reign of Mistresses
THE PRVATE LIFE OF LOUIS XVMouffle d'Angerville (Translated by H. S. Mengard)—Boni & Liveright ($3.50). Spicy is the adjective which must govern this book. It shows how the people of Paris, tired of the wicked Regency, welcomed the young King with open arms, and how they came to detest him. In the main, it is the story of Louis' amours, piquant, authoritative and amusing. The translation itself has considerable merit.
Signor Fortune Gallo is not enthusiastic about music. Some people even think he cherishes a vigorous dislike for all tonal art-and especially for opera. Nevertheless, he is an efficient and successful maestro of impresario, bringing back his San Carlo Opera Company season after season with powers undiminished and spirits unabated. He may possibly hate music, but he loves his company and lives for it alone-which is perhaps all that one ought to demand of him.
The company, on the other hand, lives for music alone, and not for anything else. Particularly not for such an unessential matter as acting. It is a real Italian company. Italian singers despise acting; they "act" only when they feel their voices going back on them, and do it only to distract attention from their vocal weaknesses.
But critics have other ideas and make other demands. Schooled in Wagnerian traditions, they want action, and plenty of it.
All these truths were demonstrated afresh during the first week of the San Carlo season at the Jolson Theatre in Manhattan. Gallo provided the stuff that was expected of him, including Rigoletto, Tosca, La Traviata, Cavalleria Rusticana, Pagliacci. Consequently, there was a stiletto scene on the stage almost every night. But the performers' dagger-technique was sadly wanting in fire and dash. Manipulation of throat lozenges evidently was considered of superior importance to the handling of cold steel.
Writing of Tosca, Deems Taylor, famed critic, declared: "This performance suffered chiefly from a hearty disinclination on the part of the singers to do more than sing. Mr. Franchetti kept the tempo satisfactorily vigorous, but his baton had unfortunately no control over the histrionic part of the performance. Everyone on the stage took plenty of time in moving about and husbanded all his energies for the high notes. The passionate transports of Mario and Tosca were about as exciting to watch as a slow-motion picture of a wrestling match."
There were two compensations for lovers of brilliance and movement. First, the costumes: Anne Roselle, as Tosca, for instance, appeared in the first act in a chrome orange satin skirt and bodice, a purple velvet jacket and hat, a bunch of crimson roses tied with baby-blue ribbon. Second, the Russian ballet divertissements which lent touches of exotic sprightliness at the conclusion of the evenings. The agonies of Tosca were thus relieved by Rimsky-Korsakov's sinuous Siamese Dance.
The Nimble Camel*
Mr. Train Discourses on the
Threading of Needles
The Story. You can't sit on both sides of a fence simultaneously without great discomfort. And the way of the capitalist is not as easy as you think. John Graham, youngest director of the banking house of Graham & Co., was seriously handicapped by having on his hands simultaneously one of the world's greater fortunes, a labor war in a coal district, and
a love affair with socialistic Rhoda, who will have none of him unless he first gets rid of his money.
Pressure is brought to bear on all sides, pushing him industriously in carefully differentiated directions. He feels that to shirk the responsibilities of his wealth would be cowardly. He wants to deal justly and humanely with the men in his coal mines, with the public, with Rhoda, with his firm, most of whose members are related to him. Rhoda refuses to believe in his good faith or in the limitations of his power for good.
An attempt to meet the inflamed miners half-way results disagreeably in mob violence, several variously assorted murders, a broken head for John, explosions, collapse in the value of the property. An outsider, unhampered by humanitarian scruples, buys a controlling interest in the mines for a fraction of their value.
Uncle Shiras Graham, general octogenarian reprobate, whose life was saddened when he bought his way out of the Civil War draft, dies after the heartbreaking discovery that $50,000,000 could not all be profitably used in the interests of monkey glands.
John, setting the Graham inferior maxillary against blackmailers' threats, is saved from ruin by Rhoda, who at last concedes that he has done his best against the dragon of his riches. Incidentally, she has found that the labor workers, her ex-associates, are not as disinterested as they look. John and Rhoda find new strength for the battle of society on the shores of the Central Park reservoir at sunrise.
