2 20 118 https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/c7c3a146aa41e643a3bf272efa988759.pdf e88a4448ea6f4fb758349ff0f4daa20e PDF Text Text THE WINTER COLLEGIUM DECEMBER .7, 1993 7:15pm St. john 's College Great Hall �Winter Collegium 1993 St. John's College • Great Hall December 7 • 7:15pm Program 1. The Change Ringers 2. Whire Christmas ................. ... ..................... ....... ........................... Berlin Alex Battles • John Lynch 3. An Impromptu Digression in A minor Mr. Roger's Neighborhood in Hell. ......... ...... ........ ........ ... .... Humphrey Nathan Humphrey 4. "How Beautiful are the Feet ofThem" from the Messiah .. .... ............... ............ ..... .... .... ...... ... ... ............ Handel Danicllc lnsetta • Rob Bunnell 5. "My Candles"-A traditional Hasidic melody .... ........ ......arr. Eisenstein "Children, Go Where I Send Thee" ............................... ... .. Traditional Judy Seeger 6. Canonic Sonata No.3 I. Vivace .................. .. ........ .... .................... ......................... Telemann David Braithwaite • Julie Meadows �Program 7. "lch folge dir" from St. John's Passion ....... ..................... ......... ........... ... ......... Bach Kristen Byrne • David Braithwaite • Eric Stolzfus 8. La Pastorella ............... .. ......... ..... ... .......... .. ........... ... .. ..... ....... Shubert Kristen Byrne • Yvonne Bellanger 9. Some Enchanted Evening ........... ... .. .. ......... Rodgers & Hammerstein Frank Tamarazo • Michael Littleton 10. Largo from Sonata for Piano and Cello, Op. 65 ...... .. .... ..... ........ Chopin Elliott Zuckerman • Eric Stoltzfus 11. Sweet Nymph, Come to thy Lover. .............................. .. ..... Morley Maura Tennor • Frank Tamarazo 12. Doughnuts .... ......... ........... .... .......... ...... ......................... arr. Edwards Freshman Voice Ensemble 13 . Allegro M aestoso from Sonata in A minor .. .... ......... ...... ... ..... ... ............ .......Mozart Vanessa Ellerman Gamponia, A'93 �SPecial Thanks john Burns jennifer Hoheisel The Assistant Deans' Office 1 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Playbills & Programs Description An account of the resource Playbills and programs from various St. John's College events. Many of these items are from productions by The King William Players, the St. John's student theater troupe.<br /><br />Click on <strong><a title="Playbills &amp; Programs" href="http://digitalarchives.sjc.edu/items/browse?collection=20">Items in the Playbills &amp; Programs Collection</a></strong> to view and sort all items in the collection. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context playbillsprograms Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Page numeration Number of pages in the original item. 4 pages Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Winter Collegium Date A point or period of time associated with an event in the lifecycle of the resource 1993-12-07 Identifier An unambiguous reference to the resource within a given context Bx2-30 Description An account of the resource Program of the Winter Collegium of 1993 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Publisher An entity responsible for making the resource available St. John's College Language A language of the resource English Type The nature or genre of the resource text Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Format The file format, physical medium, or dimensions of the resource pdf https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/db9d96a28e900a3573f8dbd441aafa62.pdf 85e2cbbbeccf4a99cbcf5cae5013b993 PDF Text Text HENRII( IBSEN'S a Sedentary production �•.\ I i,l Many thanks go to everyone who helped this show go smoothly. In saying these thank-yous, I would also like to offer apologies to anyone who offered their help or whom I enlisted with their abilities in mind and promptly forgot when rehearsals began. The only excuse I can offer is that my mind collapses into extreme clutter while doing a show. These people included artists, actors, and stage hands who generously offered their services. They also include those who were willing to watch performances and to offer their advice. I would like to thank Scott Saxman, Danny Hakim, Cameron Hall, John Michaels, Danielle Meracle, Bumper Moyer, Renate Lunn, Brian McGuire, Mike Musgrove, Lydia Rolita, Jesse Burney, Christine Odom, Molly Hinshaw, Joella Klinghoffer, Amy Hoffman, John DeShazo, Nathan Rosen, the St. John's Security Force, Terry Moore, Nancy Osius, John Verdi, Rebecca Dzamov, Hats in the Belfry, the King Williams's Players, Building and Grounds of SJC, Joanne Melton, and the most venerable Mr. Wang. I ,\ [ I I I I. It o' I \ ..:: I ',t I' il, 1 I \,1 lt) \(1 · 1 .j 1 r;l :' ~. i"J My sincerest thanks go to the cast of Ghosts. \lr ·,, To my mind, this play is about the profound and destructive effects of cowardice. For this reason, I dedicate this show to the most courageous person I know, Virginia Castro, my mother. John Castro Director '.,/ 1 I ·I I• 1/ /: I' Cover art: The Embrace, by Egon Schiele (1899 - 1927). ' /I) I· I\ I \',J" I • �I I GHOSTS \.' The play takes place in a provincial Nonvegian town in the late 1800s. There will be a fift een-minute intermission. CAST I, I .,, 1 I :I i I i' Helene Alving . . . . . . . . . . . . . . . . . . Susannah Anderson Pastor Manders . . . . . . . . . . . . . . . . . . . . . John Daniel Oswald Alving . . . . . . . . . . . . . . . . . . . Aaron Finkelstein Regina Engstrand . . . . . . . . . . . . . . . Kathrin Stolzenbach Jakob Engstrand .. . . . . . . . . . . . . . . . . . . John Williams CREW Production Assistants . . . . . . . . . . . . . . Kimberly D'Adamo Gil Roth Tom Tandarek �June 25th- 27th, 1993 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Playbills & Programs Description An account of the resource Playbills and programs from various St. John's College events. Many of these items are from productions by The King William Players, the St. John's student theater troupe.<br /><br />Click on <strong><a title="Playbills &amp; Programs" href="http://digitalarchives.sjc.edu/items/browse?collection=20">Items in the Playbills &amp; Programs Collection</a></strong> to view and sort all items in the collection. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context playbillsprograms Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Page numeration Number of pages in the original item. 4 pages Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ghosts Date A point or period of time associated with an event in the lifecycle of the resource 1993-06-25/26/27 Identifier An unambiguous reference to the resource within a given context Bx2-28 Description An account of the resource Playbill of Henrik Ibsen's Ghosts Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Publisher An entity responsible for making the resource available St. John's College Language A language of the resource English Type The nature or genre of the resource text Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Format The file format, physical medium, or dimensions of the resource pdf https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/42cb20f6cce1b03b438c1338394d3572.pdf 60d838cd9412c050c6fe07dab631ef1d PDF Text Text $ 2.00 ADMISSION S)[p)[E(C 0rnJ[L [ID[E~[E[F FOR ST. JOHN'S COLLEGE TO BE REPRESENTED IN THE COLLEGIATE BOXING NATIONAL CHAMPIONSHIP TIME: 10:30 pm 01J �st. john's PUGILIST SOCIETY t ' OVTUCpu 1 xpoo. 'f"E r '~ Pfl~W 1 auv .,. t r ,. OUTE t '~ apa,w. ILIAD, XXIII. 673 BOXING CLUB St. John's College, Annapolis, MD 21404 �Toward a National Championship: The Metaphysics of Boxing • ' 411T11Cpu , xpoa. T« ',~ , PlJfiW auv T • f 'e. apa..,w. ,•• OCJT4! ILIAD, XXIII. 673 A mighty ugly boast that the Homeric boxer throws down to his challenger in the Funeral Games ("I shall rend his flesh and crush his bones"), and seemingly a far cry from the emphasisonout-pointingone'sopponentwhichcharacterizes the point-system of inter-collegiate amateur boxing. That system emphasizes safety and serves to distinguish the amateurs from the more violent ranks of professional boxing. However there is a line of truth that runs through the boxing tradition, from Homeric warriors through such modem-day giants like Dempsey, Robinson, Ali and Tyson, and remains infused in the Olympic and inter-collegiate amateurs as well: that truth involves the metaphysical aspect, the Will and Oneness. The two-thousand year connection is held within the intangibles-the commitment, desire and intensity necessary to win despite the Fear. This challenge, both physical and metaphysica~ is fmally being answered at St. John's College. The small liberal arts community in Annapolis is more noted for croquet and books than physical rigor, yet fmally has returned to its Homeric roots with a commitment to boxing. The art of pugilism, first touted in Homer's Diad and Vergil's Aeneid, has a long tradition, only recently resurrected at St. John's. Last year, January 1990, a few freshmen got together and started a boxing program on campus. The emphasis was on physical conditioning and training in basic techniques. A group of twelve students worked throughout the spring and closed out the semester with a banquet featuring special guest Mr. Emerson Smith, who coached Navy boxing for 25 years, and Mr. Stewart Unphrey from St. John's, who, before embracing the intellectual life, boxed for eleven years. �During the summer a handful of boxers stayed in Annapolis and took the opportunity to do some sparring in a gym. In September there was a program shift, taking into account that half the club members rowed crew and that season lasted through November. Conditioning continued for students, staff and alumni in the early morning, the afternoon workouts were for those two students, B. Good ('93) and J. Yulo ('93), who remained commited to inter-collegiate competition. B. Good was first introduced to the USNA boxing program when he met Coach Smith and Charlie Holloway at the 1984 NCBA Championships. Following Coach Smith's retiremnt , B.Good trained under Dr. Tom Virgets, President of the NCBA and current trainer of professional heavyweight Tommy Morrison. When Dr. Virgets was replaced by the current Navy Head Coach, Jim McNally, both he and the assistant coach Ron Stutzman remained generous and encouraging of the St. John's program. Coach Stutzman was especially helpful in guiding B.Good in an exhibition bout last November, which he won with a 3rd round TKO. The stage is now set for the Eastern Regionals at VMI this March and then on to the NCBA National Championships in Reno, Nevada. Training is right on schedule with roadwork and gym time. Coach Stutzman, who keeps on eye on overall progress and fine-tuning, is now being assisted by former St. John's student Pete Maillet. Pete handles the day-to-day task of directing merciless bag drills. And along with the increased physical strength and skill, the real edge is manifested psychologicgically: "I have complete faith in myself and my trainers. Both Coach Stutzman and Pete are perfect. I am inspired each and every day that I leave that gym because they work me so hard. They take me to the edge. I get to a point where I feel I am going to collapse and then they turn it up a �notch and force me to a higher level. I become more energized, more powerful. Inspired. You know what I like about boxing?That it is about indomitable Spirit. It is about Will. That in the final face-off it is the man with the stronger will who shall prevail. And it is about punishment. I know that Coach Smith, who is on the Safety Committee will disagree with me, especially about amatuer boxing- so I'm just speaking for myself, but as far as I am concerned boxing is about punishment. I love dishing it out and I don't mind taking it. I'm a work-horse, not a race-horse. I will out-work my opponent. I will punish my opponent. I'm not flashy, I'm strong and hostile. Sure there is a metaphysical angle, and I appreciate this: the fighter must transcend his instinct because the initial instinct is to run and hide- but real success is in channeling that fear into a ferocious, forward motion. A passion that is simultaneously detatched. Detatched enough to be calm and focused, yet paradoxically impassioned enough to be relentless. I create my own openings. H the opponent protects his head then I hammer his body, when he drops his arms then I hammer his head. Hit 'em high, hit 'em low. Create the openings. This success demands all aspects: focused intelligence to remain calm and read the opponent, physical prowess to dominate him and the spiritual fortitude to follow through all the way. Woven together there is the Oneness, the transcendent moment, and that is the way that I probably experience the fight on an abstract level. But the real level, the level that engages me, is all about punishment. I will simply out-work and out-punish my opponent. That is how I will defeat him. That is how I will win. Wll...L TO WIN ALL THE WAY! � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Playbills & Programs Description An account of the resource Playbills and programs from various St. John's College events. Many of these items are from productions by The King William Players, the St. John's student theater troupe.<br /><br />Click on <strong><a title="Playbills &amp; Programs" href="http://digitalarchives.sjc.edu/items/browse?collection=20">Items in the Playbills &amp; Programs Collection</a></strong> to view and sort all items in the collection. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context playbillsprograms Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Page numeration Number of pages in the original item. 5 pages Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boxing Club Program Date A point or period of time associated with an event in the lifecycle of the resource 1991-04-05 Identifier An unambiguous reference to the resource within a given context Bx2-27 Description An account of the resource St. John's Pubilist Society Boxing Club Program and Flyer Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Publisher An entity responsible for making the resource available St. John's College Language A language of the resource English Type The nature or genre of the resource text Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Format The file format, physical medium, or dimensions of the resource pdf https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/14a55496798b8da4330e60430bb557a9.pdf 50c448d8e16f996b94a8dff6373e4a5a PDF Text Text m~e 3'littng 'llillimn. fhtum; nf ~. 3Jn~n' s Oinllege ~nr 1i£ttr1J IV, pztr± II Friday, January..18th ) Saturday , January. 19 Saturday, January. 26th Francis Scott Key Auditorium 8:15p.m. �HENRY IV, PART II Directors. . . . . . . . . . . • John DeShazo and Robert Willia l Technical Director ........... . ..•........ John DeS Assistant Technical Director . . . . . . . . . . . . . . . . James D Set Design . . . . . . . . . . . . . . . . . . . . . . . . . . Lalena Par Stage Managers ........ James Dugan and Lalena Parkh Rt A1 Ki Pr a Jo1 Th Ea Ea Lo SCENE · ENGLAND ACTI Scene 1. Warkworth, at Northumberland's Castle. Scene 2. London. A street. Scene 3. York. A room in the Archbishop's Palace. ACT II Scene 1. London. A room in the Boar's Head Tavern in Eastcheap. Scene 2. London. A room. Scene 3. Warkworth, at Northumberland's Castle. Scene 4. London. A room in the Boar's Head Tavern. ACT ill Scene 1. Westminster. A room in the Palace. Scene 2. Gloucestershire. Before Justice Shallow's house. INTERMISSION -15 MINUTES ACT IV Scene 1. Gaultree Forest, in Yorkshire. Scene 2. The same. Scene 3. Another part of the forest. Scene 4. Westminster. The Jerusalem Chamber. Scene 5. Another Chamber. ACTV Scene 1. Gloucestershire, at Justice Shallow's House. Scene 2. Westminster. A room in the Palace. Scene 3. Gloucestershire. The Garden of Shallow's House. Scene 4. London. A street. Scene 5. A public place near Westminster Abbey. Sel Tl Ea La, La' Ar Lo Lo M< Sir Ca Tf Sir He Do Pis BaJ Pal Poi Frc: At Fat Sni �THE ACTOR'S NAMES Rumour, the presenter .... .................. John DeShazo ADHERENT TO THE CROWN King Henry the Fourth . . . . . . . . . . . . . . . Douglas Allanbrook Prince Henry, afterwards King Henry the Fifth ....... Christopher Newman John, Duke of Lancaster ... ............ . .... David Haley Thomas, Duke of Clarence . . . . . . . . . . . . . . Brian McDermott Earl of Warwick ...... ...... .... .. ......... John Hunt Earl of Westmoreland .......... .. . ..... Joshua Silberstein Lord Chief Justice ...................... Ronald Wingate Servant of the Lord Chief Justice ............. Peter Beardon THE REBELS Earl of Northumberland .................. Jeffrey Fahrner Lady Northumberland .................... Theresa Klunk Lady Percy, Hotspur's widow ........... Anne Schuchmann Archbishop of York . . . . . . . . . . . . . . . . . . . . . . Garth Klippert Lord Mowbray ....................... Jeffrey Hermanoff Lord Hastings ...... .. ..................... John Ryan Morton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Abdul Gillani Sir John Coleville .................. Brother Robert Smith Captain ............................... William Bums THE BOAR'S HEAD TAVERN Sir John Falstaff . . . . . . . . . . . . . . . . . . . . . . . . . Jonathan Tuck Hostess Quickly ....... ...... ............ Irene Sterling Doll Tearsheet ...... . .... ..... ............. Sarah Todd Pistol . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Peter Kalkavage Bardolph ................. , . . . . . . . . . . . . Stephen Jablon Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Emiko Ima-Kohn Poins ......... .. ................. ... Lawrence Saporta Francis, a Drawer ........ ..... · . . . . . . . . . . . Richard Clark . A second Drawer .......................... David Olivier Fang, a Sergeant . . . . . . . . . . . . . . . . . . . . . . . . . . . . John Burns Snare, a Sergeant . . . . . . . . . . . . . . . . . . . . . . . . David Eckstein �IN GLOUCESTERSHIRE Justice Shallow . . . . . . . . . . . . . . . . . . . . . . Robert Williamson Justice Silence .......................... Malcolm Wyatt Davy, servant to Shallow . . . . . . . . . . . . . . . . . Alexander Battles Ralph Mouldy . . . . . . . . . . . . . . . . . . . . . . . . . . . . John Castro Simon Shadow . . . . . . . . . . . . . . . . . . . . . . . . . . Paul Sullivan Thomas Wart ............................ James Passin Francis Feeble . . . . . . . . . . . . . . . . . . . . . . . . . . Eugene Koontz Peter Bullcalf . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paul Brilliant LONDONERS, SOLDIERS, LORDS, SERVANTS Catherine Barrier, Peter Bezanson, Emily Brock, William Burns, John DeShazo, James Dugan, Lisbeth Fouse, Timothy Hanes, John Mozena, Robert Reid, Abraham Schoener, Eric Traynor MUSICIANS Julie Meadows and Henry Povolny �PRODUCTION CREW SET CREW: Matthew Bain, Emily Brock, John Castro, Darey Christ, James Dugan, John Hunt, Brian McDermott, John Mozena, Leah Mulholland, Lalena Parkhurst, Laurie Swope, Eric Traynor COSTUMES: Catherine Barrier, Emily Brock, Theresa Klunk MAKE-UP: Catherine Barrier, Lisbeth Fouse, Leah Mulholland PROPS: James Dugan, John Mozena LIGHTS: Scott Law, Michelle Faucher, Eric Traynor GOBO DESIGN: Theresa Klunk SOUND: Scott Law, Michelle Faucher HOUSE: Larissa Engelman, Cathleen Rooney POSTER DESIGN: Irene Sterling PROGRAM DESIGN: Tina Davidson, Irene Sterling PUBLICITY: Nancy Osius, Irene Sterling CONSTRUCTION OF KING'S BED: Timothy Hanes UPHOLSTERER: Emily Brock COMBAT CHOREOGRAPHER: Timothy Hanes �THANKS TO .. . A.T. Jones & Sons Annapolis Opera Company Advancement Office of St. John's College Friends of St. John's Caritas Society Michael C. Kumer Stacey Venema Audrey Home Maury Hancock Ampersand Dr. William Pepper . . . and very special Thanks to Freya Scott, without whose fine judgment and tireless efforts during the first weeks of organization this production could not have been undertaken. �THE STORY .THUS FAR HennJ the Fourth - Part II is the third in a sequence of eight plays which recount the long sequence of civil and foreign wars which were brought about by the deposition of Richard II, spanned the reigns of six English kings and ended with the accession of Henry VII and the House of Tudor. During the last years of his reign, Richard II had acted in an increasingly arbitrary and unconstitutional manner. In 1399 Henry of Bolingbroke, then serving a term of exile, landed in England with a small force, ostensibly to claim the title and estates left him by his father, Jolm of Gaunt, Duke of Lancaster, and seized by Richard. Supported by a majority of resentful nobles and commoners, Bolingbroke forced Richard's abdication and was crowned Henry IV. Richard was imprisoned and, at the new king's prompting, murdered. Henry's rule was troubled from the start. By submitting Richard's authority to the court of justice, he had legitimized questions which might be applied to his own rule. Those who had helped him rise, most notably the Earl of Northumberland, were reluctant to stoop to him. They joined forces with those who had opposed Henry's usurpation (among them the Archbishop of York) and prepared for armed rebellion. Also, it was widely known that the King's oldest son, Prince Henry (also "Henry of Monmouth", "Hal") spent much of his time at the Boar's Head Tavern in the company of Sir Jolm Falstaff and his cronies, who were notorious for their loose and occasionally criminal behavior. In bitter contrast, Northumberland's son, the high spirited and warlike Harry Percy ("Hotspur"), seemed the truer exemplar of chivalry and command. In the summer of 1403 the King's army met near Shrewsbury a contingent of the rebel forces under the command of Hotspur, his uncle the Earl of Worcester and the Scottish Earl of Douglas. Although other rebel leaders, including Hotspur's father Northumberland, failed on various pretexts to supply expected reinforcements, Hotspur elected to give battle. His troops were routed and he himself slain in single combat by Prince Henry. The King's joy over the victory and his son's gallantry was short lived: Northumberland and the Archbishop of York were still formidable; the King himself was dying of a wasting sickness; and Prince Hal was still more often to be found at the Boar's Head than at the royal court. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Playbills & Programs Description An account of the resource Playbills and programs from various St. John's College events. Many of these items are from productions by The King William Players, the St. John's student theater troupe.<br /><br />Click on <strong><a title="Playbills &amp; Programs" href="http://digitalarchives.sjc.edu/items/browse?collection=20">Items in the Playbills &amp; Programs Collection</a></strong> to view and sort all items in the collection. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context playbillsprograms Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Page numeration Number of pages in the original item. 7 pages Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Henry IV, Part II Date A point or period of time associated with an event in the lifecycle of the resource 1991-01 Identifier An unambiguous reference to the resource within a given context Bx2-26 Description An account of the resource King William Players playbill of Shakespeare's Henry IV, part II Subject The topic of the resource Shakespeare, William, 1564-1616 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Publisher An entity responsible for making the resource available St. John's College Language A language of the resource English Type The nature or genre of the resource text Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Format The file format, physical medium, or dimensions of the resource pdf King William Players https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/8e7a3cdca28fe3dd1a7df3efbcb382c3.pdf 1db652f1c50af9e3ee5999d656d3e593 PDF Text Text WEST STREET STORY Performed as part of the Reality Variety Show May 9, 1981 Produced by Matt Hartzell Directed by Jim Br\lnner Choreographed by Joe Houseal Written by Matt Hartzell William Ney Jim Brunner Tim Ficco James Preston David ·Nau CAST Tony... Evan Canter Maria ..• Buffy Bowser Anita ... Anne O'Malley Ice .... Tim Ficco Arab ... Noah Blyler Action ... William Ney Mr. Potatohead ... Khy Daniel Mr. Donnybrook .•. Andy White Mr. Gorgias ... Peter Gilbert Dean Goldfinch ..• Dan Van Doren Baby John .•. Peter Green Fifi •.. Lis~ Cobb Tutor #1 •.. David Wolf Tutor II2 ... Martin Miller Tutor#J ... Kathy Heed Mr. Milner .•. Kurt Schuler Jack ... Phil Maddocks Pat ... Dave Neumann Kevin Kraus .•. Kevin Kraus Bernie Eisenblotz ... George.Eckerle Marine Recruiter ... Rick Campbell Moonie Recruiter ... Paul Cree Pianists: David Nau Students: Liz Stuck Matt Hartzell Joe Houseal Anne Haskins Laura Trent Melinda Rooney Mary Putnick James Preston Tutors: Peter Norton Kate O'Malley Punk Dancers: Karen Tourian . J@lm Costa · Mike Kessler Gillian Nassau Sue Price Camilla Kenyon Shirin Hoayyad Bert Htitto John Shock �A ST. JORN.'S STORY . --·----- ACT I Scene 1 ! j{ \ 'i--·.1 ,; ·-- -~- .- , :-,_,/; i f /'. ' l :./ - ·1 / :-· • • ~:" In the Coffee Shop (General group of students n;illing _ab out. On etther s1de of the room can be seen a Marine and a ~oonie recruit~r vying ±6~ ' ihe att~ntioh of the students.) Action: _ Is Tonv gonna make it to the dance? . - ~:;:;;.~••r;,_,*Nd!b!.t;t: ·;:_.~ - - -. ;<--·- ~ •;·;£. ;1~:, ·-~ · ··.· X .:}~-;~l;~~,~:::;c._~~~X~~:;i!;:\ -.. :· : : .•.,_J!· ! ~.. '--:,:; :·-·.;~.:.:-~;· 1 ·ij~ Arab: . Naw, Tony never comes around anymore. He's lost the feeling of how it is when you're a Johnny. Ice: :Baby John: 'A'hen you're a ·Johnn~? Action: When you're a Johnn.y)_ . . ._-. .. -;·:·~--~ -~~~ tr~if'(f<j;:ffl"-~:::f[:.;tfl-:. . ;';- \A :.· :;~~ :: $.·:e-¥1:5 ~~~!;;!fy.;•¥l:1i~'.ti0f.::. -. · : '\'!~}S}~ ~t.· SONG: Title should be obvious. \ (~ony enters as song end~.) Arab: Hey Tony! 't!hat's up? etc. etc. }'i fi: ·- ·-- Hiya kiddo, what are you going to write about? get so~ething in this yea~? ~roily: Aww, heck. you doing? ... Fi fi: ' Gonna I don't know. (cahit be bothered) Vt!lat are I think that Hi edi gge·r' s re.la ti on to Kant in conn~ cti on with some of Hegel's ideas about history--which Marx criticized-- in an essay on Huine, which was inspired by Nietzsche's meditations on the Dedekind Schnit ..•. .. would be interesting. · Tony: · Yea, I'm · goiri.g to meL.tion something like that in mine. I want to do something with Achille's Shield ... (shield rolls across stage) .•. .Well ..• and rno~tly I just w2nt to get:it in on time. Fifi: Yea, when did you get your Junior essay · in? Tony: I don't know .•. a couple of weeks ago. Had car trouble. · . Fifi: . Were yo11 ha:P:PY with .1 t? ~['ony: Eaby ..7 ohn: Aww, it was ~etter than all the years' before. (gets his coffee) tet•~ · see what these guys are up to.(heads over) I I I Gee, To ny, you going to come to the party Friday? I I I Action: Cimon, we never see you. . be getting"..:tQ,.. Y.~U. · · · .';:, ,._y.::~?Jv'-~:tft~-~ ...... :. ~ ·-~-:·;. -~ ~ ~ · ~· ::·:.~;. ·d Tony': • ·# • I'm sick of thos e thin g s. what kind of mu~ic That off campus 1ife must ..- .,_, _,;:.;,·.··· . . · ':, .· . - ' Th ey 're always fightin g over ta play, how to dan ce, all that. I I I I I J �Whgn You'rs a Johnnio \llh9n 'JOll' rfl a Johr.ni8 you roll into tmm h~ad With your you'r~ When a Johnni9 you read thj Great Sook3, ho~ You learn in th ·3 clouds and your fngt off th? ground • to talk, (to) give and ta~3 dirty looks. It's so civilized- thay all use your last nama But than you raalize the whole things just a g~ms­ Thsy're all insana! Soon you can't wait for th~t last final day But thBn when it comas you find you'd rath~r stay I Wh8n you'ra a Johnnie you stay a Johnnie! DIALOGUE INTERLUDE Wh3n you're a Johnnie your thg oddball in tow~ cl§ ~n. Th3 Mirldias and Boat P3ople think you'rR a Wh9n you'r0 a Johnnie you're the silliest thing You go aro~aving 'bout Philosophgr l<ings. You'rg lost in a world of orincRs, ~~~~~~ po~ts, Yo~ also gnt lost wh3n you go aut for soap. You fgg! and popes likq HnrJ comg th~ 3 dope! Johnnies, its late aft a rnrion ~ . Hao'Jy Hou!:' . Th,r~ hG\If' go th, JohnniBs, tripping on home To set up the kngs fdr a bash in (It's . flir:1s by!\ too soon. th~) Academic Life - HM~NX~~tXXX"MXNM~~X~l~~ \!1'3'ro h3r8 to stay! Not Chase-Stan~. hard mark and hard pl~y those bums in hazy Sant3 fe. lik~ c~ec-~!) . I H9ra comes a Johnnio and its a surq bat "1dv Th:c.t he's gonna as"'Afor your last cigarett<J, For your las.t - friggin'- camel- ciqa- ratt9! �I -1 Ice: Nah, liste_ man-- I've got this . one all worked out-n wE'll have a geed time. It's all ta.ken care o.f. you know? We' 11 play some, the tutors will play some, 1Ic battles. Tony: '//ell, · sounds good enough; maybe I'll be there. (puts coffee down) Well, I got to get going; Perry Mason's on: ··at twelve. r • John: Yeah, we'l l see you, Tony. \Others, etc. etc. ) Act~ scene 2 -- Dance in the Coffee Shop (Tutors and students, · and th~re is, as in~icated, some friction about the music. Tutors want waltzes, the kids want rock, punk, disco. Scene opens with a minute or so of waltz, then, zap, it',s disco. Back to waltz, back to punk, etc. etc. A floor full of dancers should dance accordingl~y) Maria and Tony enter from opposite sides, catch each other's eye, and walk inexorably towards each other. It is their first meeting. When th~y finally get together, everything freezes ..• Maria: ~: Are you a tutor? No~ .. Are you a · student? ' Uaria: No, I Lm a . Febbi e t .utor. · Tony: Oh, I~m a senior. (a pause) I'm going to vrrite my essay about Achilles Shield ••• Maria: Oh really! It's such an elegant metaphor, and ties right into . Plato's cosmology. Tony: Yeah, w~ll I kind of liked the Greek plays • . Maria: (becoming excited) Oh, the Tragedies! "The Purga.tj_on of Pity and Fear" about which Aristotle so eloquently wrote • . Ton~: ·You know, last -year · party~rs in·• back ·strike up 1~ortimer a line Adler said ••• (a chorus of or two of "He's a real Adler man.) Maria: Oh, Mortimer! (reflecting) He saw the connection, and . understood how Aristotle built the foundations we've been building on. ever since. · Tony: Yeah, like Aquinas~ Maria: God, yes! Aquirias, given Augustine, -is exactly what I mean. And Dante brought art to this culmination of reaso:1ed faith. _ Tony: And then you get Shakespeare ••.. • r;;aria: E·JCactl v. Shakespeare portrays f.lrt qnri nature so well in t;T acbeth, Lear, and·.. ~ Cymbeline •.• and Sonnet. 247, and then •. ~ _ . . v Tony; Right! Since. we have reason in art with Aquinas, an~ then art and natute with Shakespeare, it'e easy to see how Bacon had · to come along and unite Reason and Nature, and make Her his slave! Ma_!'5a:. (moment<lrily silenced, perhaps tingJ.ingJ •.. But what is · nature? That's_the next question. And then we've got to look at Descartes. Tony:: I think .•. {not necessarily intending to say therefor I a,'!) Maria: Therefore •. (nodding and s~iling) Right, right, exacrlJ! �Maria: ·Without a thorough examination of the self and sensation, how are you going to found Science? 'Docke understood that, Hobbes understood that, and when •. ~ Tony: Well, Kant of course ... Maria: Yes~ yes, Kant forcied the bond between the ... the~ .. . well, the "fell- incensed points of mighty opposites" (Ham1et) by bringing together the epistemologi·cal . ideas of Newtcn and Liebniz, finaD.;t we had the union of logos and empiricism that give~ us Science. Tony: - Yeah, so man can become a rationa], observer like "The Incredible Huck". Maria: Who? Ton:v~ . You know, (stutters) Fa, Fa, Fa, Huck Finn. Maria: Oh, I never thought abou.t him like that. Very Apt! I guess this whole thing represents the kind of develop~ent Hegel was talking about .. Tony: Does ·that ~ontradict me? ~~ria~ No, not really, becaus~ modern philosophy begins to reject the absolution of non-:contradi-ci;;ion. Like Nietzsche, who can love and - h~te in the same breath •. (sigh) Tony: It's strange, but Jesus loved and hated. But what about _ _your neighbor? I mean .. ~Marx. All he said was "Why should you make money off of my labor." How cari J"OU argue with that? .M aria: '. But ·consider my Soren Ki erkegaard," He gives us many ' more inspiring arglL~ents that each man's only real responsibility is to his own spiritual freedom. Tonv:Yeah, that's kind of spooky ••• (fearing and trembling) when you realize that ..• that ••• (eye ~ontact; romance) .. you need som~hody to talk to. · Maria: (After p~olonged eye contact, she breaks off a bit nervously) · Well, you know, Freud pointed out ~hat what you think you need m .~ not be what you really need. It's all rooted deep in your hidden past. Tonv~ Yeah, deep. Uaria: But I know what you mean. Close friends are the natural release for those ki~d of thoughts. (pause) . Like Zarathustra, "0 you great star, what would you be if not for those for whom you shine?" I guess that's what ••. - ~onv: {Finallv reading her thoughts,-interrupting her) all about. · ~Phaedrus M~ria: I is Nhat think you're right. Tony: Wow. (big pause) · Maria: Maria. What's your name? ·Tonv: _ 'l'ony. Maria: Listen, - r've got to get going. It's be~n realJ.y great talking with you. Bye! (exits) Tony: . ..•....•.•.•. see you. (Wanders upstage to sing ) •.. • ,... . ..... ..,• •. ~r- . '" •· · · ., •. • .• ··----- •-.::-- -.., ·.;" ,- �Sovw ~ ~ PURE :rtEASO.N ~~~- ~ .// ;;~·;-;--y_The L- spark of my mind _ was dead for years (Pure Reason, My Reason, ·Pure Reason, My Reason) ·.. i Tony: i 6j It's my reason not a Job that will ~top my fears (Pure Reason, My reason, Pure Reason, My Reason) Tony: Pure Reason, I just met a mind with Pure Reason, And _suddenly my brain, will never be the same to me! l \ Pure Reason, my nous is alight with Pure Reason, l ~nd : j I · Pure reason, use 1 1~~ it wrong _and · , · · ?ure reason, let : · t t will grow--my j • { suddenly its . · · ~~~~~ite'~~eat) l• (ba\\ to line 5~ clear, G ~Y appe~ception's it well and the . ancients a~e passing Nietzsche is laughing. it go and the judgements are flowing oral will be glowing Pure Reason, I'll never stop using My reason. Ptire reason, I just met a mirid with pure reason And suddenly it seems, my will is willing dreams of her! Pure reason, categorically she's what I sought ·:t's imperative now that I ought To love her, I'll never stop loving her Reason! \" / 3 i ,_ . . ?; r--rl ' 1 " dear to me! I \\ ...i • ............ . - --· ··---~,- - ,, ··---,--·k·-·' ..... ~ ......... 1 -- - ·-·---~ -- - ... k•···-··- ··. -·-.-.·····-··-· .. --~-, ._._ ....... ________ ,...,.. ...... . �I I :n. Front of McDow. ll e Scene '3 (Gang of ~eniors sitting out on the steps of McDowell when Baby John enters, books in hand.) Hiya guys .. Wha.tcha a:11 doin sittin out here? . (Ko 1reply a few random grunts of recognition, till he brightens up) Oh 1 1 get it! You're planning the Senior Prank! -ft.: , . ~~ ;v} . u.-\~ t'-!.1 <:5~"· -t.li'\kv;~'0;"J Sl-!o.l(e;t'<aVC!l'l - ·1 _Action: I like it. I'm going to ~~>M . '~?"'~~-~&~-- Senior Prank''. (general laugh t ·er) · · ·· "'"·'·-"·.,, · --~--~.-., , .. · ·-·- -:, -'<'-.:,;.-,,:::•.;:,,.,·;..;;, _ John: s~ve ."'.. • · . . : · · ~·,1·· i:·~:~u·~ ~·· · .- .· . ~- )}:~:f;.~;:!,~ ...,._d:,i J:i: · ._:,,;•.,._. ··· · Huh? (hurt ~y the laughter, till he figures it orit again) ~I know, you g~ys . are all in trouble, a:ren't you! Arab: Well, ·whatcha think the dean called us all to see him fo!.'? rifi: Look, we're Seniors, right? We can't get outta here until we do this esse1y thing, okay? It's nothing lfke a_freshman essay; I mean, ~writing mine on Hegel . John: Oh. I've been thinking a lot about Achilles' Shield. · the flinches as a c- attering _ l is heard backstage) Hegel can' _ be t sc hard, though, cause it's all written in dialectic anyho~, isn't it ? Action: (laughing) ~eah, what's that you're readi11g" ,.j;r-'-e:r:.!'3 :"'nQY,'.J_,phi lo ~o p\'].~er._, _.~"-~f.he ,_Di_ a,lo gu es of S pi derma_..:'3 ..,~--:-~''""""~---T). ~'1<1 -.i..•,_ -..:.::.. ~u':.Y.·' ~~-.f1.~.::~u .c f. ,· ; . . .... .:.. . . ~ · ·-· ' . '-·· ·· -'·.·..:-•:-z~~!::!;!t.~t,.,·~~~~l~*·~,:,_,!:- -: .~::...:t~ ... ...... :... '•"'" • -~,.,.~~~- · . · John; Naw, it's this really neat brochure I got from the ad- . missions office. It's got this reallyneat walking tour o.f the campus. (reads the, cover) "St. John's College ... A place to learn to walk.· . 01Iilner cycles in) Arab: Yeah, and -to ride, too! (Benjy parks bike to assortedHi t'lr~ Milner, Hi Mr. Milner •. (from the back} Hiya, Benjy! Ben: Well, well, .well 1 and what are all you, ahem, gentlemen doing out here? Are~'t ybu all scheduled to be meeting with the · Dean right now? Action.: · Well, you're right, Mr. Milner, but the bell hasn't run€;yet; h~s it?~ -· .t\~~,.,Y9V: -.)cno_w____we , _ nev~r. __ gp -~~~~ < un_ _ . ..7,.;the ..,, }q . 1t.~l,l,;,cr,i;J.gs,~:r.--;..": ., ,. ··----~ . · '· ·:· . ...,•. ·- ....., ' ··. l~H·• a h J ~"~I-(~ ·"' ,; _ · ··· ·, John: ; , .Q>: . · ' . ' Eeh: Yes, but in your case, Mr. Cass, you rarely go to class even after the bell rings. · (starts to walk ups~airs, · pauses, and turns to Action) and by the way, why don't you make an appointment to see me at your earliest convi~nience? SONG~ Dear Kindlv Benjv Milner _ _ _ _ ___y __ _ _,.,.___ _ __ • �Officer Krunke - aka BenJB~ln Milner / .:udent: Dear, kindly Uncle . Benjy, you teJJ me, "Go to class!" Somet ime s I just don't want :. to c'lelve into ~:hat morass Where instinct's fairly mangled, it really hurns my spleen -When eyery phrase starts with, "Jttst what do :iou mean ... " chorus: Yes, Benjam5n Milner, we're really upset By Socrates' daimon, you see we're not ready yet For balding old fat men who question all day, When •.ve know philosophy don't . pay. ( J;t don't pay!) It don't pay, i t don't pay, thxre's no earthly way. I can't eat by knowing the ej_de! · - student: Dear, kjndly Freshman tutor, we started with Plato. But I was just a sophist, I w~nted to make dough. Soon fotind I had to study, wa~ forced to seek the Truth. Yet wound up, drinking, up on Paca's roof! Yes, benjamin . Milner, he · shouldn't be there. Please make him go to class~ yes wou1d you teach him to care. He's not really trying as hard as he could. · Deep down inside he's lost The Good. (IJc.:;t the Good!) What is good? What is good? Can you teach me good? Don't yo~ know, I wish you really coul4! · t utbr~ ~~ chorus: student: · Dear, kindly Sophomore tutor, you tell me there's a god. Wno's rnerc.tful and -loving, yet isn't it so odd That treachery and warfare were justified through him? Geez Louise, all my guiding lights are dim! tutor: Yes, ~enjamin Milner, this child is not whole. Jt'or rnatters· eternal I've found he hasn't a soul. Uorality's lacking~ he's deyoid of grace. H~'~ headed for that nihilistic race. (Let's save f ace!) Let's save face' Let's save face! He should be disgraced. _ We have ways to make hici leave this place.- of tutors: ~ horus ~.2::7~~;;: ~:.:t;'l:~~?~,~-;~·-~~1-~l'·..:"'),{:-" -~-~~ -~~-~-:i~c.h- ~:.: ·:;';.'!;~ ~;:; ~~~~,.~;t::_~;;~,~,~,~·- .:!Y? .., !t!<' .. . •. :f-'"r ··!'· ~> --~-r,~.t;::·.r·~-~~;-·.!.~: ·F.:tail-1:\:: t':;'t:-;;;~ .'~;'?,f..~;';.-!'¥.~~'ff·:rrr~'i?£~!}.,,.;:;~"ti¥~~TJ.t~ ~ -~.A1 student: ···;!Dear,- kindly Junior- tutor, I can't translate "esprit''· · ~ nd Descartes had no uens~~ with which he could d1ubt me. ·A nd yet with all them· numbers, I . couldl1' t get to ''one". _ _ ;rnfi::-li ty stopped me, who said this would be fun? ., • -~ · ;; ::.''':· .:--p· · ~- -~~ · tutor: r chorus: '> ~'i i:~';.iCi~'1!~~1~M>"i:- >···· ·~' ~ ::: ~s;~r.-- ;~. {"'.-_~, :::;;Rf~~~:;·~~;~-~~·"·;·.>.:;.:· · ·:. · " ? •• ;- .. . . ·_: ~ '~'~ .-- -~/''' "" -~- ·: :·; ' 1 _; ._~ ~1r.:-;\~:-. :t·t:~'ttr:·:I~~~:;~.:·JJ.:¥;~;-~:· Yes, Benjamin M ilner, he's had a bad year. · He - never opened Kant ~ithout first downi ~g a beer. His dogmatic slumbers were noticed by all, And nine p.m., not · Newton, ti~ed his fall. (Ti~ed his fall!) We're so s m Rll~ We're so small! Eut there's one more Fall, Till we're.sen i ors, yeah, we'll tell them all! stude n t: De<>.::-, kindly Senior -tutor. you got.to m:de r stand It's just my reiding Hegel .that fet s me out of ha~rl. Our wills thon e; h~ they were cons ci nu s, · we want to make 1noney . Look what happened, Marx said we we,~'t free! cho ru s: Gee, Eenja~in Milner, we're reallv a~noved. You've (]Uoted P.verv book to us fr;.rn Eom'er to Freud. You say all ~he _ answere ~ r e fou ~ ri t he~e inrtAed _When wi 11 :yvu wA.ke up? lie .~an' t :::c;4_ d!! .. �ACT 1 Scene 4 The ~eeting in the King William Room (A group of six or so tutors in robes sitting around a table, the gang of students file in and sit or . stand around. Until the song, the tutors in this scene are stiff and formal.) Dean: Good afternoon, setiiors, I'd like to. welcome you all to this essay rules meeting. We shan't be too long .•. Mr. Dean, Mr. Dean, excuse me. I don't- want to bel~hor the point, but I will. While we're all here together this afternoon, I'd just like to remind you seniours, as you are composing your essays, to be cautious about makfng historical references, because you don't know anything about history. This is an important concern of mine, and I really feel that it should be one of yours. After all, after two years in the ·French Tutorials --and I'·ve been teaching the french tutorial for 26 years-- how many of you ·,can hone~tly say whether Pascal was a contemporary or a =:. 'Predecessor of Voltaire? Potatohead! Fifi: Pot~to: Oh, I know!! (Someon~ nudies her for silence) But I do! I do! (not perturbed) ~ .• or f~r· that m~tter, how many can tell whether Baliac and Baud~laire were representative of one or two cultures, OR whether or not they shared the same middle name! Who can distin g~ish Andre Hercule de Fleury from Claude Fleury? {he looks towards Fifi with a sneering s~ile) Yes?? Well, the only poi.nt I' trying to make is that precious few of us have any awareness of the glorious richness, the verderous fecundity of the lives behind the words we read. ( Look.ing into space, tapping his pipe) Gustave le Bon and the peace at Pasay, ~rmand Hippolyte Louis de Fizeau, · . . Ennui · and Henri due de Montmorensi, , (breaking rythmn) Auguste Charles Joseph de Flahaut de la Billarderie •.. Dean: Potato: ~~an: ~e ( ?