The Significance. Arthur Train has never done better. His gift lies not in narration, though his style is eminently readable. His plots are usually negligible. But he is past master of the art of dramatizing the problems-social, legal, economic-of tangled modern life.. His characters are in many cases vividly drawn, but
THE NEEDLE'S EYE-Arthur Train-Scribner's ($2.00).
in the main they are subordinate to the examination of the intricacies of the social structure. Peculiarly in a position to know the very rich and the very poor, together with the legal mechanism of their interrelationships, he has the knack of dragging dull facts out of the text-books into moving existence.
One of the major interests in this volume lies in Mr. Train's fleeting sketches of subordinate charactersold Uncle Shiras; Doctor Dominick, "the most valuable man in the world;" Degoutet, outspoken sculptor. Most of them may be recognized as more or less thinly veiled snap-shots from real life.* them are, it must be confessed, more interesting than the comparatively insignificant hero and heroine.
The Author. Arthur Train is a small man, keenly interested in life and those who live it. A Harvard graduate, a lawyer, he has passed some time as Assistant District Attorney of New York. Among his earlier works are The Goldfish, True Stories of Crime, The Earthquake (War book), Tutt and Mr. Tutt (short stories), His Children's Children (TIME, Mar. 24, 1923). Some of the characters from the latter book reappear in the present volume. He is a regular contributor to The Saturday Evening Post.
Is it Fun to Write Funny Poems?
Harper Brothers has issued a set of Arthur Guiterman's light verse in brick-red jackets; and I am reminded pleasantly, on a drab morning, of this slight, serious-minded humorist of quick movements and real wit. I suspect that every really funny-man must take himself seriously. Mr. Guiterman, of course, has not confined his writing purely to gay verses. He has had serious moments not without power. To be sure Your Puppy's Valentine is not deep; but there is a poem called The Pioneer which has much grace and beauty.
The accident of his birth is one of the funniest things about this thoroughly American versifier. When you meet him, you will find an earnest little gentleman, with a habit of talking swiftly and seriously, in a twang that is unmistakably U. S., A. He was born
in Vienna-of American parentage, to be sure. However, any Viennese tend
*Coincidental resemblances, have been noted between the firm of Graham for example, & Co. and that of J. P. Morgan & Co., between a certain minor character and John D. Rockefeller Jr., between Dr. Dominick and certain distinguished laboratory physician now at the Rockefeller Institute.
encies he may have had were safely obliterated by college training at the College of the City of New York, from which he was graduated in 1891. He then turned to editorial work and used the famous blue pencil in such offices as those of The Woman's Home Companion and The Literary Digest. With such editorial apprenticeship, he was able to become a poetic journalist with great facility and success, without losing any of his pristine talents. His rhymed reviews in Life have charmed for years. It is a hard enough task to be a reviewer of books for several years; but to be a rhymed reviewer for many years shows a consistency of wit that deserves medals and banners.
The verse of such writers as Don Marquis, F. P. A. and Arthur Guiterman deserves far more serious consideration than is generally given it. It is difficult for the public to take humorists as seriously as they take themselves; yet we should, undoubtedly, appreciate these three fine writers of graceful lyrics, whose poems, doubtless, will be remembered long after many of our currently vaunted high-brow poets are forgotten.
I've often wondered whether or not it was a joy to write funny poems. F. P. A., I know, works very diligently over his, pays particular attention to the rhythms and rhymes, is a meticulous versifier. Don Marquis writes in more robust mood. Arthur Guiterman is especially facile. His verses move rapidly. I imagine he writes them rapidly. That is often their chief charm as well as their great fault. J. F.
New Books Pluck
THOMAS THE LAMBKIN-Claude Farrere-Dutton ($2.00). Who wouldn't be a pirate? Granted Thomas Trublet's delectable natural aptitudes, no one could hesitate to embrace that active vocation. Thomas, Frenchman, mighty man of valor, ablest seaman of them all, butcherer of men, ravisher of women, man of his word (with reservations), sailed from the port of St. Malo to a career of blood and battle and of passion. He seized galleons, captured cities, slaughtered crews under the Jolly Roger. He was first ennobled, then hanged from his own yard-arm by his Most Christian King. His undoing was brought about through a stormy love affair with a blodthirsty Spanish beauty who repulsed him in three attempted rapes and was finally won through his dramatic murder of her entire family. Farrere out-Sabatinis Sabatini and creates a sea-rover beside whom all others become as his ironic nickname-the Lambkin. The reader's only regret is at his final end-an end due only to the blindness of his love, which leads him to kill his best friend and finally to deliver himself to his
enemies in order to show the faithless Spaniard that he is no coward. And as he mounts his gibbet comes the word from her that what befalls him is nothing to her, and that their child is none of his.