- -t· the third line, begins coughing increasingly to cut hir:1 off, interjecting) Yes, well taken •.. of course .•. Yest but .. (gets serious., points pipe) And I haven't even touched upon the prominent German or Romanian or Yugoslavi~n figures who... ' · · Yes, ye~, thank yo~ Mr. Potatohead. A g6od point, and well · taken ~tis. Take that down, will ym.J Terry? (looks around) . _Terry. Terry? (feeling lost) Terry?? Oh, well, I'll have to make a . note of it. (To the .class) I know ypu all peobably don't think of me as your dean, but I 1 ve always tho ·u ght of you as my senior class. I want to help you, and I'm very concerned that your essay be a fulfilling culmination of jour time here. So I'm well aware of the agonies of perplexity and the choice of final decision ... (looks up quizzically) Was that right? And anyhow, well done, well done . . As you all know, there are certain 'guidelines which we strongly suegest·you adhere to in the course · of yo u r comuosition. Mr. Potatohead here has.already g iven us an ade ~ uate demonstration of the skills and devices of rhetoricRl ~e~su a sion, and so now I'd . like to turn this over ~o Mr. D onny~rcok who will have a few words to tell ~s about the second of the three expository techniques which we· value so highly h•}rc at St. Johns College, o:f which I am the dean .•.... �b I-4 Donnybrook: Thank ·ynu Mr. Goldfinch, cha r mingly put. Utterly rapturous ... almost purple, for lord's sa k e . . (cha n g ing glasses) Flattery, you know, is a ffinny thin g . · I suppose one sees it most clearly in •• amorous discourse, you know, love talk. Yes, flattery, that's what I'm going to talk about, and~ of course, I shall do it . well, if I may so flatter myself. · . "'" ~--r·--- - ·---~-,__,.,.,....,.A W -t . ., .· . :r~ . W . . ,~o;,::~~rtf~-~:t:'.YJ--/)~i' : ~<~"""/>yC'-/ / .,) 7 9::::::;:~ - -~,..!.-rn~;;z.~;;a_:-~~~~J;~~~:::?~7:~:7, ., ;ifflP:~/¢. ~ ~~;ttY!1!.J(ti ~-<~:f7""'1?:ff-?~Ftl!t"trg1'-t7"rarrrvrou f?, r fH:~au~s.~~:r,gt>tt f~·ffi·n';' a ~}fe /.('~iq fy ?-,/ / . · . · · Flattery, you kn9w, is like a woman, · a beautiful woman, a heaving, voluptuous •' virgin whose .s o11l desire is to bring pleasure · to all that she li g hts upon. Her tongue is a -thousand fluttering doves, which capture and allure a man and arouse his throbbing ambition, ·which ... eh .• , well, certainly not unlike the lust of Zeus for the swan, Leda.(picks out a girl, smiles, all 36 teeth) Yes, a beautiful woman, flattery, and one no man -for student~ can afford to ignore. The fl a tt e rer himself must be a master chef, serving up the one perfect dish for every occasi.on. · The _succulent breasts of a · sumptuous duck a l'orange, •.• .Potato head: · God, that's · good (nodding all directions, smiling) Donnybrook: •. Yes, _·y es, .. tasty but not filling ( s rr; iles at another girl, changi n g .glasses) •. yes. And then · for desert, the richest . chocolate mousse ever conceived, or, perha ps, a babas au rhum -flambeau. It depends, you see, on the singul a t humor of one's. guest. },or either one, :offered ._, to :l the ri ght man or woman, can convey . her into the most blissful sbmnblence. (another smile, another pa ir of glasses) Goldfinch: Yes ... ~es, well, •. uh ~ Well done, tha nk you Mr. Donnybrook . . M wife Lydia.~. y • Gorgias: Well, seniors, you've witnessed rhetoric, you've heard about flittery, but . whert it comes time to tlesh out that essay, when you're at pag e 18 and have noth i ng to s a y, I hope you'll keep i;n mind what r:-have to say about Sophistry . ThErefore, listen up. Sophistry. is th e 'world's oldest prof ess i on. Let's take a . hypothetical ~ase: a hypot h etical student~ a hypothetical committee, a hyrJot h etical essa y, and . a ·hypothetical ~ four copies to go. Follow? Okay. Wh e n _h e student h a s rak e d his field with rhetoric, and. has t spread the fertilizer o~ flattery, now i t is ti me for him to sow the seeds of soph isti•cal arg u..T"J1entation. There he is-follow? He's got two choices- he ca:a c nlt.ivate the field or l Pt it grow wild. But . if t h ose - seed s are io s ~ rout a nd m8 ture, th e n there is in fact no choic~. The weeds must ~e culled. Sowha t a n I talking abou t? If it's not obvious to you by no w, I'm taVxng about th P conquestl t of the oppon e nt hy me3.n s o f tJ_nd e n j_ab le, i r refut a bl P lo c;i c. And yet, sophi s t r y is more th Hn mere logic. For wn en cut off at one junctur e , t he s t ude ~ t arm e d with sophistry cantecome the ffiany-headed hydra, .s e eking out at every monent any nu..rr. b er o f PPr f e ctly 1 e g:j_ti mate mPai s to thE" d e s ire d encl. . l-\.c :r:P. mbe r · a't a l l -c o s t s !. ':The end justifi e s t h e means. ~h e r e i s no a b s olu te ~ y true o · fa l ~ e argu.Jnent. ~ucce :::.: sful a r g um e nt do e s not d e pend on any intimate relationship wi t h The Good. You too can ma ke th e weaker app e ar the strong er : simply hy e mploying these useful .:. t i ps; 1) Don't strain fo r intim a te k nowler: g e of the subject. Who needs it? I me an, wh ". t is UdR, a y A. cht club? �7 I-4 2) Keep talking. Silence shall be construed as ignorance, and allows the crafty opponent a chanc~ to pick up the ball and run with it, using his own sophistiQal skills a g ainst you. 3) Never admit to error . . When backed into a corner,_ be pre- pared with the formul~tions de.signed"':transfer or communally distribute the error to the ot~er members of the discussion. In conclusion, let me be brief. (~olonius from Hamlet) Give thy thoughts much tongue and · any unproportioned thought its act. Be thou familictr, at someti_ mes. vulgar . . Those devices thou hast and their adoption tried Grapple them to thy soul with hoops of steel. B~t do not dull thy mind with contemplation Of each new-hatched, ur1fledged idea. Step in To the entrance of a quarrel, and being in, Bear it that the opposed be aware of thee. Give every man thy vo i ce, but few thy ear. More lavish a vocabulary than thy mind -can hold But not expressed in deatail- gaudj; not deep. For the syllables oft proc'laim the man And they in the oral are of the best rank and station ~ · And of a ~ost select and generous chief in that. Neithe r a dog l matis~ nor a skeptic be For doubt oft loses both itself · and them · And adherence dulls the edge of an elusive tongue. This above all~ to thine own self he true, _ ·And it must -follow as the night the day Thou canst riot lose to any man. · Dean: (after a grand - pause) Well done! Well done, I ~are say. ·_ Well,· ~t~dents, are there any questions? · Arab: :~,\ Well, what about Plato's cautions refarding sophistry? I mean, ~an you really get anywhere without d~alectic? . And I don't want to be a sycophant-- I mean, hey, I'Ill _;!'.\ no brown nose. I mean, I like to call a spade a spade-- ~~ · :~C. s~~-ak -~-_ -._tr~:h, ya ·.~~.~~.;;~-t~:--·· - - · · · : _,:;,~.:\;;~. ·· ·_- . :~-::-~.;;:;.. : : ::..";: ..:.:":.:~'~·~·- ~ '·:.:.:·~.-_:d_y,:,;;i;!_ ! Action: Ice~ Yeah, and Mortimer says The Philosopher says its not rhetoric, but lo~ic that conv.inces people. Makes sense to me . • Tutors_: Kids, the fact of the mco tter is; you'l;L never get any~wh~re that way. Trust us!! ! Dean: Well, that seem~ to take · care of everything. Good luck, and please feel free to come to . me or any of us here with any probl e ms you might encounter in the next month. Good day. · (after ~tudents file out) Potato: Do.!!!!Y_: I know what you to be · had here. Gor~.ias: SONG: mean~ God, I love my work. There's a certain ••. ah .. fulf.illment Well, it follows, ya know ... I LIKE TC = ~BACH IN ANNAPOLIS �·I I.IKE TO TEACH IN ANNAPOLIS At St. John's College, they learn to think. He:r. one -' also learns to drink. e Always tho h appy hour's flowing Later the seminar's blowing With the red rose glowing Scan .the conflicts growing f ffhe job requir~s • snowing' l_ I . like to thin..~ and be thought of .t!,ere one can l :~ve with the • ought haves • · r like. to teach in Annapo.lis . . Life is a peach in Annapolis I ( Red 'brick for each in Annapolis You <;;an catch fJ ash in Annapolis /i ..-- . .- \ 1 ~- / !/· 41/ ..-· ·_. . · r . {) _!ut vU-L<j (Here you are as ~ree as yo"! choose ;., -/ ~ Free to read, taJ.k, and dr~nk much booze/=':"' ·; Sometimes thE.! cla ss '" is a good snooze · · /Jv~v ·-z~ · ~,t- better kno•H Kant or you will lose. ·1..-1 ~·. · · · c~·,_2I<J . · , \lih:my well speak in Annapolis · · \Life is r t:al Greek in Almapolis · · i1~opsiders sqlieek in Anru1.polis . ,c heek to ;J cheek . in Annauolis r. '· .. . ,~: · -d / / • I ',. . .r we ~-11 stay out of . the Crime .zone . )-) Faculty parking in Chase-Stone ,#'~~ · \' Ber•. , wouldn' ·t wa.l'lt them to steal parts c, · ~ \_Eut of our Pintos and Dodge Darts . .ibi tize~\S frr.:~ in Arinanolis /c.?// town is Annapolis / ' V · L{ A tutort s a ;clown in Annapolis ·VJ, pove:rnn1ent . u3 ~:~::;;~:~~;f;;e~a;;;;s~;y . !· ~are · if the bells ring _ can not he-ar a damn thingl hat do I /Jc~2):.-c ~l~A · w_~ /1-C- .J':-.cA.___/ Vduv : i . �·. ACT II SCENE I t ~rt.)Yl·(.Q Coffee shopa Marine recruter at his place. Tony towards front. Anita enters, spies him, and immediately zips right over to him. Anitaa · Tonya Hi Tony, mind i:f I join you? . Maria Anitas 0~, uh, Miss Sun~ I'm surprised. having a paper conference with • I would have thought you'd choose a more Wha~ experienced tutor. Tony a b~ Sure, I'm supposed to are you writing on? Kant and his Copernican revolution. I mean, tr~ing to see - how much of his work is really just putting the self, or the understanding. in a new position with . regard to the ••• uh. • • . . It's coming along okay- Maria- Miss Sune has phenomenon. really been a help. Anitaa . How interesting. your work. - ~ogether I'm glad to see you so excited about You sure have progressed wince our time back in Freshman lab. But even then, when you were havfng a hard time, I always thought you had ••• something special. You know, I've taught many a freshm<ill1 lab in my day' but that yl!ar. when we met·, it was like learning it ·all over again. Tony a It was a very good year, wasn't it? Yea.h, yeah it was. You know, eve:JOytime I smell formaldyhyde J. think of lab, and you, and those pithed frogs. ·. . (Maria enters) · Oh, excuse me (He walks over to Maria, leads __ .her Anitaa ove 7~· to the table. Well, let me get out o:f your way. Anita is .agha.st.) Bye-bye. (Maria and Tony sit down) Maria i _ We •• • how• s it going? .. night? Did you get anything done o.fter last �Tonys Yeah, a little, but my legu were kind of fired. I VlTote a few pages, but ••• it doesn't look like what they want. How can you l!lake Kant look like · Rhetoric, Sophistry, or Flattery? 0, f) • Maria a (pf~se) Darling, don't worry. The two o:f us working together can write a paper that it's hard (they both sm~le, ~hey Look ge~ something together. (unconvinced} · uh-huh. Mariaa I know pause), but with your youthful enthusiasm and my experience we can Tony t .wiil love. ~ony, idea of ours, I know it can work, I know it. We -can write a paper that ciemonstrates your abilities to use Sophistry, Rhetoric, and Flattery, as the instruction committee wants, and, that satisfies you and what's -going t· - on in your head. ~l'ony • .We can clothe truth in beau. y. t Yeah, I guess, ••• but it doesn't feel right. It's kinda funny. •. . Mariaa Yeah it is,.- •• but you've got to write that kind of essay, if our plans are going to worko You're going to write a great essay, you're going to graduate Y!ith honors, and in five years, you're going to come back to St. John's and teach, and we'll be together forever. Tony a Yeah, I can, and we will. Jt This is almost too much. For years . I've been just itching to get out of here, and now, since you, everything I want is here and depends on an essay, Mariaa Its as it it was meant to be. Stranger things have happened, (Bell rings) Tony a You're so smart~ I've gotta go. (all the while Anita has been listening ::L'"ld reacting- e!lvy, a.~ger, �S'av~J ·4-I F_ LL B ~~'.' I 5" Tr Y i Anit~ r~·:a,:c ia: and Others: assu- ed 8.rd rel &Xt! d If f"·l h itty So . cal ~ ~~d wi tty Di,sc ... £nirig t2-:"' fclsc CJ.nd the So I fc .. l tru~ \:t!ll sh ;~ 'C. bt:tter \·:ise up Or we'll screv her ass. · s~e Anc1 I nit•r ttos - 1.:r o :fail to " ~ th LrrfS. as ·'- .uo • T , bri~; ht· Maria: I f"'~l ch ~ :r ,. .~_ ng I Oh so chc-. r~1i nf; ;"11~~ · r• -n,. . ' I -!-:s u , __ _ iTil:rJ,-" _• ....,. \ ·' And so ~itty, Oh ·so \-.'i tty· ...,r,-,l"na I f.-.. ... 1 .... . ~ 0 . . (''~ ·-· ~-' The ~tudents will a~l flock to~e I Nay ~ ven tak~ th-: limelight off d~ar iioward Z. c~n h ~ rdly beli~ve I I ':n. r .:.J.l • t '.., .. l-Tot' ·" lo _ ~:Tho I &. ..., • • llh"'""Y'"''"~l.J .._. .o.) -'- '/ _. co·-;., .·' .......,t! .. _ -n LJ .. ..;, ,..I _, +,}l "'T"' 1 - •. sirl bril:..i~n ~; c .J.n tL.:t OTI -- · . \ , I • b e '; - v -. . And so l .i c.::t;, ~. -llc.t · .~ lse . til er -~· · ber:~ I ·f ~ ,1 · clcv~r Oh so cl"v~:r So br~iny its I rr-: po~s~ss ~q. sur ~ ly of a a crirn~ ~- ~ -~· _lJ 1__;...._ .. -'- "':.· y :. . . -. r•ar,r,.,hl,. . ..t\.c...;. _ .!.... ~.;,.. .: • ~..~ · ~· .A.n ita: you I d.:1re ·A the new girl M~ria she's . cut -~ .:~ s c .:~.n be s~en s2-y H~.rv~~. rd I aD sure _r g -~. d- Phi B. t2. 6 s~~'ll thinks s~ ~ ~s in I think its absurd S~e \·! o -L~ l '-~ ~:il · : ~'!'s Ori ~ 31'.:.:~~ -.~:_i n~= v'"'::O""-'k! ·....:~. ......... ~""" ..,-. c;.;>t..~ .,. -L ,.st'12. ·:~,J4 isl::ing sh.::: 1 s 11~2"' job <:~\·:<.:rc 2."' '--l ~ s • I'uto~~s 1 t~1cl1r: ht ~.:ll !.! Did you catch the word play there? " Ho\·! do th ': se spc.rkling ger;JS , '.PP"'o..,..,? . ' Such n witty oind Such a ·vri t ty tongu~ Such a -..d tty eye Such a vitty ear! ri~;::Ct-•.. ·~ \·:.::.s ~: · .:. ~-_; t do ir.. s l'~ ;) 2."' j c b; s~~ly I'm poss -":ssed of a ' • t l·; .::t "· tutor 'S tr ~"~=.-~: ~ ~ ~: _;. :__ ..: You l·: no'.' y cnc !'~ I r:,, r2 n I t 1' :) t i (' ·': d , .-(~ e, lev~ J.nd s ~ -- '" ;::s n o t 'to c :_·:T' :~ Ot£. ~ r ~ogont- and che ese j nd \'rine I crin hartt~y beli~v c r.ny EJ.inc1 So brai11y its driv~ b ~ r· or "' r , .:: "'.:~ .-. d ... ~~op ~~ s crack~rs .I~...-.._ I feel cl""v~r, Oh so cle".rer 1~:1;;~· 2.. do well and m'" ,..,y •a -. 0'' ..t.. Of ". • L;_ J C:: 1 1.- :·ou lcl . brillicnt vibr.:!nt - ·~ mind! Have f~ ~ l I f .~e l I feel So well-v~rscd in Gr~ek, ComfDr'ble with Kant, T ·'ell l".,..,·" ro.,.,.,:d. 1"n L·"'o ' .l.. '~ . . '(.). ' ' f~~l ~itty ~ · c.:!:'i::le ; r~tty mind! • re~ ~ rkabl · �10 KING WILLIAH · ACT II, Scene 2 . ~t tutors: So, Hr. Kraus, could we conclude from this -discussion/\the truth can be clothed in beauty? Kraus: You knovJ, the truth is so simp1e that it just often looks like pretentious banality . . But when I'm working on a problem, I never think about beauty, I think of only how to solve the problem. But when I've finished, if the solution is not bea~tiful, I know it's not true. The truth's more important than the facts, and though we travel the world ever to find the beautiful, we must carry it with us or we find it not. · utors: Thank you, thank you very much for this most enjoyable conversation and congratulations on this HORE than satisfactory oral. r aus: r (Shouts for joy, jumps up and sheds gown to show boxing attire while Rocky theme blasts. He · dances out. A timid looking George Eckerle type timidly approaches, while music fades. ·olf announcer: ·And novT, approaching this final challenge of the St. John's College open, the leader after 3~ rounds, Berny Eizenbyotz, candedate for the degree of bachelor of arts, hoping for a birdie on the examination of his paper entitled, "Freud and the Eternal Longing for Haternal Love". Arid now .. down to Jack in the King William Room. Jack? -o,,~ f. i;c. h~V) -Right, Pat.M I:I,r. ~s approaching the chair now1 he's about to sit dmm. He' S'_._-fowed over tlf~/7t2~~t_t~~~nd.,hs-eems to .f-ee±--p-r-e.t:~ : a&&L~~ _ about the outcome.~ rr~~s 6h1y u~1 by a stroke, and must feel that he needs the bird to walk out 6f here a winner. Of course he · has 0\ d'ff11:..-\t li~!.-- he's _hcseu1 ~ f-..:;.y.Jiil-+.::.r;;c. . r~o-t 'ri t:l'lj c s.~(, /..:-rs I.Vcvi~ -..;;;,;9.if qt1Gi:''Pt · i~o : ,b ~i·ns ~~it:-~ ~1 r-r~Qd re~~~fj -h-o.Y\ +h1s . c.: i ·H-.,<~i•.: t-. b-h:'R c..:,-n ~ 5 -- ·H-1~ fv-cuc;t..f ~ .. :ernie: Freud conceives the mother to-have a crucial role"in the develop~ ment of the child. This .is altoeether fitting. But wither does he go? '~1o would deny that he's only truly perfected when he can achieve to his needs, his desires, with· the aid of reasoned speech: loeos. And so, in light _of these appreciations it is my the3is that ma.n is fullv understood onlv in a ·svstem that considers both this primalJsource and ulti~ate per~ection. Such a consideration produces this proportionality ~hich constitutes my conclusion: Ho::her is to man as man is to logos. Here He see man as the mean ~vhich can only be qualitatively and qunatitavely determined when the first antecedent -- MOTHER, and the final consequeDt LOGOS have been synthisized into one concept. ?at: Quite a precis! . \-mat's the reaction- dovm there, Jack? Jack: Pat, it's quiet dm~T.. here, a hush of acknowledgement and anticip at ion has fallen over this crowd -- I think thev loved it. It v1as quite a precis. But no one here is quite s~re what's going to h a ppen. Let's listen now, the chairman looks like he's ready to tee off. :.1 �- 2 Chairman: Mr. Eisenblotz, perhaps it ~vould ·be helpful if v7e started off by eiamining more -closely this relationship between the logos and ... your mother. If the antecedent and the consequent do surround middle terms -- which in this case, are in identity with themselves, men to men, just why is it then that your mother is like logos? Bernie: Well, I thought I had .s hown on page 13 ... Chairman: See, I was thinking that they're both common · to all ... Tutor :/f3: M<Qn .:. - yes -- very good, very good, Hr, Chairman. giggles)" Bernie: l.Jhy common to all? Could you clarify that a bit for me? ·~r· Let Is look at Euclid. (as if .it Is " obvious) ~ . Tutor #1 Could you tell me what your mother has in common with proposition I-47?. (tutor #1 is the bully type) Bernie: Well, I ·could try. ~ ·~Well, 1 T.\.ttor :/nt Bernie: on let me I really hadn't considered it from that angle. tell~what I'm thinking. I'm thinking that your mother and I-47 ·all sides. both require erections . Hom? A~~ Logic's the light of nature ; How's your mama like a light bulb? Bernie: ifo3: Well, she's always bright and warm, and ... v1ell .. • . . No, what I think Hr. Miserable (f.fl) is driving at is 'that anyone . ·can turn her on. brigh~. Bernie: and .• . and ... She alv-1ays thought I \vas so me son. that she called Tutor {.!:2: Nr. Eisenblotz I don't think this is the place for that kind of levity. (Tutor· :/12 is the _ · . · type) Bernie: Ooh, oh, sorry. · Tutor f,/=2: (seriously). Hell, Mr. Eisenblotz do ' you have thoughts, or would you hazard a guess, c.s to ... .(smiling) Hhy your I.r.other is like a cigarette butt?? . Bernie: N ... n .... no. #3: 'Cause any old bum can pick her up off the street. (pa~se) �- 3 Bernie: I don't see hov7 thesis ... this~ ~ even if it is true, has any bearing on my ·well, it may be that ciearettes ~re too trivial a consid~ration. Consider ... uh ... volcanoes. How mieht they resemble your mother? Bernie: - Hait a .... 4!2: Well, once they start smoking, :/l=3: Yes, yes, and it does seem clear that Nr. Eisenblotz' mother is like Iwo ·Jima, in that the marines take both of them from behind. /.r -') - JL~.- c. r_ . ' ' there . '~ no stopping theml J - - ( 2Je1n-er / _- '·,· • (Bern\e ,_ sobbing, staggers out of his chair, · and makes it as best he · can for the door. _ He exits. Room begins· to settle back down, tutors straighten their caps, stop laughing, and as audience quiets ... ) Jack: · Tough, to~gh break for the kid. He could'a been a contender. Bogie on the 18th. Back to you, Pat. ?at: The thrill of victory, the agony of defeat. (Tutors do chinese fire ~rill again, switching seats, getting ready. _ They've j sut had a good meal ·, and are in no mood for anything heavy.) · Tutor #2: ,. -~ ,..... - ·~··~---~--. I feel like I've just had a good meal. His mama was alright. __ ....- - -... '": - · ,. . •• • : -.~- --~ • • • • • -~ • • • ··-< .• • ' . A �t3 - 4 (Tony and his Introducer enter room in _the usual fashion.) ntroducer: Hr. Chairman, I present Anthony Sophra, candidate for the deHr. . · gree of bachelor of arts, for exarninati6n on his essay: "Saving ·old~ · the Appearances in the Critique of Pure Reason." finch) 'utor {,1:2: ~ony: ' (nmv the chairman) Thank you. Please be· seated. Sophra, could you read us a summary of your paper? man still has a slight giggle) Mr. (the old chair- A comparison of the two prefaces writ~en fo:r the Critique of Pure .Reason; at least seven years apart, provides a number of Cfearly different perspectives on the task Kant has undertaken. In th~ Preface to the 2nd Edition, he suggests an analogy to the work of Copernicus. · Through this analogy He see · that Kan' t vJork can be considered a success only if it a-cornplishes t~-70 distinct tasks -- it must first disect the faculty of reason this is analogous to Copernicus m4thmatically 'saving the ap. pearances' : But the_ Critique must also make way for the higher science to follow, _that is, . the Queen of all Sciences. Hetaphysics. The Copernican analog Kant forwards here as a necessary accomplish·ment is the contribution of Copernicus' · ne-.;v- universal picture to the foundation of Mathematical Physics . . Ny essay attempts toe- · valuate Kant's \vork on his own terms, in light of what we have since learned in the various physical sciences. and ~lith an · examination of our progress in metaphysics, the great mother ... (Here Tony pauses, scans committee, and entire audience turns their .heads· to the tutors, . in fear · of another "mother" onslaught. The tutors are impassive.), since the publication of the Critique of Pure Reason. This examination seems to vindicate Kan•~1: hypothesis, and proclaims his suc~ess. : (Tutor #2 Belche~ loudly) Tutor 1f2: (current chairman) Hhat do you think Kant uses as a basis .for knowledge? h'hat' s his ·cri- erion for truth? t . Tony: • .i Well, that's a very general question. It's fairly obvious that · for Kant we can't know the things themselves, and that all our . knmv-ledge of objects is founded on a synthetic conditioning process that . is determ:Lned by our mvn understanding. Tutor 1}3: Yes, quite, well.~. What part ,do you think Hu..rne' s -.;v-ork played in all of this? · Tony: Well, Kant himself acknmvledges Huma. · as vJell as Berkely, Descartes; and Locke, as stimulants, or perhaps even antagcnists, to his work. Hume'~ e~in~n~ly reasonable Idealism s~erns clearly to b~ in Kant's mind as · he writes.· (Tutors not too interested, rather unresponsive. Their questions continue to be general fluff questions, and not directed to Tony's own thoughts.) Tutor {~1: Was the categorical . imperative a neces~ary consequence? �' ' - 5 Tony: (pause) 'Necessary' for v·l hat? Could you say more? I ..;.;ras speaking very generally about Kant's relation to the Idealists and the Hould-be natural philosophers. I don't see v7hat 'necessity' you're referring to. Could you ... (motions with hands) Tutor {f.l: (caught sleeping, bumbling) l\fell, perhaps then you could tell me what yo"Ll: think 'necessity'. refers to. Tony: Well, in Kant's world, necessity is of course one of the 12 categories . The third Postulate of Empirical Thought explains what it means for a proposition to be necessary. I think the quote is: "Necessi·ty is just the existence which is given through possibility itself." Uh, something is necessary which can be determined to ~e an effect of ~ cause given in e.Xperience. Tutor ff2: i.Jhich of Aristotle's four causes would · that be? Tony: Tutor (shakes his head) Well, it seems to me that . if we accept Kant's ·hypothesis we are talking with words . that allow of no application to Aristotle's. scheme, and that we have nothing to do with what Aristotle is thinking. 41=2: Nothing to do with· Aristotle? I Aristotle, my God, you guys ... Tutor ff.l: Mr. Sophra, just what is your point? Tony: Well, I've tried to say ... Would you precis? (pointed irritation) like me to re-read my Tutor {f2: Hey, Hey, I think that's uncalled for here ... '· Tutor {.fl: Mr. Sophra, I don't want to hear your precis again, but I must ask you to present your thoughts clearly. (from here on in things are tense, and tutor {1:1 especially spits out all his lines. Nasty.) Tony: · All I'm asking for is a relevant question. (shocked silence) Tutor 113 :. (giggle) This guy's serious! one of the nearby chairs) (sotto voce, aside to a kid in (silence continues) Tutor #2: (picks up book and, in a fluster, flips through the _pages) Alright, alright, let's see \vhat we can find. Tell me -.;;-vhat this means: · ''The unity of apperception in relation to the synthesis of imaginatior: is the understanding: and this same unity, -.;;.;rith reference to the transcendental synthesis of the imagination, the pure understanding." Uh, O.K., let me get you a question outta there, you want a question? Uh .. ;perhaps that's unfair. Let's see ... what is pure about that understanding? �ts6 - ' f-' . . It derives its purity from the pu_ rity · ~4z4~ by definition. Tony: Tutor #2~ synthesis-~ (left hanging) Uh, well ... alrtght then, well, I don't want to read to you all afternooni but it says right here . . • Tutor 1!=1: Hr. Sophra, have ·you considered Hegel's vievJ? He refers to Kant as a 'half-philosopher' you may remember : "The saying has become famous that a half-philosophy leads av.1ay from God and it is the same half-philosophy that locates knowledge in an ·approxirri. ation to truth." Hy question is: · ~Vhat' s the value of half-philosophy, pure or not? (nasty, nasty) (pause) · Tony: Mr. Chairman, I still don't see how this line of questioning can be brought to bear on my essay . . . and I don't see any reason to continue wasting my time or yours. (Rising from his chair suddenly, knocking ice water glass into _utor :f.b3' s direction. t ·Tutor {/:3 jumps) You're making a mockery of my efforts and the efforts of this young woman (pointing · at Maria) . 1--Je were together day and night on this essay... · \\ (Goldfinch grabs Tony's arm and settles him back dor,.,m. Tutor f/:3 hems and haws, looks at his watch-- all else is quiet still.) Tutor. 1fo2: '·Jell, yes, oh! (looking at watch), look at that, time really flies ... Uh thank you, Mr . Sophra, I guess it's time for a smoke, . a coke, and a joke. · · · - • 0 (All stand, and-surprised, stunned and Goldfinch move out, Tony moves hand. · They take two steps towards moves in, hooks Maria's other arm, from Tony, and back to the table. ~tudents follovl.) Tutor #1: Tut or ·-!~ 2 li 0 · .. silence contiues . . As Tony over to and grabs Maria's door. Anita hm.;rever quickly and irresistibly pulls her Tony, Godlfinch go out, Mr. ·chairman, let me say right away that I think this entire affa i r was . most unsatisfacto ry. o Well, I don't know if I'd put it that strongly. He let me read. 0 (Switch of attention to Ma.r ia, surrounded by 6 or so other tutors) (3 Male arid 3 femaile singers, Anita chief) Anita:- So, my little pretty (Wiz. of Oz) working night and day, were we? Well, we'll see how long you i re o working . SONG A Boy Like That. END SCENE �A BOY LIKE THAT fu+ors : A boy like that he '11 kill your tenure . He'll make you wish you've never be e n here Remember Phaedrus he was a big mess~ A boy like that His essay's lost He is . not moral he only drinks beer he'll never leave here he'll fail his oral. Has no ·esprit de finesse Has no esprit geometrie Go read Descartes, you'll see I'm right and you'll be free Read Descartes, Maria, you~ll be_ free! Anita: A boy like that . he'll soon foriet you He'll join the corps on that I'll bet you Re's lost pure reason you can't help him His mind is ~hot, just wait, Maria, just wait and see! Maria: Oh no Anita, no! Anita no! That isn't true, not for me Maybe for you, not for me This cannot be both true and false I know the truth Kant gives me proof, Anita, and the truth knows you're wrong . For my . Anita:. . A boy like that could kill your tenure Maria: proof is too s~rong, For A: ·- I . . . : ··· He '11 make you wish you've neve_ ·been here r M: . I belong Remember Phaedrus, he was a big mess A: M: Td . truth alone, to truth alone! In him I see no also-ran He can . Has no esprit · de finesse Ai You are M: be . an :overman A: H~s no esprit geometrie M: wrong why it's - Don't you . A: Read Descartes, you'll see I"m right, and you'll be free M: Think I know? A; Read D~scartes, Maria, you'll be fre~! Maria: Duet: Anita, no ·! You should know better! You read Nietzsche, or so you said. You should know better. I have a mind, and it sees all that's true. Help him rise, what else can I do? . As a guide; I'm his. And Everything he is, I am too. I love the tr u th And it's all that I need. Right or wrong , he needs Me too. He loves truth; we're one . . · There's nothin g to be done. Not a thing we can do; But love truth, love it forever, Love the truth now, tomorrow, and all of our lives ... ! When tr.u th comes so strong, The· truth is your life ... ! there is no ri·ght or wrong �\6 g- ACT II Scene 3 (Action, Ice, Arab, and Tony are stomping dovm to the LC immediately after Tony's oral) God I blew it •.• everything we'd planned for .•• everything we'd worked for is all at ohce down the drain .... If I'd just listened to Maria! If. I'd just submitted to their sophistry, their~ rhetoric (He's repulsed by these words) · 2-'ony: Action: · Tony: Ahh, who knows? Don't worry about :· i t! •••. their flatterry •. What will I do? What will ~ do? . I.f I flund this oral, I've blovm it, no matter what I do next time; they'll never take me back. And even if I passt the things I said will be on ,record, mari •• they'll never take me anyway; I'll never get to be a tutor~ Arab: So who wants to be one? Don't yo~ see? Tony: Ther~'s no easier job this side of Des Moines! Ice: De what? · ~ony: Des Moines!! Don't you see, it'~ Maria's life, she loves' it-~ That's all you have to do . is love it-- you read a certain number of books, and youtalk about ---you better love them because that's all you're going to do for the rest of your life is read a.."1d talk about those books---And she love s it. She could never l~ave this place. But there's no way I could stay in this cobblestone tourist trap with her there and me at Murphy's Mart or ••• t~nding bar at the LC .•• But · what can I do •• ~·· She belongs here. Action: Tony: Ahh, you' 11 get over her! She 9 s only:;,a broad, for chris sakes~ _ Only a broad?? She's ••• (Pure reason hmns over the PA. · ne is frozen, and the boys walk on a few feet before realizing that something is wrong. They approach him, fingers snapping, for) SONG: Action: COOL (during song, Baby John has emerged from the Christian Science Reading Room. As song ends, ) (to Tony) Come · on, you need a drink. I'll buy. Fifi: (to Baby John) John: Well •• Uh .• Tony just •.• they were all .•. and •• I think he just had his oral. Fifi: (they>enter the LC~ Arab: while Fifi enters from other side) What are you d oing out in front o:t· a bar??· Oral?? I just had my oral yesterday afternoon and all the tutors assured me it was just the most ... I'm sure it gut honors, but of course, its not in the Registrar's office yet. John: Wow ••• really? Fifi: Yeah ..•• come on, I'll te~l ~ you all about it (takes his arm to lead into LC) •• You are 18, aren't you?? �/7 · .II-3 ' John: ~ Sure-- sure!! (Fifi smiles as they enter. They sit down inside, and a .bit later Anita - comes in and sits very near where Tony and co. are, and listens on •.~ Action: Ice: Look, it ain't the end of the world. Yeah, come on, it wasn't that bad. Arab: (chuckling a bit) I think you kind of told them. Tony: (hands running through hair) You guys don't understand. Ice: Look, after 15 years here, Maria'll be ••• Arab: Heh-heh, like our old buddy over here ••• {points to Anita) Action: The Lab Goon!! (laughing) (Anita is shocked) Tony: (laughing half-he~rtedly) You guys, •••• Arab: Ice: Yeah, Ice, remember that stupid rabbit, heh-heh •••• Nah, you idiot, that was a dogfish! (nudged into c9nversation) I had a sea cucumber. (they all laugh) Tony: ' Ice: Ah yes, back to the days of Freshman Lab and Miss Spencer. It's gotten so bad you can't tell her perfume from the formaldhyde. That's Maria in 15 years buddy, that's your girl. Tony: Maria! Never, no way! She's just so w1tty, and so clever, and socharming! That'll never happen to her! She's ••• (Anita has heard enough. She rises and appruaches) . Anita: Well, as long as we're being so jolly, Tony, I thought that you would like to know that your witty little advisor friend will not have the opportunity to become familiar with our laboratory program. We, the tenured members of the faculty, 1 have decided we cannot condone the sort of behavior Miss Sune has exhibited these past three months, and have been unable to renew her contract for next year. (She spins-- about to storm out-- turns around and •• l ' Oh, and needless to say, your committee was in unanimous agreement concerning the oral: it was an abysmal failure. . {She storms out and offstage) (Tony is thundErstruck. The boys are silent, staring at him) Ice: Hey, Tony. (reaching fo"r his •shoulder) Arah: It's okay, Tones, it's okay. (Tony shrieks, bolts out the door, down street, and falls on mailbox, making strange whimpering sounds. The Marine recruiter rises, and slides like a snake out the door after him; · a small, evil smile o'n his face ·1·' .i'v~arine: Son, grab a hold of yourself. You always have a choi-ce. (Sticks the paper in front of Tony's face . . Nudges him. Tony looks up. Stares at it. ResolutelY nods bis head.) We've got a special ten year plan. Plenty of bonuses, fringe benefits, something you can count ·on. {Tony nods again, and with a dazed look signs. Marine whisks the paper away, a big evil smile on his face. Pats Tony on the shoulder. Walks a few steps off, busy with paperwork. �COOL Action: Tony: Ice: , Be cool. I wanna marry her!! Stay cool. Tony: I wanna have babies!!! Action: All: You gotta stay cool. I wanna teach! Tony: Ice: You wann get outta this lousy school. You're a fool! (finger snapping) Boy, boy, crazy boy-- stay loose boy. Gatta rocket, in your pocket-- t~n off the juice, boy. ~on't get hot, cause man you've got Some high times ahead. . Take it slow, then Daddyo, you can live it up and die in bed. Boy, boy, silly boy--- be cool~ boy. Breeze it, buzz it, easy does it, --keep coaly cool boy! Go man go, but don't be a yo-yo school boy, Just play it cool, boj, real cool. �II-3 (Maria enters at head of group of tutors. ciled. She sees Tony, runs over to him.) Maria: Tony: Maria: Tony, Tony, whats the matter? Oh, I've blown it ~all They are obviously recon- Hey? •.•• I'm sorry, I'm so sorry ••. \Vhat do you mean? What's wrong? was a great paper. The oral was okay, and it Tony: But you!!?? Maria .: Oh, they had a few things to say to me, but I guess its kind z of understandable.• We were a bit reckless ••. (a bit embarassed) # Tony: But your work ••• • ?? ' ..·. Maria: Tony; it's f~ne--- we both made it! ! Tony: Made it, we both made it???? . :: r Maria: (nodding, beautiful smile) Sure, I'm going to keep teaching in Annapolis, and in five years or so you'll be here working too! (Tony snaps out of daze, smiles unbelievingly, grabs her to hug her, and clanck, the' recruiter drops the letter into the mailbox. Tony spins in the direction of the noise and dies again) Tony: (in a stupor) No, I won't. (Maria puts 2+2 together as the M arine smartly salutes them •. With expressionless~ dazed looks, they wander, arm in arm, upstage into spotlight to sing) SONG: SOMEWHERE (an song ends, the bells of McDowell begin to toll. All the tutors and students instinctively look towards it as if to go, the Marine nonchalantly strides off opposite, and Tony and Maria drop their heads.) FINI .. . �,· SOMEWHERE He: There's a space for us Somewhere a space for us Subjective form of all outer sense All knowledge comes thence She: Th~re's a time for us Someday --a.: time for us That apodeictic necessity Ordering all sensibility •.. somehow He: Somehow empiric'ly real She: Yet transcendentally ideal! Somehow ... Both: There's a Atime and Gath'ring A prioriSomehow. I \ space for us space for us manifolds here and there you know they're there Someway. Somewhere. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Playbills & Programs Description An account of the resource Playbills and programs from various St. John's College events. Many of these items are from productions by The King William Players, the St. John's student theater troupe.<br /><br />Click on <strong><a title="Playbills &amp; Programs" href="http://digitalarchives.sjc.edu/items/browse?collection=20">Items in the Playbills &amp; Programs Collection</a></strong> to view and sort all items in the collection. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context playbillsprograms Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Page numeration Number of pages in the original item. 27 pages Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource West Street Story Date A point or period of time associated with an event in the lifecycle of the resource 1981-05-09 Identifier An unambiguous reference to the resource within a given context Bx2-25 Description An account of the resource The script of "West Street Story" performed as part of the Reality Variety Show Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Publisher An entity responsible for making the resource available St. John's College Language A language of the resource English Type The nature or genre of the resource text Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Format The file format, physical medium, or dimensions of the resource pdf https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/8658894cb64804817930409727dfdc04.pdf 56520cf5c014a3c3ffad1eb9af02cd32 PDF Text Text king wm. players present ·· CHEKI-IOV'S · . .. · . . .. : . . . - . . . . .. ' · - . . . . . . .· '' . . . . . . �l . Act One. • .A drawing room in the Prozorov household off of which we can see the dining room. Act Two • • • The same. After a time. There will be a fifteen minute intermission between Acts two ,and three. Act Three • • Olga's bredroom which she shares with Irina now. Act Four • • • In the garden. �THE ACTORS: DAVID DOREMUS PROZOROV, ANDREY SERGEYEVITCH. NATALYA IVANOVNA (his fiancee, later his wife) • • • OLGA MASHA IRINA his sisters KARI JENSON CYNTHIA D. NASH NANCY LEE COINER JOAN KOCSIS '1 ,} • KULIGIN, FYODOR ILYITCH (a high school teacher, husband of Masha) • • • • ADAM WASSERMAN VERSHININ, ALEXANDER IGNATYEVITCH (Lieutenant-Colonel, a battery commander) • • • • • JOSE GRAVE DE PERALTA TUSENBACH, NIKOLAY LVOVITCH, BARON (Lieutenant) • • • • • ANTHONY COX VASSILY VASSILYEVITCH SOLYONY (Captain) DAVID E. R. CLEMENT TCHEBUTYKIN, IVAN ROMANITCH (Armay Doctor) • • • CARL DUNN FEOOTIK, ALEXEY PETROVITCH (Second Lieu- enant.) t • • • • RICK SMITH RODDEY, VLADIMIR KARLOVITCH (Second Lietenant) • • • • BRIAN O'LEARY 't ~ �FERAPONT (An old porter from the Rural Board) MICHAEL DAVID BLUME ANFISA (The nurse, an old woman of eighty) KIM SCHRAF CARLA SCHICK A MAID WANDERING MUSICIANS • • GAIL WEBER • • • • • STEVE WARSHAWER * * * * * * * * * * Director Assistant Director Stage Manager Lights Sound Costumes Properties Set Set Decoration Wi lliarn Kelley Susan Tischler Kimo Mackey Kate Lufkin T. W. Hendricks Steve Magee Steve Weinstein Leslie Graves Susan Tischler Ruth Maasen Charlie Allen Connie Rubino Kimo Mackey . Connie Rubino Sinclair Gearing �House Manager Kate Owen Paula Truitt Roberta Nalbandian Elizabeth Hardies Make Up STAGE CREW, IN ORDER OF APPEARANCE: Steve Mackey John Rainey Brad Davidson Maggie Rude Ann Browning Musicians Rolly Feuchtenberger Justin Lee Steve Warshawer Gail Weber AKNOWLEDGEMENTS: THE GINGERBREAD SHOP at 29 Maryland Avenue has loaned us the setee used in the first two acts. We caanot thank them enough for their generosity and support. Special thanks go to Finklestein's Antiques at 20]] West Street. Any of you who have never been to Finklestein's must go and ask Mr. Fi~lestein to show you the pictures of st. Johns as it used to be. Mr. and Mrs. Finklestein are delightful, and took the time to make our day much brighter. The Annapolis Summergarden Theatre has loaned us a lightboard, and The Colonial Players have laoned us several costumes. .- �This play could not have reached the boards without the help of Lydia Daffer • • • • • • whose mother, Mrs. Lydia G. Daffer, has loaned us the washstand used in the third act. The washstand is for sale in Mrs. Daffer's shop, THE HOLLY AND THE IVY at 48 Maryland Avenue. Mrs. Sinclair Gearing has loaned us furniture out of her home. Such generosity blesses us. Our own Mr. Doscow has loaned us the samovar. Without it, the whole play would be rather silly. Special thanks to the following for their loans of properties: Mamie Warren, Anne Geddes, Jane Hudson, Alice of Fiddler's Hill. Many thanks to Mr. Joe Jackins. Mr. Jackins is special in his ability to make people at the College feel that they have friends in the College Offices. �FOR IMMETIIATE REL~~SE OCTOBER 8, 1981 'l1he King W illiam Players of St. John 1 s College. present .. their . 198j fall season: The Typists" by 1'1urray Schisgal. When Paul reports for work adressing postcards for a mail-order house, he makes it clear to fellow employee Sylvia that his employment is only temporary. Paul, a family man, studies law at night and plans a grand future; Sylvia also dreams, mainly of romance. They hit it off well. But they'_ not getting anywhere. A single re day stretches into a lifetime in this tragicomic one act. Performances will be October 23 and 24 at 7:00 pm in the Grea· Hall, McDowell Hall, St. John's College. Admission $1. Directed by Nathan Rosen (Arms and the Man last spring). 11 Halloween Readings. Appropriate selections will be read in the Great Hall, 1 1cDowell Hall, St ~ John's College, on October 31 at 7:00 pm. No admission charge. Caberet. On November 7 there will be live entertainment and a bar in the lobby of the Francis Scott Key Auditori~~, St. ~ ohn's Collegeo Door Charge (ID required). Endgame" by Samuel Beckett . (directed by Peter Breslin) will November 14 at 3:00 pro and 15 at 8:00 pm in the Ji'r9l].Ci~ S¢ot:t1. Key Auditorium, . St. John's College. Admis sion. . . - ., -. 