SHACKLED Achmed Abdullah-Brentano ($2.00). "The burden of our ancient race is hard to bear," muttered Mustaffa Madani, the Shareef, descendant of the True Prophet. The day of the aristocrat had passed, the pride of Islam was quivering beneath the heel of the foreigner. But Mustaffa Madani would not make the concessions that might have brought him riches. So he hung on the edge of starvation, and wondered what was to become of his beautiful daughter when he had gone. Yet he would not forgive her when she married Hassan, the Dervish, who was "not of the lineage." Only when a son came a little Shareef like himself, did Mustaffa Madani, poor and old and humble, come to them through the streets of el-Korma. All the color, the smells, the rich invective, the chill pride of North Africa stream brilliantly through this romance of modern Tunis.
THE ROMANCE OF FORGOTTEN TOWNS -John T. Faris-Harper ($6.00). What do you know about the birth and death of Jamestown, Va.; of Pemaquid, Me.; of the sodhouse towns of Kansas, nothing of which remains but an occasional pile of turf on the prairie? What do you know of all the other hundreds of towns and villages that sprang up in the early days of our country, flourished and perished, leaving here and there a battered church tower, a deserted farmhouse, a buried pavement-and nothing else? Or of Robert Owen's communistic town in Indiana, or Prince Gallitzin's colony in the Pennsylvania mountains, or the California gold rush towns? If you are interested in the romantic history of the colonization and growth of North America, Mr. Faris is an eloquent guide along its byways. If you are not interested, this is at least an attractively illustrated volume for the living-room table.
TIME, The Weekly News-Magazine. Editors-Briton Hadden and Henry, R. Luce. Associates-Manfred Gottfried (National Affairs), John S. Martin, Thomas J. C. Martyn (Foreign News), Jack A. Thomas (Books). Weekly Contributors-Ernest Brennecke, John Farrar, Willard T. Ingalls, Alexander Klemin, Peter Mathews. Wells Root, Preston LockPublished by TIME, wood, Niven Busch. Inc., H. R. Luce, Pres.; J. S. Martin, VicePres.; B. Hadden, Secy-Treas.: 236 E. 39th St., New York City. Subscription rate, one year, postpaid: In the United States and Mexico, $5.00; in Canada, $5.50; elsewhere, $6.00. For advertising rates address: Robert L. Johnson, Advertising Manager, TIME, 236 E. 39th St., New York; New England representative, Sweeney & Price, 127 Federal St., Boston, Mass.; Western representatives. Powers & Stone, 38 S. Dearborn St., Chicago, Ill.; Circulation Manager, Roy E. Larsen. IV, No. 14.
Ernst Vajda has contributed two additional entertainments for our artistic edification-Grounds for Divorce and The Little Angel. Appearing in one
She was promoted
and the same week, they illustrated a pretty little pamphlet that might be drawn up on theatrical production. For the plan of Grounds for Divorce is thin, almost out at the elbows, while the Little Angel is nourished with sustaining spice of satire. But Grounds for Divorce has Ina Claire and it is Ina Claire that makes it the pick of the Vajda basket.
After the opening performance, Miss Claire was rather precipitously promoted by certain of the referees to the post of leading U. S. comedienne. Though this seems a stiff jump to take on so slight a steed as Grounds for Divorce, there can be no doubt that what spirit the play developed she supplied. If the comedy had been a champagne cocktail, she would have played the bubbles.
There was another who, unseen, stirred the glass and made the bubbles dance. That was Henry Miller, whose flawless direction flavored the whole with vigilance and sting.
Grounds for Divorce causes a husband to neglect his wife, who throws ink at him and deserts. On the eve of his second wedding, she returns to ask his advice, as a prominent lawyer for divorce, on the quickest method of shedding a second husband in order to marry a third. Disturbed at the delay, his new
fiancée also throws ink; his wife's husbands turn out to be fictitious; and reunion is effected.