11 ~e pre~~nt~d ~ '. ··Three Sisters .. by Anton Chekov (directed by Patty Sowa-"The Bear", "Aria Da Capo"). Performances December · 5 & 6, S:OO , pm, Francis Scott Key Auditorium, St. John's College. Admission. 'l_lhe Clouds by Aristophanes " (directed by David Stein). Perf.o;I;:manc;:;e \-[j.ll be on December 8, in the Great Hall, McDowell Hall, St~ John's College. 'rime and charge to be announced. Everyone is invited. Bring your friends. FOR MORE INFORMATION, CALL 263-2371. TELEPHONE 301-263 - 2371 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Playbills & Programs Description An account of the resource Playbills and programs from various St. John's College events. Many of these items are from productions by The King William Players, the St. John's student theater troupe.<br /><br />Click on <strong><a title="Playbills &amp; Programs" href="http://digitalarchives.sjc.edu/items/browse?collection=20">Items in the Playbills &amp; Programs Collection</a></strong> to view and sort all items in the collection. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context playbillsprograms Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Page numeration Number of pages in the original item. 7 pages Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Three Sisters Date A point or period of time associated with an event in the lifecycle of the resource 1981-12-05/06 Identifier An unambiguous reference to the resource within a given context Bx2-24 Description An account of the resource King William Players playbill of Checkhov's "The Three Sisters" Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Publisher An entity responsible for making the resource available St. John's College Language A language of the resource English Type The nature or genre of the resource text Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Format The file format, physical medium, or dimensions of the resource pdf King William Players https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/9db3a7be636db34440a134f71140c4fd.pdf 76543dfa3b1da0abb3d6922a105a8577 PDF Text Text JOHNNY MORON'S SENIOR ESSAY John Q Febru~est Horan ry 1981 �~ \ NA.'viE : TUTORS Sparrow/ Ari stophanes Seminar .\ '' JOHN QUEST MORON First Year Plato Language Euclid Mathematics Laboratory Ar.i,stotle Music Palestr ina ~~ . .. . - ........ ....;.~- .. '· .. \)}I ! ·.~: ' ~\ 2 o~ 1978 79 Se:mester1 1 TU1\JRS c- l)t r- t1 Ce cu F Bb 'fill E s s.::~ ·, .: Sarkissi an/ God (the father) D T UTORS o~ rc1. . 'l -P ·' i,Apollonius .- . c7 B'~ Bob Dyl an Cl<><>"-~ 9/12/1647 .t'assea French' R. Knowl . 7/14/1789 Al__g_ebra - ---- - c- I Enabl ed - g ~On , Third Year 2 .1~ Eur ipides Dt . Kant / Zeiderman - - Racine Newten · 1979 80 Semester l 2 TUTORS A AI t e·e ~ Px Dt Maxwell ~VB Lao-Tzu VF A ~0 Fourth Year Hegel/\'Jhi te .. Baudelaire Darwin Rod McKuen Senior Enabli ng ~p F I ~enior Oral Exam Coriditiong ' \ /l '"< ..·.· \ .' '• 'r' I.. ~..:. aa I ~- . JS;ij ~-~...~ ......... -'""' .. ·~·---- M -. ~ :~" ... •. :.-~.:-~v.:::-~~-. a ~·~-_:.· .• r ... ;•• ~:· '. ; ' ;, 1980-8] Seme•te: 1 2 %- ~ %u ~ I "D - -~, ( I... ' I '•t ~t ~ 1% ~ Einstein ' '-\' / '· • ST. JOHN'S COLLEGE STUDENT WORK SHEET GLASS OF: 1981 78 1977 Semester Second Year l r :. : • ; #' Preceptorial Annual ·:~. > •• •• ·· \. i' . \. ·· -· ---c.v~'r.'\'C-If~ .... ~~~~::~~;?; ., . I �Senior Chain Essay: Part I Where, oh where do I begin to write the best thoughts of four years in six thousand words or more? all those moments of rapture and wonder? Where now are I must start at that place where the workingmen of all countries unite in the free market of the pinmakers to sieze what private property they can where the specter hanging over Europe is ·hung in a Pavlovna soiree -- where windowless monads and hairy yahoos chase the Idols of the Theatre and the dielectric constant through div, flux, curl, and a deceptive cadence only to be resolved into a genitive absolute where God Blesses Captain Vere, the gap- toothed wife of Bath stares at Cargantua's codpiece , Falst2ff drinks skim milk with Sancho Panza, Thersites marries Beatrice, and the latus rectum undergoes a Hjelmlsev transform2tion -where the sun gets me an ~ Dedekind gets cut, and the great-souled man slaps the a posteriori -- where the slave boy is ironic and the cave swallows the sun -- where that than which nothing greater can be conceives the purple chord wandering about the moon and Zeno steals the pears in Newton's pail only to find that five plus seven doesn't equal seven plus five. must begin . But you ask, "1,Jhere is 'Here' ? " Here is where I I answer, .. "Yes." My love for philosophy extends back to my earliest childhood memories. While other kids were watching Bugs Bunny and �- 2 his friends, I was a faithful viewer of Break Your Brain : game show that negates the concepts of fun and chance." "The I still remember the first episode that I saw .. . (Theme music -- eastern philosophical; you ' re expecting a Buddhitsatva to appear any moment now . .. ) LaCock: rr~vu ~t'CI(,1..vw tycJ J("""aWC~ Welcome to the show beyond good and evil, devoid of fun and amusement, dedicated to the eros of dialectic. My name is Dick LaCock and I'm your host for the next 3180 seconds. As you know, the show follows all the a priori rules of dialectic. members of the pane l . Without f urther delay let me introduce the Immediately to my right is Ether Brain. A distinguished writer, Ether i s currently promoting her third book entitled Mother Goose is Loose - - an i n-depth exploration of sexuality in nursery rhyme . (APPLAlJSE) Seated next to Miss Brain is Naive Ballington. Naive is a prolific writer, author of Life in Annapolis, Life in McDowell Hall, and! Don't Play the Clarinet. I'm~ His most recent work -- Teenage Caveman -- is the definitive treatment of the ascent of man. (APPLAUSE) On Mr. Ballington's right is Michael Simpleton . Michael is the leader of a new philosophical movement which advocates the return to basics. His revolutionary views are expressed in all their entirety in his new autobiography, Philosophy Made Simpleton. �- 3 (APPLAUSE) O.K . , as the v i e wing audience knows, there are no gimmicks on th i s show - - no n oisy buzzers , no bonus rounds, no smiling master o f c eremonie s o Brain : How can you a s k a pane l a question? Ballingt on: Ether: O. K . , our f irst question for the panel . .. I t hink Dick was ref erring to us as a group . VJell as Descartes once said , "I th ink therefore I am. " Ballington : Simpl eton: But ... I b e lieve i t was Shake speare who said, " Even a stop- ped clock i s r i ght twi ce a da y ." Ballington : Brain : \.fua t a re you t a l k i ng abou t Simp le ton ? I believe it wa s Hump h r e y Bo gar t , I n Key Largo, wh o said "I think therefo r e I am . " LaCock : Pane l ... Ballington: Simpleton: Shut up! I believe it was Ronald Reagan, in an inspired moment, who said, "Even a stopp e d clock is right t wice a day ." Brain: Ah can it Simpleton! Ballington: Brain: bL ffoAol f:d(L I'm reminded of Nietzche's Republic when he says , "Man ' .. .. �- 4 is that which no .greater can be deceived." Wh~t Ballington: Simpleton: are you talking about, Brain? The· other day I was in McDowell, thinking simple thoughts, and this pigeon flew in through the window. Ballington: LaCock: Tits! You know, the other day my son, Plato, came up to me and said, "You know, Dad, even a stopped cock is right twice a day." Huh! How about that for a four year old kid?l !! Oh, Gawd , I knew I ' d blown it again . to the c~thode-ray on that paper. Here I was , glued tube, a n d I found that I was getting nowhere I know I can right better'n alla them. even win the prize, · or somethin. I know I can. I could Heck, I came here to learn how to write and I know I still can anyhow but this lack of finesse de ecrir~ glaringly is exhibited by the fact that I'm too lazy to get up off outta my reading chair to write. Ya know, this whole problem of the down in words inabil~ty to uh ... set on paper ... things -- what I mean, really, is no- thing other than the recurrence of the differentiation of object/ ./ subject in phenomenological and other seemingly metaphysical quests for the mode of existence of knowledge and its apprehension. But enough of this personal history. It's meaningless. To be a person t s to be an extension of property. biography of great men. What is it then? History is the Hence, history may not belong to me. I shall peruse my thoughts. History is bunk. History is the science of what rtever happens twice. What history �- 5 teaches us is that men have never learned anything from it. A page of history is worth a volume of cyclic poem written by Time upon the memories of man. ~fuatever Like it? one may finally say about history, in the final analysis it is certainly true that its pages are fraught with change. Nickels, dimes, pennies, pieces of eight -- all these and more have littered the annals of time with their incessant jingling and jangling. j~st No one ever has enough, and never is it the denomination that you need. Remember to render unto Caesar what is Caesar's, but don't forget to count your change. God flipped a coin and found Pascal .. . Only a certain chosen two coins will help you get your laundry done. The mention of laundry should prove to be a smooth transition for the next paragraph, since change is inevitable if anything is ever to make any cents. But what about that fabled, never ending, and certainly historical business of changing clothes? Changing of clothes indeed! After all, the Emperor was the most famous changer of clothes and his new suit still wasn't wash-and-wear?* No matter what the fool hath said in his heart, it's what's up front that counts, and only mountain climbers die of exposure . In fact, one needs exposure if one is ever to gain recognition and the Emperor, when it comes down to the all-together, will only be recognized on his birthday. But birthdays, too, are a time of change, and so is Christmas , vJhen we change what we get for what we want. History doesn't allow this though, and what' you get is what you've seen, and the scene stays the same although the actors keep changing. *lt was, however, wash-while-wearing. There it is again, Change, �- 6 the only thing that end~res, but the only endurable change is a change for the better, and even that game is fixed . Mankind has, however , all through history, preferred to fix bayonets .instead of games, and, although war games have become big as of late , bayonets still need fixing even though they never break, A break is just what we need, though, if we're ever to get off this merry-go-round, and the little brass ring, being a circle, will remain unbroken as long as the points on Aristotle's wheel remain uncounted. But the whee l is a wheel of change, and every- one knows you should always count your change, but not before your chickens hatch, so it must be done behind their hatch, which means before the hatches are battened down. The hatches, however , are only battened down before a storm, and a storm is always preceded by wind: the wind of change. The wind of change, though, is an ill wind that blows no one good, so it must blow many goods, which is impossible, since there is only one Good . A contradiction having been reached, our premise must be false, and there really is no way off the merry-go-round, so we must beat our plowshares into swords and defeat the pens of our enemies. The Good changes his plans. He hurries out of the Sword and Pen Restaurant to the subway station around the corner. We come out from our hiding place, the fried chicken stand across the street, and follow him. In the subway we hear the clickety- clack of an approaching tra in ' s wheels . in our We fumble for change pockets, put it in the turnstyle, and rush down the stairs to the platform. The train is there. into the front car, and do likewise. next stop. We spot the Good stepping He changes trains at the At the Emperor St. station he gets off. On the street �- 7 the weather has changed; it is windy and starting to rain. We curse silently , for we just changed into a new suit before lunch and have no coat. into a brownstone . The Good v-ralks two blocks and darts We wait a few minutes, then go to the door and tap the little brass ring on it. A naked woman answers. Stupefied, we blurt out , "vlhere's the Good?" He's expecting you", she says. inside? Inside! Dare I tell \vhat was I felt the frigid air coming from the dark cavern. was not afraid. I I knew then that God did not exist and that there was no supersensible substrate. sonable as that now. of his. "Come on inside. Would that I were as rea- He introduced me to some shady friends I didn't pay much attention to them and He was by far the most interesting. He then conducted me down a steep incline. On one side was a wall dripping with slime and on the other was a bottomless depth out of which you could hear the sound of rushing water. He himself shed enough light to see by as we walked, His hand on my shoulder in a fatherly sort of way, while he told of what lay ahead. "Do you want to know the truth?", He asked in that deep bass voice of His. I told him that on many occasions I had been so deeply confused by the distinction between formal and objective that had I kno-.;vn that there was some truth, I would have been very gr atif ied. I'm sure you would have b een; off the edge when he said this. follow me then." He replied, "Yes, I nearly slid Was it really possible? caught me and I dusted myself off. He There were still more sta- lactites and stalagmites and then we crawled through a small hole (or Whole, I don't know which), hidden by them and in that slimy wall. It was a brightly lit room. Straight in front of us was �- 8 an altar carved in the rock. Above it was a large sun symbol and a golden box lay on it. There was a crank in the side of the box which my guide started to turn. An old familiar tune which I couldn't at first identify eminated from the box. back to me: Suddenly some of the word's came 'All around the mulberry bush the monkey chased the weasel, da done da done da da done da done Popl Pop the Truth jumped out at me from the box . my eyes and started to giggle . like I had pictured it. and at the word I couldn't believe The Truth didn't look anything It wore a Hell's Angels leather jacket, a Hets baseball batting helmet, a woman's white glove on its left hand and one of my grandmother's knit mittens on its right. A red polka-dot shoelace attached the mitten to the third buttonhole of its Hawaiian shirt . It wore tie-dyed knickers (I won't mention the colors) that had a hole in the crotch. Its knee socks were the cheerleader variety and its loafers had spurs attached. Oh yes, at his waist he had one of those ice cream vendor's change machines. "Hhy are you giggling?" it asked me in a falsetto voice. "Oh, no reason", I said, not wishing to insult the Truth. "You can tell me." "I didn't expect you to pop out so suddenly", I lied . "Come on now, tell the Truth . " "Well, ... That shoelace really is funny." "Oh ... Well, I usually use a piece of string. You know the stuff you find at the center of yo-yo's, but I thought this would be nice . for a dhange. Besides, I had a really hard time opening the shell of the last yo-yo. It broke my lobster crackers." �·/ - 9 "I see." I said. I could tell he was telling the Truth, even though he was telling me. Such a negation and synthesis of the dialectic was turning him inside out. pain of it in his eyes. You could see the started to feel pity for him as his I spurs jangled. "Anyway, you are probably wondering why I asked you here." "To tell the Truth, I was." I wasn't, but circumstances forced me to lie. "I want to change places vli th you." "Change places?!! l" "Yeh, I take your clothes , you take mine. I go out and see the world, You stay here and ... Well, it's not hard being the Truth . Everything you need to know is in this book. " a paperback into my hands and then , clicking change machine, we changed places. He thrust a dime out of his In the twinkle of an eye I was wearing his clothes and he, mine . They left me standing there, the book in one hand and the dime in the other. The book seemed unimportant; nowadays a n yway? I who wants to know the Truth And why think it could be found in a book? tossed it aside. The dime, on the other hand, struck me im- mediately as something possessing lasting significance . I in- spected it more carefully and noticed that it was a Liberty dime. I quickly glanced aroun d the tomb . Liberty ... the dime reminded me of liberty . . . and that now I had none. I was sealed in; my brain began to rock in a tormenting fashion. words echoed in my mind. of being locked up. of myself. The Truth's last I was reminded of my childhood fear I was in a fright and tried to get control I looked back at the dime, and concentrated all my �- 10 efforts upon it. It seemed real, alive . changing places with me. I remembered Truth I was now Truth! Hhy this dime? , I asked .. . Change . . . Then it struck me -- Liberty ! Liber t y was mine, not as a token, bu t as something to be attained! the dime pensively between my thumb and ind ex finger. jured up everything I'd ever heard o f Truth ; I rubbed I con- I searched for the proper answ. r that would deliver me from this hellish bond. e Truth must be released!, I screamed . .. It echoed . . . Silence returned . .. my breathing munity. ve~y heavy .. . I remembered Truth being called a com- The thought seemed wrong now . I imagined myself as a community, the li ttl e peop l e g oing t o the store down near my feet to eat .. . I was revolted . a community. was Truth! Then I saw i t ; the body i s like Every part works for i t self and f or t he vfuole . I Where Good went n ow I don ' t know, but then I wasn't thinking about it either. At this point I realized that to be free would be to be World Community . I started l ooking for it, and the first thing I realized was that I was not outside . sun was shining; the sky was blue. I t had all changed! was new Truth, and o l d Truth was now Good (old me) . the dime, somehow it was t he c h ange . but I was free, I was true . The I I still had I couldn' t piece it together , I started looking around. In the meadow wherein I found myself standing, beside the terebinths, before the poplars and oaks, there arose a mighty wind, with a fierce and redoubtable breath, with a sound as of the unearthly wailing of lunatics, or of howling bereaved wolves, and it blewaway the terebinths,and it blew away the oaks, · and it blew away my joy, and it blew away my outergarments and my undergarments, such that I was wholly changed, left stark naked �- 11 - and cold, with only a dime to my name: loud and dismal voice, Alas! \.Jhen lo! and I cried out in a who shall deliver me from this life? the dime in my right hand began to spin, and it murmurred like a live thing, and glowed like the moon, and there appeared within it the likeness of a Child; Fear not! and it spoke unto me, saying, I am thy Spare Change \vhich have brought thee hither out of the land of sorrow for thy safe keeping: put me in thy mouth, under the tongue of thy mouth, and thou shalt receive no hurt of any spirit . under the tongue of my mouth; of butter. And I put her in my mouth, and her taste was as the taste Then the sun darkened, and the sky turned bitter- green, and the land belched forth fire and brimstone and ash, and myriads of locusts with eyes like dragons arose from the depths of the smouldering earth, and reaching the moon, behold, they chang~d into glistening raindrops, which fell upon the fire and put it out. And I was filled with wonder: nevertheless I remembered that which the dime had tol'd me, that if I would but keep her under the tongue of my mouth I should receive no hurt of any spirit; and I took heart. Then there appeared unto me as it were two tall men clothed in pure light, whose faces shone as it were with the brightness of a thousand thousand suns; and they spoke, and saith unto me , Son of man, hast thou any Spare Change? And I kne-v1 not what to answer them. Hy first inclination was to give them the dime -- what is money an~vay? But then I remembered what she had told me . This was !!!Y_ Spare Change, that was to protect me. With this thought, the men were suddenly transformed in my sight. light faded; The they were soldiers, great soldiers, with shields �- 12 . - and armour worked more beautifully than any earthly smith could. Their faces, howev er, were twisted and distorted by their wicked smiles, and their eyes gleamed with cruel intent. We need a dime, only a dime, and we can save our city, and our lives, they told me. I realized that they didn't want just any dime, bu t that they were after my Spare Change, and I knew what they wanted to do with it. So I called out to them : with your tricky lies! you do not fool me You will never have my Spare Change! And I ran - - faste r than I ever thought I could run; I heard sounds behind me, and finally dared to look back over my shoulder. I stood fr ozen, but it was from fright. The.· briny tas te of s alt sat spicy on my tongue, but that was on account of the fact that I was sweat ing fromhead to foot from running so much faster than I ever h ad. but that is another story. I was a veritable pillar of sa lt, I knew one thing for certain, though, and that was t he fact that I certainly could be said to Veritability Its elf still. Because I was still in Truth's shoes, so to speak, and b ecause the city was in flames, as we all know, I just had to come out with something good about this whole situation, and I knew what i t. was: Change. Wow. For the sake of change, I had refused my Rather than bask in t hat profundity, though, I had to think fast, for I was certain Cousin Conscience would s oon be paying a call. I wai ted for Cousin Conscience behind the crumbling walls of the city that overlooked the fuming fields of battle . There behind me stood the stone columns of Priam's sons' bedrooms, broken by war's besiegement, they were open to the smoky air. War and passion fi~led my spirit at once with an exhilaration �- 12 and armour worked more beautifully than any earthly smith could. Their faces, however, were twisted and distorted by their wicked smiles, and their eyes gleamed with cruel intent. We need a dime, only a dime, and we can save our city, and our lives, they told me. I realized that they didn't want just any dime, but that they were after my Spare Change, and I knew what they wanted to do with it. So I called out to them : with your tricky lie s! you do not foo l me You will never have my Spare Change! And I ran -- faster than I ever thought I could run; I heard sounds behind me, and finally dared to look back over my shoulder. I stood fr ozen, but it was from fright. The· briny tast e of salt sat spicy on my tongue, but that was on account of the fact that I was sweating fromhead to foot from running so much faster than I ever had. but that is another story. I was a veritable pillar of salt, I knew one thing for certain, though, and tha t was the fact that I certainly could be said to Veritability Itsel f still. Because I was still in Truth's shoes, so to speak, and because the city was in flames, as we all know, I just had to come out with something good about this whole situation , and I knew what it . was: Change. Wow. For the sake of change, I had refused my Rather than bask in that profundity, though, I had to think fast, for I was certain Cousin Conscience would s oon be paying a call. I wai ted for Cousin Conscience behind the crumbling walls of the city that overlooked the fuming fields of battle. There behind me stood the stone columns of Priam's sons' bedrooms, broken by war's besiegement, they were open to the smoky air. War and passion fi~led my spirit at once with an exhilaration �- 13 that almost swept me into the fighting below, hadn't my heavy armour kept my spirit bound: My eye had fallen upon one room, --- - Helene's, and her bed still stood, surrounded by white veils that blew into and blended with the smoky air. At that ecstatic moment Cousin Conscience appeared, dispelling the ancient aura of \vhen men were men and classics were classics. "You're out of your time!" in my virile voice. I shouted at this pale one Cousin Conscience always took longer to reach his destination than us golden men of old. He was constant- ly jumping out of his shoes to run in front of himself and look at his self as something other in those shiny, civilized shoes. It never quite worked for him, but he doesn't believe in seeing his reflection in the polished bronze, for he always said that the attraction to hollow appearance could.only lead to de-cadent sin . Anyway, his strange circular step made him a very s lovl walker. This was his lesson for me upon this doomful day. spoke: "Look upon that woman Helene in her bedroom. She He i~ en- shrouded by veils, she looks at herself in a smoky mirror, and her walls are not strong, but they, as she does, give in too easily. Her beauty is an illusion, she is empty within. And you have given your life away for this passion, this emptiness. have you fought for?" ~fuat And his voice became more and more ecstatic with each question until it crescendoed into the conelusion "What have you become? Have you any being?!?" Exhausted with his frenzy of consciousness, Cousin sank and sat pale and flaccid upon the white, dusty stones of crumbled -Troy. And I looked down in shame upon my strong and sweaty loins and upon �- 14 the handsomely sculpted bronze chest of my armour, then I looked ..._ back at Helene , combing her black, heavy musky hair that gleamed through the grey air, and I knew then that I had had something . But I was worn in spirit , and someone else was i n Helene's bed anyway, so I left the c it y by a back road . me; the anc i en t age had p assed for me. Helene was gone for As I was v.ralking along the path thumping my bronze to see if in t he e c ho r e t urn ed there was any being, any substance to me, I came upon a fat little man, and he wasn't Greek either , sitting on an ass and chomping on an onion. We set off together, to find another Golden Age. As the two of us rambled along the rubble-strevm road, all we could see changed before our eyes . Grassy vales became dusty deserts, knotty knolls were transformed into swishy swamps, even the azure sky filled with clumpy clouds. It was weird. The bozo on the donkey next to me told me in jabbering Japanese of his many harrowing adventures. There vJas one crazy clod, he claimed, who believed himself a windmill that could turn only at night . I could tell that there was something errant in Onion Breath's account, but I couldn't put my fickle finger on it. He told me his name was Panza , that his ass was called Sancho -if I didn't believe him, I could look in his Pancho. mediately who he really was. wasn't Panza. He came from Villa, and his name It was Panzer, and he made tanks. water tanks this side of the Yukon. had overwhelmed my meager mind . force? I new im- Best damned A revolutionary revelation Could I withstand its awesome Before I could consider the problem with the utmost care, the two of us were mixed in a frightful fracas. An enormous door had appeared in front of us, and my thoughts raced to the �- 15 calamitous conclusion: this is a trap! I was right, for from the surrounding swishy swamps came a swarm of swarthy trappist monks clad in sweet-scented shirts and sweaty swimming suits. Rather than risk being deep-fried in a vast vat of boiling holy water, I plunged, distraught, through the dark, decorated door with the scrambling scream of, "Vive la revolution!" I heard Paco or whatever his name was scream, and as I went through the door, I realized that the monks had gotten him, and I was all alone. Or so I thought. not alone. As I shut the door, it vanished. But I was There was a man standing there, who looked to be abou t forty. He looked long and hard at me, then sighed and shook his head and said, "No, you're not the one either. still a camel." Naturally, I was confused. he was, and he said, "Zarathustra". he wanted me to meet. something like that. the eye. You're I asked him who Then he said he had someone This guy's name was 'Primordial Unity' or He told me to look at old P.U. right in Well as I did I felt as if I were looking right into the essence of things, and it was terrible. but contradiction everywhere. b ein g negated, nullified. really changed anything. There was nothing And worst of all, I felt myself I realized that nothing I did ever Right about now old Zarathustra started running on about that crazy camel again, telling me I had to throw off my burden before I could be free, truly free. All I could think of was that this idiot is running on about animals while I am experiencing the crisis of my life. I decided to commit suicide. I couldn't take it, so Then I began to wonder if it -was worth botherlng ... suicide, I mean. But before that ol' nausea could get me again, I whipped out my sword and plunged it into �- 16 . ,r.ny ,h~aJ;t . .,-~ A~ ~-+ I : d!-d ~.-~q, de~ision · I real-ized , that t;;.he ~:tli<; ,ide -_ s~~x~d a.~L~ -:: probl, ms e to commit abqut n ~?Ci~~ep.qe and the negation of -~ J:l}~;:; self 1 _' bl.l~ .~,t; i ~.;lS : too _ ;lc;t~· . .·: . ~' ·~,:: • '· L'"-''' · 1 -, · Now ,_ Gaml.f~ S?YS, tha.tf ~_; t:he , question philopop]::licql;;. q~e.st~gr),o, pf . §tijlY qu.e s:t;iqn, ;') al}g,; all that ~~swe~ ~ · a ques,t ion of Being? what is Being? :· n~CI) _i~pqr it;ance :.: th~,: 9 -t:p~.r ... questiqns·. Howeve~. i§~'t qf -·l?Ui£,i,de is the only of .Answer that philq~ophy the , question of- suicide follow from really "To be or n.ot to be", .and all that? And ;Be what? _And , the question of ; self and the negation of self is Jmportant too. If the self is negated , how can you connni.t suicide, but if . the self is part of the whole what difference _ does it mak.e if you're a dead part or a live one? In order to. fully grasp the distinction between a living whole and a living part. we must first pe is a whole of. _ Spelling helps here. In English whole is simply the word hol e plus a~· , clear about what a whole This is of course different from the Greek hole a lso s.poken of as the dirty hole . Regardless of the etymology of t he word its use is many and varied and entails the bringing together of_ opposites.. Take, for example, the expr_ essi_ .ass-_ on hole . · This expression has O ;pposi te meanings: is part of a whole ass but it is also the hole of an ass. it For a whole to be greater than the part. it must be greater than a hole. . .B ut this is of course impossible because a hole is a whole of no_ thing .. Since nothing can be greater than a whole while the whole is gJ;eateL than .the hole and ·the hole is greater than nothing we are forced to indicate this by a distinction in speech. We -therefore spell hole ~ g ~ 1:. e, thus . completing our �- 17 ~- dialectic. Now, if thi same is other, and the othei is spelled differently, as in hole spelled WHOLE, then the same is sifeliea differently from itself. But if words are more true than deeds, and Socrates says they are, and words are representations of deeds, then the representation in itself of the object is more true than the object in itself; and a conversion of two words into one means the resolution of duality into the one. In other words, which become the same words, the same is both itself and not itself. For example, "Socrates: If Odysseus is false, he is also true, and if Achilles is true, he is also false, and so the two are not opposed to one another and -they are same." leads us to the cogito. more This For if the representations of men are true than men in themselves (and what is other, even though it, through reasoning, becomes recognizable as same, must be an object) then 'cogito ergo sum' becomes the expression of the same, the universal 'I' , in the world. Now if Descartes expressed this in 1641, and Hegel in 1899, though in different words which become the same words, then Hegel plagiarized and is liable, according to copyright laws, Sec.47, Paragraph 287 . Should a man as famous and as abstruse as Hegel be subject to copyright laws? \fuether one answers yes or no, the consequences are grim and full of difficulties . If we answer no, as we contem- plate the irreconcilable contradiciton between the essence of creativity and the essence of law, we must be willing to accept the inevitable chaos that would spread through the world when millions of other equally abstruse writers who have had bad luck in finding gullible audiences infringe upon the law, believing �- 18 themselves exempt by their verbose and murky essays. ~fuo to those who must judge these men , distinguishing the truly abstruse from the banal fakers. If we answer yes, is jealousy our motive? Are we anxious to spread the cover of equality over all great bodies and minds to make them indistinguishable from our own? Can we face the perils of a world devoid of murk and abstrusity, where we are left alone to bore ourselves with our own clear thinking? Yes, not only can we face the world with only our clear thinking without the abstruse and complicated ideas of men who came from an age where injustice and inequality abounded -but we must . the law. In a democratic society, all men are equal before The slightest inequality is most noticed and detested by a community of equals. Hegel, no matter that he be a relic of past aristocratic ages, must be subject to the copyright laws of the United States. Prosecution would be nearly impossible , but he must serve as an example to those who would abuse the rights and priviledges of a free press . As to the problem, or rather the question of whether we would suffer in an existence devoid of the dizzying distractions of so-called philosophers, wealready have the answer within our own experience. Television has introduced to society a mode of thought heretofore thought impossible. More people have been enlightened by the flicker of that grey light than any other medium in history. It is a method of communication whereby we are able to teach ourselves what we need, what brand to buy , and more importantly where we ought to go to get it. rriult:f:,.tuc;l~ .We lea~n of ideas. a wealth of things and are exposed to a And its uniqueness · lies in the fact of the �19 - ~ medium itself; only the niost clear, concise, simple-minded idea~ hav~ ths ~~ss{bi1i~i of b~ing tr~h~mitted. Clka.rly, · t : levisiort i's· ·the· embo.diment 'of the Ubermensch, e for the spirit of the . cathode ray tube ha~ overco~e the nature of man through metamorphos{s. Zarathustra, the herald, foresaw this and said to man, "What is the greatest experience you can have? It is the hour of the great contempt. The hour in v7hich your happiness, too, arouses your -disgust, and even your reason and your virtue, it is the hour of 'I Love Lucy' reruns." (Thus Spoke Zarathustra; Part One, Chapter 3) In the first metamorphosis the spirit of television took on the burden of all mankind's sufferings, subjecting itself to the inheritance of all man's values. Thus it too suffered and ratings went down. But the spirit of the camel sped into the desert and became a lion, the defiant lion, who did battle with the great dragon of intelligence. The lion has not the power of creation yet it can assume the right to new values by destroying the old. The lion stripped man of the old and poisonous values of talking, reading, thinking, and thus, intelligence was annihilated, freedom was created and the spirit of television emerged as a child. "The child is inno- cence and forg etting , a new beginning ... the spirit of television now wills man ' s will , and he who had been lost to the world now conquers man ' s wor ld." (Thu s Spoke Zarathustra; Part One, "On the Three M etamorphoses") Still , some disagree with this interpretation. For, they claim, Zarathustra could never mana·ge to find any true wisdom, and so was forced to make it u p as he went along. Yet there, paradofical ly though somehow appropriately, was the essence of �- his true wisdom: 20 - for since he could never remember . his statements of the day before, he never felt obliged to be consistent. freedom from This meaning and significance had not been knmvn since Heraclitus' time (although some claim Hegel made a stab at it). Today, however, the gospel of gibberish is fast winning con- ~ verts (primarily among educators, bureaucrats, and college freshmen) and Zarathustra's disciples plan one day to free the entire world (as they have already freed California) from the tablets of sense, relevance, continuity, and sobriety. Thus , / L. - once again, the screaming hordes raise their cry of " r/GtvC:o( ef..c..", a nd, in the true spirit of their cause, tear one another to pieces. As one of the best .examples of this type of message, let me quote a much neglected playwright , Socrates Swartzen: " Kinger Lear ben das Kinger der Britainers. Lear iss der Vatter von drei Girlen-kinder: Goneril, Regan, und Cordelia. Oldisch agen ben causen Lear der kinger zu quitten. Der wholen Lander der Britainers ben in drei Piecen upgesplitten. Eachen Girlen-kinder ben ein parten gesnatchen, iffen der Kinger ben believen das proofers der lovern. Goneril ben sayen der loveren iss biggeren der l.Jorlder. Regan ben sayen der lovern iss biggeren das biggeren der Worlder. Cordelia ben sayen ... Ach!!! Cordelia ben sayen der no thingers! "Lear ben ragen und rooten mit pullen das Hairen und swearen der gadders. Cordelia ben gettn das hooters, und awayen-gerunnen mit marrien das Frencher. Lear ben Herr Kent outkicken von der purposers generalen. Goneril und Regan ben sooner ein evilischer Plotter abouten der Kinger upgethinken. Und, Ach!!! Ein grossen grossen Messen. "Der nexten Scener begirmin mit Edmund playen der sneaken-trickerung on der Vatter. Mit der phonier Letteren der Vatter ben thinken der otheren Sonner ben ein Schtunker. Sooner, der otheren Sonner, Edgar, ben homen gekomen mit . asken der matter. Edmund ben hooden-winken der Bruder mit maken-believen •.. "* *Socrates Swartzen, "Der Komedier von Lear" in Exercises of the German Tongue (Neues Yorken; Dag Hammarskjold and Co. 1881), p.llO �- 22 - l.Jagner is in fact a great artist. As we have explained the plot of the opera , and the thought is obviously simply justification of lust, let us examine the other four parts , character, spectacle, melody and diction, to see what number is associated with each, fo r it is through acquaintance with these that knowledge is attained . There are two main characters, Tristan and Isolde, and since one can only have a pair of spectacles (for a man has two eyes , and this is the final cause), these parts are associated with two. the number The melody is always a descending seventh , "one damned thing after another", and the Diction is in German, which makes it also associated with seven , since G is the seventh letter of the alphabet. Now character goes with melody, because the characters sing, and if we add the numbers we get nine. And spectacles go with diction, since both words and glances come out of the face, and adding them we get nine. Therefore, the phantom of the opera, according to the number of its magnitude, will be a plane figure, namely the number eighty-one. so that it And if we take it as a line and bring it to a cube c~n be perceived , we have the distance between tragedies, and it has been shown that Hagner's opera is five hundred thirty one thousand, four hundred forty one times more tragic than the World Spirit. What then may we say, in conclusion, about the Good? it is bigger than a breadbox but smaller than an elephant; it i~ partly mineral, but mostly vegetable; quality in a girl is sincerity; that that its favorite that it favors a balanced budget and less government spending; That that it is an American �- 23 - male born between the years 1837 and 1952; household object; that it is a common that it wears pajamas at night; that whether or not it exists, both it and the others are and are not, and appear and do not appear to be all manner of things in all manner of ways, with respect to themselves and to one another. can I graduate now? ' O.K. , �- 24 - BIBLIOGRAPHY Adler, Mortimer, Great Books for Moronic Hinds Bourboni, Bertolino, "Exploding the Hyth of the Dinosaur" Bourboni, Bertolino, Ragazzi: ~That Thev Are, That ~Are Edozien, Joseph C., Selected and Collected Editorials · Ghibberti, Pietro, "Hhy v1e are Misunders toad" Klein, Jacob, · Confessions of a Television Addie t � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Playbills & Programs Description An account of the resource Playbills and programs from various St. John's College events. Many of these items are from productions by The King William Players, the St. John's student theater troupe.<br /><br />Click on <strong><a title="Playbills &amp; Programs" href="http://digitalarchives.sjc.edu/items/browse?collection=20">Items in the Playbills &amp; Programs Collection</a></strong> to view and sort all items in the collection. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context playbillsprograms Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Page numeration Number of pages in the original item. 26 pages Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Johnny Moron's [Satirical] Senior Essay Date A point or period of time associated with an event in the lifecycle of the resource 1981-02 Identifier An unambiguous reference to the resource within a given context Bx2-23 Description An account of the resource Johnny Moron's Senior Essay in full. (This is a piece of satire.) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Publisher An entity responsible for making the resource available St. John's College Language A language of the resource English Type The nature or genre of the resource text Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Format The file format, physical medium, or dimensions of the resource pdf https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/f67efb1242003de236c91e469c7a8a3d.pdf 549b8568b85f3c01a978960bbf5a3aec PDF Text Text SCENE 1 (Scene: Front of McDowell, students scattered about the lawn. enters, stage right-tour group follows~) .Tour guide Guide: Step this way, ladies and gentlemen. The last attrac·tion in colonial Annapolis is now on your left: St. John's College, the first ·· outlet in a chain of wisdom franchises spreading slowly across the country. St. John Is College is a Catholic Military school founded by Jesuits en route to the Crusades. Finding their boats shipping water, they unloaded and buried their library somewhere near this spot.. Generations of boy scouts have searched for it unsuccessfully. (Regarding the students with distaste:) Proceed carefully. Avoid at all costs being bitten by one of the students. I J. (OPENING PRODUCTION NUMBER) Girls: We are the St. John's College Chorines. Boys: we are the male counterparts. Girls: We have the love of Josephines. Boys: And we the desire of Bonaparte. Girls: ' we all come to St. John's School So ·we could use our intellects. Boys: We read the works of Aristo~le And translate ori-gi-nal texts. Guide: Oh, don yo ur glad rags Dig those don rags. St. John~s College School of knowledge Where they learn justice, they hate crooks. They've got the virtue of great books. It's terrific Soporofic St. John's College School of knowledge They get their perspectives from the school without electives. . <) ; Student: As freshmen we read the dialogues AQd dissected fro g s, We learned to componendo an ex aequali We found the· only Adler wasn't Polly • . As sophomores we had no time to play. We · studied eve r y day~ 'Cause we know, t he student who loafs and the student who crams Both will flunk t heir enabling exams. As Juniors, we loved Cervantes, Calculus, and Kant. As · seniors, what's their left to want. Rewriting the ses, As seniors, · a diploma's all we want. �1.2. Chorus: Oh, we're eristic Hellenistic St. John's College School of knowledge Intellectual oblivion Is found in the mastery of the tirvium. So, don your glad rags Diq those don rags. St. John's College, school of knowledge. ·· Where we learn justice, we hate crooks, We've fot the virtue of great books! (Tourists and Mr. M. are stage left. are brought in stage right.) Guide: ~· . .:;. The heart of the curriculum is the seminar--:-a discussion of •••• • . • As they exit seminar tables, etc. , (He continues quoting catalogue as he exits. seminar seats) .- , '! Students, one tutor, fill �.. \: SCENE 7 · ,. (Sally and Nick stroll back to the seminar table, hand in hand) · · Nick: I know part of the problem--you and me. Sally: We were thrown together freshman year. from home. It was my first time away Nick: · It was love at first sight. Sally: My father was still in t..'le parking lot. · Both: (singing) Is that where we went wrong? (Lights dim on Nick and Sally. Chorus and Dean assemble, stage left. sings asterisked lines, the Dean the others.) (RULES OF . RESIDENCE) Boys and girls must be kept apart. *At St. John's College minds must rule the heart.* Helen must be taught to . think. Eliminate the source and you won't sink • . *No sinks, no sources.* *Proximity forces~ us to make some rul~s .. The St. John's College Polity *Drew up some rules of residence.* These were soon supplanted by *The dean's and then the president's.* They're deaf to pleas, entreatments, *Even deaf to importunity.* We've got a moral obligation to the whole community. *We've got a moral obligation to the whole community.* Aristotle says *that procreation's only natural.* The two assistant deans have fo~d *This statement more thqn factual.* · And that is why they institu.ted *Without any hesitance* Th~ safeguards which are know to all As St. John's rules of residence. (Chorus repeats last four lines) Don't be dumb. Don't be stupid. This is not the place for Cupid . Even Aphrodite knew that love was best when love was pure. We admire Aphrodite, for her love .was pure and mighty, •' Chorus �And she never had to leave the school For reasons most obscure. *For reasons most obscure.* . ' The students here at St. John's *Are alwasy enterprising.* These rules we hope eliminate *Positions compromising,* Where students seem to find t hemselves *At every opportunity.* we•ve got a moral obligation to the whole community. {By the end of this number, Nick and Sally are watching t he action from the front of the stage. are now _ over.) Curtain closes on the singers. The flashbacks �.. _;: SCENE 9 (CUrtain opens, center stage, on chorus girls with hipsto audience. Instruction Committee, Nick and Sally, pull seminar table off, stage right.) _. (TRUTH IS A WOMl\N) (:horus: It' s us man thinks th'i t he protects , And labels as the weaker sex-Each a dainty little fairy Chastely playing Mata Hari. Aristotle said our thinking's incomplete ~ We'll separate his head to a great distance from his feet! Truth, dividing and unkind, And so deceptively refined-That's us. And if you think we're dumb and sweet, We'll separate you head to a great distance from your feet! (Hit next verse immediately) Mr. M and Chorus: Suppose that truth was a woman And justice was a dame. Suppose that virtue was a female And wisdom was the sa.me. Suppes~ that honor was my baby And knowledge was my doll. What fun I'd have with virtue, More than did St. PauL Hark ho! Mr. M.: Forsooth! Oh, Neitzche knew the meaning of truth. _Hey, Geist! Oh, Welte! Too, too solid flesh, don't melt! ·,, Mr. M. and Chorus: ., · ~-~ From this comes one c;nclusion \ Ignore it at your risk: ) • I TO chase us is confusion, / \ .And .n~t a playful frisk. -... ........--- '---··- - --------------- ____ (Truth, who has been standing at the top of a set of stairs, descends. Nick, stage right, is captivated.} �•. I .;- ' 1 /) !i'- ·"--"J ~ .,.~-tt...:.L . ..0~ ~ "ot.;. ~ ., ~-- . tx. . s5 J 1. . ·I Gul-: . . I ' ! 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II ir kl I ; II I I I ~~ i~ If . I f ' I ' • ' • l :r -. "· 0 I ' . ~i :· ~ ;-:-rr---~ ~ I I ,I 1 I ! +H1 I ' I !~ i I \'I II. :j, .._ 1 I I- l ! ' r : i ' I I I I. , Ii II �\ \ ·'. ·. SCENE 11 ,, \ (CUrtain opens on graduation scene--lines of people receiving diplomas. The Instruction Committee is present in academic robes and paper hats. Nick bursts onstage.) Nick: Sally! I can marry you~ And I can come back to st. John's to finish my degree, because ••• (pause beyond pregnancy) ••• I've given. up Truth~* (Whatever music and lighting we can work up in the way of pandemonium. Crowd recoils in horror from Nick's heretical words. Women shring behind men; men quail and cover their eyes.) (Nick) No, no--I rnean .•• I've just stopped dating her, that's all. Nick: (singing) (with a lilt) A Mantinean woman named Diotirna, one day Talked of truth and love, she had a latta things to say: . (See Stefanus 210a) (fast and punchy) You've got to Fall in love wi~ a beautiful body That your passion may give birth to noble speech. Fall in love with a beautiful body So your grasp more nearly satisfies your reach. (strutting) Step on the rungs of the ladder of love: From bodies to souls to the knowledge above. (fast and punchy) Fall in love with a beautiful body And you can learn what St. John's has to teach. Sally: (fast and punchy) He fell in love with a beautiful body. He is a pit but I will be his peach. Instruction Committee: (fast and punchy) You may t hink we are crazy and dotty, But we'll let him back to listen to us p r each. Cast: (strutting) We've all got our feet on that ladder of d uty ••• Voice: Sally, it's the Watson man ~ (Man enters with loaves of bread , bags of money, toaster , etc. he bets on stage, the song proceed s.) Immediately �U.2 cast: · (strutting) Committed to gazing on ultimate beauty •••• Voice: The Vatican's on the line for Nick! · •' . 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(' •· ~-:..~ -"'"'?""'" \ I \ r~- ·~ ~'C, ~~ l --·· ~~' ~~­ '• i .;. .._.... ~ ~- 1;.~ "1 t ("-' ~~::.s:~~~Jb,. ..... ~:"::'..,_ ~~ -~ ' c ! ..... ~ __J 4'!1- ; ~ A ,, 'R' ,_ ~ ~ ' ,f.,.. ~· ~" .,_ t~,. ,. ;..~ ~ ~ ~ ~.~,~ .. ?-oo t._ ~--=~~ ft ~~ ?-.. ·t ' ' _ , _ .,.v .. ~ -~ l::- ? '-1 ··~ 1;:,. ~<:::~~:;;, -~ •"" if... "C: ~ � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Playbills & Programs Description An account of the resource Playbills and programs from various St. John's College events. Many of these items are from productions by The King William Players, the St. John's student theater troupe.<br /><br />Click on <strong><a title="Playbills &amp; Programs" href="http://digitalarchives.sjc.edu/items/browse?collection=20">Items in the Playbills &amp; Programs Collection</a></strong> to view and sort all items in the collection. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context playbillsprograms Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Page numeration Number of pages in the original item. 20 pages Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Perils of St. John's - Real Olympics Date A point or period of time associated with an event in the lifecycle of the resource 1980 Identifier An unambiguous reference to the resource within a given context Bx2-22 Description An account of the resource Fragments of "Perils of St. John's - Real Olympics" Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Publisher An entity responsible for making the resource available St. John's College Language A language of the resource English Type The nature or genre of the resource text Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Format The file format, physical medium, or dimensions of the resource pdf https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/c994f738642798224af9db468c8bc724.pdf bb0bca30b0d94fb5fdd3ca1bf4abaf69 PDF Text Text THE Sl'fALL CHORUS OF ST. JOH N1 S COLLE GE Tuesd ay , Decemb er 11, a t 8 P .M. i n The Gr ea t Hal l Re quiem, Op us 48 . Ga brie l Fa ure ~--- I. II. III. IV. V. VI. VII. Int r oit and Kyrie: Of f ertory: Sa ne t us: Pie Jesu: Agnus De i: Ub e ra Me : In Para di s um: _ I Chorus Chorus and Ba riton e Solo Choru s Sop ra no Solo Chorus Chorus ~nd Ba ritone Solo Chorus Soprano Sol o ist: Baritone Solois t: Pia nist: Conductor: Jo an Hamil t on David St e phenson Thomas Hark Elliott Zucke rman The Members of the Chorus: Altos Rebecca Coursey Rebecca Krafft Luci e Mayeux Patti D. No gales Kimb e r Pascha ll Barbara Sis son Katherine Walker Chris Butler Helen Conlon Iianielle George Unyong Kim Kat e Liss a ue r Allison Ox f ord Ann Seib er Patty Sowa Lucy \.Jelch Tenors Sea n Ca ha ll Evan Cant er David Halst ead \villiam Ney Nathan Ros en Vik Na tth ew Slen David Stein Basses Jonathan Baumgarten James DeMartini Jonathan Edelman Eric C. Harx Peter Norton \-!a rren Spee tor Daniel Van Doren David P. M. Wolf Charles Wright � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Playbills & Programs Description An account of the resource Playbills and programs from various St. John's College events. Many of these items are from productions by The King William Players, the St. John's student theater troupe.<br /><br />Click on <strong><a title="Playbills &amp; Programs" href="http://digitalarchives.sjc.edu/items/browse?collection=20">Items in the Playbills &amp; Programs Collection</a></strong> to view and sort all items in the collection. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context playbillsprograms Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Page numeration Number of pages in the original item. 1 page Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Small Chorus of St. John's College Date A point or period of time associated with an event in the lifecycle of the resource 1979-12-11 Identifier An unambiguous reference to the resource within a given context Bx2-21 Description An account of the resource Program of the choral concert featuring soloists Joan Hamilton and David Stephenson accompanied by Thomas Mark and Conducted by Elliot Zuckerman. Program features the entirety of Requiem, Opus 48 by Gabriel Faure. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Publisher An entity responsible for making the resource available St. John's College Language A language of the resource English Type The nature or genre of the resource text Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Format The file format, physical medium, or dimensions of the resource pdf https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/bfc6bd0743621980cb53e01adf30bce4.pdf a11f3a4373800e21d760a20cfd1e4192 PDF Text Text December, 1979 ST. JOHN'S WEEK -- DEcEMBER 1 - 8 Saturday December 1 8:15 p.m. filM AU About Eve and My Man Godfroey 2l30 p.m. PLAY King William Players Directed by Ned Elliott it Jules Peiffer Feiffero's People and Directed by Patty Sowa Edna St. Vincent Millay APia da Capo Stmday December 2 2 - 5 p.m·. M:fuwell Hall OPEN HOUSE (Sponsored by the Friends of St. John's) Reception: 2-5 in the Great Hall. Music played on classical guitar by Marco Acosta - - -pLA:y- it - - Everyman SLIDE LECTIJRE Wednesday December 5 8:00 p.m. Great Hall {_"'):;/ / .,......_ /U. / Tours of the campus: at 2, 3 and 4 p.m. .... PLAY * Feiffero's People and Aroia da Capo Saturday ·IF Stnltin;' December 7 & 8 8:15 p.m. WI NT E R BR E A K --- - King· Willianr Players Directed by Michael Bll..Bre Presented by Robert Zelenka in conjunction with the Continuing Education Office King William Players December 24 - January 2, 1980 ON EXHIBIT: Thru December 3 Barye's Animals will be in the Art Gallery. Bronzes by a major French romantic sculptor of the 19th century. Thru December 9 ":'he FSK Lobby Patio area will feature Photographs by Robert Zelenka LU NCHEON December 7 at 12:15 the Annapolis Area Alumni luncheon will be held in the Conversation Room. Please make your reservations by Dec. 6. BOOKSTORE: The Bookstore will close Dec. 21 at 5 p.m. and re-open Jan. 2 at 10 a.m. NOTIC E: Jan. 22 Winter '80 Continuing Education session begins. Contact the Continuing Education Office at 263-2371, ext. 83 for information. Many people have been confusing this regular college Schedule of Events with the Friends of St . Joh n 's College announcement of events. The latter deals with the activities of the town-gown organization only. If you wish to receive advance notices of events sponsored by the "Fri-ends" or if you desire to become a member of this group, please write to the Development Office, St. John's College, Annapolis, MD 21404 or telephone 267-0908. * Admission Fee All events are in the Francis Scott Key Auditorium, unless otherwise noted. �I H A P P 1980 Y HE W YE A R 1980 January, 1980 Friday January 4 8:15 p.m. LECilJRE Thll Idea of Sanctuary Saturday &Sunday January 5 and 6 8:15 p.m. FilM African Queen Wednesday January 9 8:15 p.m. WINIER FilM SERIES Friday January 11 8:15 p.m . CCNCERT Professor Irving Younger Cornell Law School Starring Humphrey Bogart and Katherine Hepburn Directed by Akira Kurosawa Sanshiro Sugata 1943 Saturday &Sunday January 12 and 13 8:15 p.m. 80 min. Jan di Gaetani, mezzo-soprano Leslie Guinn, baritone Starring Jack Nicholson FilM Five Easy Pieces ** Wednesday January 16 8:15 p.m. Early MaPyland Silver Catherine Hollan, speaker for Chesapeake History and Society Series WINTER FILM SERIES Tuesday January 15 8:30 p.m. Conversation Room Directed by Akira Kurosawa LECTIJRE The Man Who Tread on the Tiger 's Tail 60 min. 1945 Friday January 18 8:15 p.m. I.ECIURE A Poetry Reading Saturday & Sunday January 19 and 20 8:15p.m. Wednesday January 23 8:15 p.m. FilM * Professor John Hollander Department of English Yale University Starring Bruce Lee Enter The Dragon Directed by Akira Kurosawa WINTER FILM SERIES Ikiru 1952 Friday January 25 8:15 p.m. Live) 140 min. (To Dr . Wilbur Knorr I.ECTIJRE New York The Riddle of Euclid's Fifth Book Saturday & Sunday January 26 and 27 FilM ., · Starring Fred Astaire Flying Dorm To ·Rio WINTER FilM SERIES Wednesday January 30 8:15 p.m. Directed by Akira Kurosawa Seven Samu:r'ai 1954 141 min . * Admission Fee ** Co-sponsored (All events are in Francis Scott Key Auditorium, unless otherwise noted.) by the Friends of St. John's College and A. A. ~ounty Committee of The Maryland Historical Trust ON EXHIBIT - January 3 - February 5 -- lOth Street Days, paintings and sculptures between 1 952 and 1962 and exhibited in the cooperative galleries of East Tenth Street by artists who shaped the New York School: Geist, Wesselman, Neel, Sugarman, etc. ALUMNI LUNCHEON - January 11, 12:15 p.m. in the Conversation Room. reservation by Thursday, January 10. Please make your � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Playbills & Programs Description An account of the resource Playbills and programs from various St. John's College events. Many of these items are from productions by The King William Players, the St. John's student theater troupe.<br /><br />Click on <strong><a title="Playbills &amp; Programs" href="http://digitalarchives.sjc.edu/items/browse?collection=20">Items in the Playbills &amp; Programs Collection</a></strong> to view and sort all items in the collection. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context playbillsprograms Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Page numeration Number of pages in the original item. 2 pages Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's Week Date A point or period of time associated with an event in the lifecycle of the resource 1979-12 1980-01 Identifier An unambiguous reference to the resource within a given context Bx2-20 Description An account of the resource College Schedule of Events from Dec 1, 1979-Jan 30, 1980 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Publisher An entity responsible for making the resource available St. John's College Language A language of the resource English Type The nature or genre of the resource text Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Format The file format, physical medium, or dimensions of the resource pdf https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/9b34dfb91babb22c8b1f907a630825c7.pdf c4b6ee394a7a9187554ae6833ec7ce52 PDF Text Text Williafn, S~peares · THE TEMPEST �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Playbills & Programs Description An account of the resource Playbills and programs from various St. John's College events. Many of these items are from productions by The King William Players, the St. John's student theater troupe.<br /><br />Click on <strong><a title="Playbills &amp; Programs" href="http://digitalarchives.sjc.edu/items/browse?collection=20">Items in the Playbills &amp; Programs Collection</a></strong> to view and sort all items in the collection. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context playbillsprograms Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Page numeration Number of pages in the original item. 2 pages Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Tempest Date A point or period of time associated with an event in the lifecycle of the resource 1976-1977 Identifier An unambiguous reference to the resource within a given context Bx2-19 Description An account of the resource Program of Shakespeare's "The Tempest" put on by the King William Players as a benefit performance for the Caritas Society of St. John's College Subject The topic of the resource Shakespeare, William, 1564-1616 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Publisher An entity responsible for making the resource available St. John's College Language A language of the resource English Type The nature or genre of the resource text Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Format The file format, physical medium, or dimensions of the resource pdf King William Players https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/84f04847afa2dc40fa0326b1c268e8c9.pdf 55253376eb0107acd629746eb3f050bd PDF Text Text TWENTIETH CENTURY PRINTS AND DRAWINGS �,.,.:,_ TWENTIETH CENTURY PRINTS & DRAWINGS The purpose of this exhibition is to display the variety of artistic expression in the graphic arts of this century. Th e salient features of 20th century art are all present in these works: tradition, experimentation, innovation, freedom of style, medium, and subject matter. Although not a comprehensive survey, it does contain examples by some of the great artists of the period, including Whistler, Picasso, Matisse, and Rouault. Emphasis has been placed on including artists with uniquely personal visions. Examples of this are Hausner's brooding Adam, Magritte's juxtaposed pear and rose , Klapper 's multi-hued forest and Milton's disquieting garden. The medium the artist employs is crucial to the message he attempts to convey in his work and within this exhibition various artists use the same medium differently. Compare the drypoints of Beckmann and Avery; the etchings of Zorn, Matisse and Hardy; the woodcuts of Baskin and Stewart and the lithographs of Hepworth, Hausner and Picasso. Emile Zola said in 1866 that " A work of art is a corner of creation seen through a temperament." The thirty-two artists herein represent a like number of individual temperaments which are mirrored in their works, whether they be the cooly controlled si lkscreens of Stella and Indiana or the expressionistic woodcuts and drypoints of Heckel and Beckm ann. Artists included in this exhibit ion who have lived and worked in Maryland are Grace Hartigan, Nancy Hagin, Peter Milton, John Sirica, Reba Stewart and Elinor Roberts . Th ei r contribution is witness to the vitality of the graphic arts of this State. Thi s exhibition was organized and is being circulated throughout the State of Maryland by The Baltimore Museum of Art in cooperation with the Maryland Arts Council. We wish to extend our appreciation to Dr. and Mrs. Kurt Lederer and to the Academy of the Arts, Easto n for the loan of many of the prints and drawings in this exhibition . Robert F. Johnson WORKS IN THE EXHIBITION 1. MILTON AVERY (American, 1893-1964) Reclining Nude 1941 Drypoint. 