The Little Angel is a young lady (Mildred Macleod) reared in such innocence that she discovers herself about to have a baby and can't imagine how she got that way. It seems she was at a ball and swooned, or something. Through the machinations of her flintfaced aunt (Clare Eames) the culprit is revealed and forced to marry her. Finally they fall in love.
Minick. The story is enough. A septuagenarian comes to live with his son and his son's wife. Into the painfully middle-class household he brings a curious chaos of little things. He does not fit and he gets in the way. Finally he completely shatters a ladies' civic club meeting. Meanwhile he has come to know the denizens of an old men's home nearby. In the last act, he comes to realize that generations may mix but cannot blend. He goes to live among his cronies at the home.
Edna Ferber originally wrote this chonicle as a short story-Old Man Minick. George S. Kaufman (coauthor of Dulcy, Merton, Beggar on Horseback, etc.) helped her turn it into a play. Between them they very nearly did a masterpiece. The play is amusing, deeply touching in spots, but overshoots the mark by a too tenacious realism. The characters are types rather than individuals. The detail becomes too authentic.
Critics disagreed over the performance of O. P. Heggie as Minick. Some said he caught completely the blithe spirit of the old man who upset the household by staying too long in the bathroom mornings. Others averred that he "photographed" the character instead of painting it with the sure stroke of a creator. Phyllis Povah, on the other hand, was credited with the most distinguished work of her not undistinguished career. The rest of the cast, the atmosphere and the direction were judged satisfactory.
Dear Sir, formerly called Vanity Fair, has nothing at all to do with either Thackeray or formal correspondence. It has merely to do with Long Island society and is just another one of those things. Chiefly conspicuous is the amiable score of Jerome Kern. Walter Catlett makes his first appearance after three years in Sally. Genevieve Tobin comes out of straight comedy to sing the lead with more or less success.
Hassan was produced after a London model which had run successfully and was therefore deemed Art. This London model, based on 1904 specifica
tions, was flavored with old-fashioned Hamlet. Hassan is a semi-poetical drama with great beauty lingering in its words. The combination was too strong for the director (Basil Dean). He produced Hassan with all the pomposity of out-at-the-elbows Shakespeare.
Since great things were expected of this strange, fanciful drama of olden Bagdad by James Elroy Flecker, the critics foamed. It has been around in printed form for some little time, several editions of it. There is within it an undeniable quality of beauty which it seemed that no stage production could stifle; but if Hassan was not stifled by the present production, at least it was made to gasp audibly.
The story tells of a shoddy confectioner of Bagdad, how he blocked the plot of the King of the Beggars to kill the Calif, rose to a great position in the State, fell because he could not countenance the Calif's cruelty to the captured Beggar King and left Bagdad behind him to make the Golden Journey to Samarkand.
Two girls are added to the plot. The first, a harlot who rejected Hassan, came to him with power and fled when he fell, is an easy part that almost any pretty actress could portray. Accordingly the producers gave it to their most expensive player, Mary Nash. She did what she could with it. The other girl, for whom the King of the Beggars wove his plot, was entrusted wisely to Violet Kemble Cooper, who made it easily the most important rôle of the play. Randal Ayrton, from London, played Hassan, conventionally, correctly, completely missing the weakness, the beauty, the humanity of the character. One actor who might have done the part justice is Dudley Digges.
Of the settings and costumes there had been much ballyhoo. They were unfailingly elaborate, and almost as unfailingly in bad taste. A Fokine Ballet clogged the action.
Lazybones. Owen Davis has permitted this "chronicle of a country town" to be billed as his best play. He seems to have underestimated The Detour and Icebound and to have shown unwarranted overconfidence in the present cast.
Small town prejudice branded Lazybones as a failure because he always went fishing instead of tending to work. In the first act, he adopts an illegitimate child born to the sister of his fiancée. The fiancée believes the child to be his and deserts. Twenty years later, the baby's mother, married in the interim to a mean country banker, dies of a broken heart; and Lazybones marries the child.
The author endeavored to make the play homely and human. He succeeded,
"Shoot and I'll thank you" (See Cinema)
but at the expense of interest. action drags one foot after the other interminably. The characters seem too familiar; the comedy is rare.
George Abbott, recalled agreeably for his comic cowboy in Zander the Great, stepped beyond his depth in the lead. He seemed to manufacture the part instead of living in it. Martha Bryan-Allen gave her usual competent performance as the child; while the single bit of really excellent acting was contributed by Elizabeth Patterson as a black silk mother-in-law of rocky prejudice.
The New Pictures
Barbara Frietchie. All popular folk must expect to have liberties taken with them. Witness Wales, and now Whittier's heroine. As in the play by Clyde Fitch, Barbara of the silver screen appears as a youngster of twenty-something, author not only of America's first permanent wave but also of love in the bosom of her brother's West Point classmate, Cadet Trumbull. The Civil War interrupts their incipient idyll. Cadet Trumbull is a Northerner, the Frietchies being, it will be remembered, one of the finer families of slaveholding Frederick, Md. When the times comes for Barbara to say the historic "Shoot if you must. this old grey head," her youth and the presence of Trumbull, now a badly wounded Union captain, suggest to her the variation: "Shoot and I'll thank you."
Florence Vidor as Barbara, Edmund
Lowe as Cadet Trumbull, Lambert Hillyer as director have done passably, not impressively, wtih a grand historical possibility.
In Hollywood with Potash and Perlmutter is the single notable addition to the cinema gallery for the week. Addicts will recall the first Potash and Perlmutter film with considerable satisfaction. The second (derived from the play Business before Pleasure) is quite as entertaining. The four-star label on the billboards displays the names of Alexander Carr, George Sidney, Vera Gordon and Betty Blythe. When Abe takes to kicking the lion under the impression that it is a dog in disguise, there is really no point in anyone's retaining his gravity. The sub-titles are even more diverting.
The City that Never Sleeps. This is a warning to modern mothers not to become bootleggers for the sake of the family income. The mother involved, widow of a saloon keeper, kept selling liquor even after 1919 to give her daughter the "advantages." Among the advantages in her Park Avenue existence the daughter found cocktails and a fortune hunter. When the latter began shooting at the police in the mother's downtown cabaret, the girl recalled the tableau long ago when her father was murdered in the old saloon. She recognized her mother and returned to her childhood sweetheart who had courted her from the top of a brewery wagon long ago. As routine picture entertainment, the film is a fair sample. In performance, Ricardo Cortez and Virginia Lee Corbin are conspicuous.
Life's Greatest Game. The story deals mainly with baseball, past and present, and includes the sinking of the Titanic. The old ball player's son survives, returns after 20 years to pitch the Giants to victory in the World's Series, shames the father for deserting the family in 1904. Probably one of the ten worst pictures. The heroine even wears curls down her back.
The Red Lily. Principally about an Apache and a little lady of the streets. Apparently all Apaches finally involve themselves with ladies of the street. At least all stage and screen Apaches. They usually do it according to formula as did the Apache in The Red Lily. Since he is Ramon Novarro, there seems to be somewhat more excuse for it than usual.
The crush at the gates of U. S. colleges and universities (TIME, Sept. 29) continued. On every hand record enrolments were reported. Many said this indicated a tremendous spread of the educational idea in the U. S., “a return to the days of Abelard." A few added: "But, of course, the natural growth of population also has a bearing upon this vast number of seekers after light."
At Cambridge, Mass., townfolk watched the doors of a vine-clad chapel open, heard the strains of a Bach fugue issuing forth behind the students of Harvard University as they departed from the opening service of Harvard's 289th year.
Prompt to start publica
tion, the Crimson launched an early editorial at Harvard authorities for their "polished neglect" of Prof. George Pierce Baker, long the director of the 47 Wordshop (dramatics). The Workshop will be closed this year, its quarters having been reconverted for dormitory For Prof. Baker this means
At Boston, Dr. Lemuel H. Murlin, for 13 years head of Boston University, announced his departure from Boston "not later than Dec. 1" to accept the presidency of De Pauw University (Greencastle, Ind.), whence he was graduated in 1891.
At Providence, young men were described as ushers of a new era by President William H. P. Faunce as he ushered in Brown University's 161st year with a speech.
At Northampton, Mass., "first chapel" at Smith College was dignified by the Faculty's academic robes, donned to inaugurate a new tradition. It was Smith's 53rd year. The college grounds were dignified by Grecourt Gates, erected since June, at the main entrance, to commemorate Smith's War unit.
At New Haven, the 224th year of Yale University found a new institute of psychology and a new natural history museum ready for use. At the one, Profs. Robert M. Yerkes (onetime member of the National Research Council) and Raymond Dodge (erst of Wesleyan), and Clark Wissler (Manhattan), will lecture. Into the other,
Yale's stuffed animals, pressed flowers, and labeled rocks will be transported and displayed for examination by the inquisitive.
¶ In Manhattan, Columbia University enrolled some 35,000 for its 171st year. Dr. Nicholas Murray ("Miraculous") Butler led the academic parade along Morningside Heights, reminded those who listened to his speech in the Gymnasium of Columbia's beginnings in 1754 when Dr. Samuel Johnson selected eight young gentlemen for the first undergraduate body of King's College.
At State College, Pa., green skull caps bobbed hither and thither through the streets. Pennsylvania State University had opened.
At Princeton, N. J., President John Grier Hibben mounted to the rostrum of Alexander Hall and mildly berated his undergraduates for a falling-off in scholarship that took place last year. Said he: "What shall it profit a man to make the Triangle Club (dramatic society) and to drop out of Princeton?" It was Princeton's 178th year.
At Baltimore, Goucher College (for women) and Johns Hopkins University enrolled some 350 new students each. Goucher had added 22 to her teaching personnel. The famed Hopkins medical college limited its new class to 75.
At Lexington, Va., the doors of Washington and Lee University swung wide for the 175th time. In the absence of President Henry Louis Smith, still convalescent from motor injuries suffered in July, Dean Campbell delivered words of welcome and advice in the Robert E. Lee chapel.
At Athens and Atlanta, Ga., "College Nights" were occasions for speechmaking, singing, cheering among the undergraduates of Georgia State University and Georgia School of Technology.
At Ann Arbor, Mich., the University of Michigan started another year with 13.000 undergraduates. In the medical school, an honor system went into effect.
What price a college education ten years after graduation? No statist'cal bureau in the world could answer the question. Nor were statistics on the Class of 1913 of Princeton University, published last week, at all indicative of what a college graduate may expect from the world in return for his having spent four years improving his mind. The factors are countless; and Princeton, 1913, may have been an exceptional class, either for ability and helpful associations or for ineptitude and lack of helpful associations. Still, the
The Century for October contributed much food for the thought of parents and pedagogs on higher education in the U. S. It published speculations by one Irwin Edman, Assistant Professor of Philosophy at Columbia University, upon the mentality, moods and the painful dilemma of "Richard Kane," undergraduate of today, brother of "Ferguson-Rex," whose portrait appeared last month in the Atlantic Monthly (TIME, Sept. 22).
"Richard Kane" has often walked into Teacher Edman's office between April and June seeking surcease from the throes of graduation, wondering what he is to do with his awakened, sensitive self in a cold, hard world. Says Teacher Edman: "The problem of giving Richard advice would have been simplified if he were a genius. He isn't. He is simply one of a constant group who come to college and become genuinely attached to what its defamers call the higher life. He is, if you will, living beyond his intellectual income. He is a dilettante, an amateur. what he once ruefully called himselfa "Nearly." He knows good prose when he sees it; memorable bits of it haun* him. . . . But he has neither the flair nor the facility of a writer. He loves poetry without being in the least a poet. He 'gets' philosophy without being technically expert or agile or spiritually profound. He admires scholarship truly and yet has not the patience nor the exactness of the scholar."
For having got "Richard Kane" into this predicament, by half-fledging the wings of his spirit and not developing his practical mental legs, educators almost qualify, says Mr. Edman, for the title the Athenians gave Socrates"corrupter of youth." Not that Edman stands advocate for courses in horseshoeing, manicuring, potato culture or space-selling; but he sees a possibility for "following the example of certain recent journalistic enterprises"-combining both the cultural traditions and the practical discipline of education— and "retaining the best features of each,"
"There is a growing belief in some academic quarters that the day of the