3V2 x 7% in . Lent by Dr. and Mrs. Kurt Led erer Hillsboro, Maryland 2. LEONARD BASKIN (American, 1922Portrait of a Man 1949 Woodcut. 18V2 x 8% in . Lent by Dr. and Mrs. Kurt Lederer Hill sboro, Maryland 3. MAX BECKMANN (German, 1884-1950) Portrait of Dostoievsky 1921 Drypo int. 6¥, 6 x 4¥, 6 in. The Baltimore Museum of Art Museum Purchase 58 .192 4. JULIUS BISSIER (German, 1893-1965) Untilled 1962 Watercolor and pen. 9o/J 6 x 12% in. The Baltimore Museum of Art �5. 6. 7. 8. 9. 10. 11 . 12. 13. 14. 15. 16. 17. 18. Gift of Mr. and Mrs. Gustave Levy for the Thomas Ed wa rd Benesc h Memorial Collection 70.27.1 FRANCISCO BORES (Spanish, 1898) Painter's Table 1939 Watercolor. 10% x 13'l'a in . The Baltimore Museum of Art Saidie A. May Colleclion 40.55 ERICH BRAUER (Austrian, 1929Bullrush 1967 Color etching and aquatint. 95/a x 7% in. Lent by Dr. and Mrs. Kurt Lede rer Hillsboro, Maryland THOMAS CORNELL (American, 20th century) Portrait of a Man ca. 1968 Etching . 7% x 9'l'a in . Lent by Dr. and Mrs. Kurt Lederer Hill sbo ro , Maryland RICHARD DIEBENKORN (American , 1922Standing Nude 1962 Conte crayon. 17 x 10'ft 6 in . · The Baltimore Museum of Art Gift of Mr. Edward M. Benesch 70.21.4 FRANCIS DODGE (American, 20th century) Brooklyn Bridge ca. 1930 Etching. 10 x 8 in. Lent by the Academy of the Arts, Easton MARCEL GROMAIRE (French, 1892-1971) Reclining Nude 1958 Pen and ink. 9% x 12% in . The Baltimore Museum of Art Cone Collection 50.12.67 4 NANCY HAGIN (American, 1940Study of Plants 1968 Pen and ink. 13% x 10% in . Lent by Dr. and Mrs . Kurt Lederer Hillsboro , Maryland PAT HARDY (American, 1940Eggs and Sunflowers 1973 Etching . 11 'l'a x 7% in . The Bal timore Museum of Art Gift of Christopher & Stephanie Laisy 74.11 GRACE HARTIGAN (American, 1922) Pallas Athena 1961 Color lithograph . 18V4 x 13% in. The Baltimore Museum of Art Gift of the Artist 61 .257.5 RUDOLPH HAUSNER (Austrian, 20th century) Adam 1968 Color lithograph . 10% x 16% in. Lent by Dr. and Mrs. Kurt Led erer Hillsboro, Maryland ERICH HECKEL (German, 1883-1970) Reading Aloud 1914 Woodcut. 11 'l'a x 7'l'a in . The Baltimore Museum of Art Gift of Blanche Adler 28.30.231 DALE PIERSON HILL (American, 20th century) Boguillas Sandhill 1971 Collograph . 27 x 37 V2 in . Lent by Dr. and Mrs. Kurt Lederer Hillsboro , Maryland BARBARA HEPWORTH (English , 1903Pa stora le 1968 Color lithograph. 28 x 19 % in. Lent by Dr. and Mrs. Kurt Lederer Hillsboro , Maryland ROBERT INDIANA (American, 1928Eternal He xagon 1964 Serigraph. 17% x 16'A6 in. The Baltimore Museum of Art Gift of Mrs . May Wilson 65.11 .9 �19. AUGUSTUS JOHN (English, 1878-1961) Sell Portrait in Black Coat 1901 Etching. 5'12 x 3% in. Lent by Dr. and Mrs. Kurt Lederer Hillsboro, Maryland 20. SIEGFRIED KLAPPER (German , 1918Trees 1968 Pencil. Tlfa x 5•¥. 6 in. The Baltimore Museum of Art Gift of Mr. Edward M. Benesch 69.44.1 21. RENE MAGRITIE (Belgian, 1898-1967) Rose on Pear Stem 1966 Color etching. 6V2 x 4 Va in . Lent by Dr. and Mrs. Kurt Lederer Hillsboro, Maryland 22. HENRI MATISSE (French , 1869-1954) Reclining Nude ca. 1929 Etching. T lfa x 115/a in. The Baltimore Museum of Art Print Purchase Fund 51.209 23. PETER MILTON (American, 1930The Garden 1966 Lift-ground etching. 17% x 24•¥, 6 in . The Baltimore Museum of Art Ferdinand Roten Purchase Prize 66.24 24. EDUARDO PAOLOZZI (English, 1924Man with a Camera 1955 Collage Drawing. 15 x 8% in . The Baltimore Museum of Art Thomas E. Benesch Memorial Collection 59.175.1 25 . PABLO PICASSO (Spanish, 1881-1973) Two Children's Heads 1950 Lithograph . 12% x 20% in . The Baltimore Museum of Art Library Purchase 51.66 26 . ELINOR ROBERTS (American, 1918Untit/ed 1973 Colored ink. 6% x 7 in. Lent by Dr. and Mrs. Kurt Lederer Hi llsboro , Maryland 27. GEORGES ROUAULT (French, 1871-1958) Paul Verlaine 1933 Lithograph. 16% x 12% in. Th e Baltimore Museum of Art Print Purchase Fund 51.88 28. JOHN SIRICA (American , 20th century) l.~l Head of a Man 1965 Pen and ink. 12% x 9 in . Lent by Dr. and Mrs. Kurt Lederer Hil lsboro, Maryland 29. FRANK STELLA (American, 1936Untit/ed. 1964 Serigraph. 18 x 18 in. The Baltimore Museum of Art Gift of Mrs . May Wilson 65.11.2 30. REBA STEWART (American , 1930-1971) Mountain Range 1957 Nine color woodcut. 12'l'a x 16% in . The Baltimore Museum of Art Museum Purchase 58.160 31. JAMES A. M. WHISTLER (American, 1834-1903) Two Women Sealed ca. 1901 Lithograph. 7% x 6V4 in . The Baltimore Museum of Art Museum Purcha se 58.163 32. ANDERS ZORN (Swedish, 1860-1920) The Omnibus 1892 Etching . 8 x 11 in . Len t by the Academy of the Arts, Easton / !. •• ~ Presented by The Baltimore Museum of Art. Made possible through a grant from the Maryland Arts Council. ./ /' l � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Playbills & Programs Description An account of the resource Playbills and programs from various St. John's College events. Many of these items are from productions by The King William Players, the St. John's student theater troupe.<br /><br />Click on <strong><a title="Playbills &amp; Programs" href="http://digitalarchives.sjc.edu/items/browse?collection=20">Items in the Playbills &amp; Programs Collection</a></strong> to view and sort all items in the collection. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context playbillsprograms Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Page numeration Number of pages in the original item. 4 pages Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Twentieth Century Prints and Drawings Date A point or period of time associated with an event in the lifecycle of the resource 1975-01 Identifier An unambiguous reference to the resource within a given context Bx2-18 Description An account of the resource Program of works in the exhibition of the Twentieth Century Prints and Drawings showcase Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Publisher An entity responsible for making the resource available St. John's College Language A language of the resource English Type The nature or genre of the resource text Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Format The file format, physical medium, or dimensions of the resource pdf https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/e70969d40bc2a3b34fc7b1f0d0c491e7.pdf ca26f43a35a8af62ec7b093284d5556c PDF Text Text ( - ·. f' . .. . .. 'S 'C OLl.F:GE v . ·' · . THE STUDF.N T WEEKL, Of• 51. J'OHN · ' ANN APOLIS, MARYLAND L y f?: .. . •' . . I C<:) --;· ·, . . , , I .... ·. �FRESHMAN YEAR (CONT.) ~ t good 11!1 reading a lone jn your ro01nT . , · . C om~ hear th~ b:n--ba r-ba r ·st . John'e b ti"(un~e the thi nke.t rs arfli Cofrie to th~ e!!rmj.ntar J.LL : . Rh ~t.orie . .. ·. . ~ -.< • ... ~ ,· ACHILl.ESt _All a .a n d 1 e ~d c are our only t~ols ;Too p:entl"' ·to l~:ave a. a aar Yet ~ m&ke f~~~ men out of fools . Cm"e to th"' I!IO"Mi.na.r. And as .!or me; a.nd _a8 for m.8, . I ~d• my mind up baelf with Trokfty~ ;1(-u~n I go, I •m p;oi.n' for Dl"Oklll.;..y . Sta:t:"t by admitt j ng, fro!" HomfH" to Freud, it isn't- eo very f *rl St, .· Jolin•~ 11' whe re be th1nk8re 'the place lfh•n·• .the . grf\a+eet •hinkers aN~ So come to the iem innr. are . ACT II 1 ~~OPHOl" ORE YEAR ('Husic.H "42nd Street" from "42nd Street") VERGIL 1 Uante Aligh:\ eri ~I! a l!W.n · of ol<;t medi evnl t:i.ntes He deseri~!i eternalafterl1f6 in im.e~e, ~1-d,and rhVlle A. or asy qui 1 t that m.1 ghty God oo1J t I f von have a 1.; ttle Hme to 3pare, I'd love to take Vt"ln thtn·e . ANGELS 1 VERGift ' ~ ·.. ANG.E;I..S. ~­ .· ALLr ANGElS a •. VE:RGILr All.t SINNgRSt Come and meet thos e dan~~n~ feet In the afterlifft et bflaut:v- and str:\.ftu lJJ.ntfll'~ Comedy ·. Come 9.nd meet d.A!i '· ned and. eHte In · tht:t · aft. ~ri. ife . 0f br,~auty (} nd . :!{rife 1. Dantf\ 'e Com.,dy. Now !!ee the dear! who're jn t.ht~~ red I n thf'l In.f•rno I'm tak~np: you to I n Dante's Comedy Dirty e:lnner~ 1o+.o were l ow back-etabbers and irinnere in thl"'i r earthly livee a~ s - Rra bhersr none of them ~tirvive~ S:trte. b,y ~dde, · ther'ra aU Fr anoh-:f.rted In thfll poem We love th~ ~ :rr Dant..,•s Comedy. S.fl(lny · Cunning tutors• hell •• recrn:tt e.'r e, h1rn ili 11d l'lery ' Old Greek hel'H8 and fat Nero--Oh say, can ynu see that Side b,v ~ide, they're l!!ortifjed. .. I r1 . : ~u• J?OfllTII we Tov~ the . a ~ony . of r 1)a nte t" Comedy. Th8 lowest level hA• t.h~ devil •ld.n~ tra:tUJl•e ht'!ltil Teeth ~re grv:tl'h'in~r hlci>od ia splashinfl:J the td.r 18 .(iaJ'k and .foul Side by $ide, the:v' re ·horrified , · 1 Comedy. In th~ po~m ·we iove th~ ap,ony ofa nante e Sltm:v l!ophis+s who dtd ~nsiet on the!r ill-~ot pay Cut-rate schmlar~ who l1ved fr;r dolJllr~ are fl.tlVin~ ev<>ry r!sy .Side ey si.de, they're o.ll French-fried In the poem w.t l nve tl,e a~r;ny ofs Dante'!! Cmredv. 1 �r SOPHOMORE YEAR (CONT . ) '> F'oxy coedl'l who j ump into bed for som.e carnal fui') 1~NGEI.. 1 Find they're \jjrrdn~r mOi"rl'i th{! n , ,~a rn1nl1,, gr11Jed up one by nne. !Aly by day, they rre a ll tlambeed . In th~ poem we love th~ ~~ony o f ~ Dante•~ Comedy. Gr eek tdea men; true and frefJI men Before Jesu!5 showed Grey and hnpeless: booze anrl dop8less_.in tedious Limbo-1.oant S1de lir.f side, th•y're stupH'ied VERGILr .U.Lr In th" \'Ott• we love ·th~ misery ofr Dant~t's Comedy. VERGlLa Now com• and l'leet those trudging fe~t iibsrct rhyme by rhjrme the . fa:i thful eer,re time In Purgatr-"rio, ANG~I .Sa Lovtt f!IIXC8~8ive, love defecttve, ~po:lled th~i:r- chancf'l for graee I.ove perverted and djve:rteQ 1 the -whole daJII,ned hu~n raoe See line by line ths1r endlssl'$ eJtmb In t.hP.I poem tore love th~ tedium oft Ca nte 1 8 Comedy AT.I.t Rhyme by rhyme, they'rH serving time In the poem Wit lotre the tedium ofx r:.nte•8 Covt~l'9dy. VERGIL1 . · Now come and lll9et the eaved .. ~!!f l it• In thept!r~i~• that '8 hol y ~tnd nioe In Dfi.nt.e -s Comedy. ·. Ceme and see the pure ~nd free In the paradise thtilt 's holy and nice In DAnte's ~omedy. ' DEVILS Af,lD I SINNE."T\S Hsal devout ones and far-out on.e!t mostly !li.ng <.iod 's pra i ~o •it.th sweet s1nging and bel l-r:\nging the Catholio H .fe pays--yes f Side by std.,, they're justified In tho poem we lov e the holiness of.t · Dante • s Comedy. A.LLr DEVILS AND I SJNl'Jl!~S ALLt D'S & 3'3: Ar.I and prt"'&chers line tl,e bJ <"~llchers in helJVen1 v array.1'1 Tho s e Toffio held on to their rel :l.g1,·n1 ~flit thro,lrt.h thMe pearly ga h Oh, side by dd411, they 9 r8 eanoti fied .. In the poem we Jove th~'~ holin@t~!! 0f1 Dantl"l's Comt\dy. Saint~ 1 VERGJI r · The first sehe1on r...,t, t:o l o ok en God's or.m perfect ] itrht 'l'hey feel gladly nnd prai~e God madlyt thfl Bible .c:ure ~~ .r:5 f(ht t Side by si d•, they' :re ~lor1 .fj ed Tri thepMmwe Jove t.h~ hol 1ness oft Dante's Comttdy. •flen yon read the oolanee- sheet You can't help fMl that. fut :Dante's Comedy • .A.llt nothtn~<: :L~ rP.>al So come and meettho~e dane1ng ft'td In the a f'terltfe of b<>Jauty and :!ltd fe 1 J)qnt~ 'e Coml!tdy. �' ' ACT IIIz JUm:OR YT~ I. (Mueie' 11 '!1«1 l.adies " from "Cabnret") ~ateouldthe rebetodo ~ I'm 1. ··y , W1atoouldthe r~~todo ~ Too 1&4y ~·hatc ouldthe r~b0todo , · To do my French translation t.lhatcouldth6:r~b*t odo, It's boring kutcou1dtherebetodo, I 1 :rfl snoring W1atcouldthereb<lttodo, Let •s read $Omf' Hu:me. loJRl'l a ~'>k~pt:i c; now · 1 'm on~ too I ean't know n·,thin' and ngithe :r· can you Hume tJothi n • s fo:r certain· Mlieve m8 it·~ true And nothin' but noth in' wDi do. l'ha. tco'll dt.h~rr· betod o, Pt.~ree.pti on'~ ~~at.couldthA :re~ootod o, ~atcouJdtherebe~od o, D6oent ion In mv doRlllatic My goodn8aa, l~ tcouldtherebetodo 1 f;..batconldtherebntode, I l.o,ha tcon1 d ti'P"A betodo, ~JnmhAr No Bhoult.hes ~ '}n soa "rnd to think. JI. (Musiot "Sup8 roal~f:rap;Uist:\e""Xpia)idoeious" fr,,m ''Marv Po Oh, · T Tttl'l. g so n.f:r.rt, •l t:o t .h :1nk i.Jh•!f. I '•·:·1 :L!v ·l i Jo~ -: r , Prof.flls~or Kant enUghten. d me nnd raised me from mv r.loom e And now J '11 . tM nk of nnythtnp: nhHo~opher~ f\11':hume Bscau8e I know th~ natl1 ra of my -rea8on must assume 1 (Choru••) . Quali ty-. 4.nd quantity, modality, relat.:lon, loh1ch :h to FJay, reality, ne p;a. Uon, 1tmita1ona These wilL sel."Ve tn any tra n ~< o endental s'ltuat1on Quality and quantity,· 11edality , relat j on. (Synthe~is and anal y Space and · t1ae r•ve "corr.o to 3811 &1'8 fontU!I of :lnt nit-1 on And if l u~e tht<~m tn•ope:r-lv they'll G.JWey·s bM:r fru:lt:lon Ancl .even mort'! thev p;iv~ m"" such a sp.nrk of Arud:itim1 And that of crmrse fnr th~~e wholA ,Yfl8.r~ has bP.I'l'!'l my t~ o11!1 ambj t Hume had told Jnfll I coul d think of noth1np n p r-iori fut Kant hn~ shown dedu otively thRt this :l s ,1u~t 8 . s't(')r:v A.nd now J ·pul-l ou t of mv hat nl\' :t"avor·ite ea t.e~or;v Anti anythinp.: that iloesn 't f] t j s wror1R n. f0rt·i or1. (chorus) Phenomena anr:J n01rmena I 'va nra. ct.:lced to ·.~ t~e The fo:nner a:l'T;Qy~ coma from vou tf.he .latter come 'f'rnm me And thi!'l a)o. . can g1ve the world :it8 eont:lnuity And therefoN~ my 1mperat1vt'!ts come cRte~oric."' ny', So now I k:notv the skeptic~ hav~n't p;r-a !'p~rl realjty The:\ l" unH.y 1s noth .l nrr hut tot.al-pl11ral:H .y Nolf I'vA seen thn d11] lnas~ of their cheap bana 1:i.ty And now l•m armed fornv~r w:lth my rati.onaJHy. (chorue). . · �ACT IVt :3EMJOR YF..:AR (Hmdo t "ShufJ1.e off to Baffa.) n" from"42nd Street") Now that 'We nave :r>eaehed t h9 , f i nal an~wer, Tha t r uth b k nown · Ari~totl~, Soc rates and S h& k~~ p3arA Hstve been ou t grown At J a st lllf'l're ro11 nd th e be 1 f ·-we•vfl · rAscherl t.b~ final eY'Ids 1rl Phenomena] oror of · m:5 nd t All of life :ls a developrna nt, nep;at-1 on and A ,trMt eak tree (oo~oo-cm) If ,Y()U are a. .~ c h ela of phenoml!nology. <'~ nvelopment, Sp:Lrit's center 1.1'1 l.rlth1n it; turn :it insi.de-out and sld.n :H M n as ~n 15 free ( oo-o o-on) a If you are a t!choJ a of f'htmo:ml!!nolozy. ifonen a se1 f bee om6s another, 1t has a lot of work to do .Just to :recofZ:ni~e a brotherr lltfl. 1 for me or am I you ? ~ have welt.-gett'ft 1 s r~a lizat ··on. herr-1 at la s t the porfflct nah Hep;el'e Germany (oo-oo-oo) If yo11 are a l'lch0ln. of pheno!l"Onoloizy. If I find I can't l!ublate yon, · dol!l15 :tt mean I overrat.. y ou7 Only slave~ wUl see (oo-oo-oo) If you are a 1110hola of ph4U'lomenolog:v. 1 reust bear ~ l the ra~ista noe, rt~tali2e mv I:n oa pti.vj ty ( oo-oo-oo) Jf .you ars a Bohola of phenomf')nolog:v. ~f'Jlf-e:x::\stenoe · GoV'f'lrrunent partlcipat.:l on 1.~ 'Wh..,re yo11 ~At your ~pi rit t'rft!" He re's your actua}i'l':at.ion and t ot&} negativjty_. ~ have W('l r t-p.ei.st's ·:rea11zat1.,n, here n.t. last th e pe:rf'"'l ct nati r · If vou are a scho1s. of pht;nomfmo 1 o gy--phenomeno:menolop;y I H0 ~t,el. •s Germany ( oo-oo-oo) II. (Musto r "Tomorrow Belongs to Me" from "Cabaret") The .f reshnien &re spMking of thumos a nd nou s , Trie :!ophomort~~s ro-.d poetry Th e .i11n'i('lr1! are Heary of Kant •3 abu~.,, The Coll,ge b&Jonp,~ t o me. The tutors g:\ve don..: r ags and ora]J;a,Jl dB.y, The Car:ttal'l la d ie s dri nk tl!l& , th :\le .1 ob1ess alumni ltl"e running frae, The College belon p-s to me. Hbtor1c MeDo~1l,the Libe rtv 1'rMJ The legend of Franch Soot t Fey, How wondArfuJ. tn receive my de gree 'I'he Colla~ belon J.?:~ t o me, · The carnpu!'l :i~ t-J.:tnf!J,;d in mne~ of ~t:rinp, Oh r.;·hara could ·thr- ~]::~ .-, R:~Jhtrav.5 he, t..&•r-A ~or~r Abflut the enahJ-inP-', 1 The Coll.ege belongs t.o me. · � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Playbills & Programs Description An account of the resource Playbills and programs from various St. John's College events. Many of these items are from productions by The King William Players, the St. John's student theater troupe.<br /><br />Click on <strong><a title="Playbills &amp; Programs" href="http://digitalarchives.sjc.edu/items/browse?collection=20">Items in the Playbills &amp; Programs Collection</a></strong> to view and sort all items in the collection. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context playbillsprograms Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Page numeration Number of pages in the original item. 5 pages Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Collegian: Senior Prank Lyrics Identifier An unambiguous reference to the resource within a given context Bx2-17 Description An account of the resource The Collegian: Senior Prank Lyrics Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Publisher An entity responsible for making the resource available St. John's College Language A language of the resource English Type The nature or genre of the resource text Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Format The file format, physical medium, or dimensions of the resource pdf https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/80089d537b0e1b5f88ea234c659addc3.pdf 4a15cabf737c93efcda77e2ce355cb5c PDF Text Text MICHAEL IAN CAMPBELL in concert ST JOHN'S COLLEGE GREAT HALL SUNDAY, FEBRUARY 24, 1974 8=15 P.M. �PROGRAM Sonata :t«> .1 Roge:ro Sessions (1896- ) D ebussy Images, Book I Reflets dana l'eau I Hormzage a Rameau Mouvement Etude, Op. 39, No. 1 Etude, Op. 33, No. 2 Etude, Op. 25, No. 2 Etude, Op. 10, No. 12 (1 862-1918) Racrunaninoff (1 87 3-1943) Chopin (1810-1849) Intennission Variations on a Minuet of Duport, K. 573 Variations, Op. 27 Mozart ( 1756-1791) We bern (1 883-1945) Ballade No. 1 in G Mimr (}h opin ' � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Playbills & Programs Description An account of the resource Playbills and programs from various St. John's College events. Many of these items are from productions by The King William Players, the St. John's student theater troupe.<br /><br />Click on <strong><a title="Playbills &amp; Programs" href="http://digitalarchives.sjc.edu/items/browse?collection=20">Items in the Playbills &amp; Programs Collection</a></strong> to view and sort all items in the collection. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context playbillsprograms Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Page numeration Number of pages in the original item. 2 pages Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Michael Ian Campbell Date A point or period of time associated with an event in the lifecycle of the resource 1974-02-24 Identifier An unambiguous reference to the resource within a given context Bx2-15 Description An account of the resource Program of Michael Ian Campbell in concert Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Publisher An entity responsible for making the resource available St. John's College Language A language of the resource English Type The nature or genre of the resource text Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Format The file format, physical medium, or dimensions of the resource pdf https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/83bce4d30bb346e7449b3a76220f7c33.pdf 9d747c5813da9b44067ffb1e2001830c PDF Text Text -- .':. F R i\ G 1\f E N T 0 F i\ C R E E K T R A G E D Y HY A . F.. I IOI.JSTII AN .. . cllolt iiS: () Sllirahly-;,ll irctl -in -le:ttll c r-bnots lll':ttl ol a 1r:t vclcr, w!Jcn.:l'<ln.: seeking whom \\ ' ltt'IICt: b y \I'ILtl way !tow purposed art thou come T<l tl 1i' wcll-ni g htin g:dcd \·ici nity? ~h· <liJjc:c r. in in<Jllirin g is I<J know . H11t if yo1t k1f > CII t<l he de:,r :tnt! d11mb f1 :\n,J .1 ,1 110t 111Hicrs t:tnd :1 " ·,1 nl I s: 1y, Tlt c ll w. t\'C yu tll hand, lo ~ i gn il'y :ts lll iiCil . .-\1 .1:: J jolllll t') l'd hitlt c r :1 l'.uc1i :111 1u:HI. <.ll <llll ;s: S :1 ilin ~.: o 11 lwr ~c h:t •. k. or \1·i1IJ leer for 11.1r ~ ? l' lyi11g wi1l1 SJICcd 111y p :trtll crs ltijl "r legs . CJIO IWS: llc n c:1 1h :t shi nin g t>r a r :1i11v / em > AI.C: ;\[till's sis ter, 1101. !tii\1\CJf. :tdrJIIIS Ill Y ~!Jill' S, ,\I .C: Cli <!RI'S: To k :1r11 )'Ullr n :1ll ll: \I'IHild ""' di \ ldc.t sr: Jilt' Jil ii Clt. ALe: Not :til that III CII dcsin: do they ol1tai1t. CJHJI(IIS; 1\f ig !Jt I ilt e ll ll r.:1 r :ll \l'il:tt yo ur ]Hes<'IHT sllttrlls? • AI.C: 1\ ; II Cj>IJCi .l '.-\ qii CS ii tiii Cd lll<.lllllt inJrll'lll t: d III C tltat-I . II()RI'.~: \\'l1 :11 ? for [ kJII)\1' 11nt ye t \l'lll t ynu •sill S. l)'. ' ; ALC: i\'u r wiJI )C •II eHT, if )' t.lll illlt:l'lllj>l.. .. ~-·~·~ ·a.. ... . - v:::~,~~\~;}:~;~.:~.:.': ~ '·< ' ',: ~·:. ,::: ·:, ~ · ~ < CJ I (llll'~: ·r' ' ' :.! . ..,w ----------...........--~,,. l'ron:cd, ;!JHI I ,,·jJJ l1old 111 )' ~· f it'<'< Id e » longue. AI c: TJ1is ii(JLI':c w:1s Etij>l1yl:1's, 11 0 one\ cl <t' . C:IIOHt '.•: 1'\rn did l1 c shame hi s tllt•J.tt 11' itl1 ~il:II Jl cf ul li es. ' ALe: ;\ J;, y f then enter, 1': 1<\i ng rhrrJil).;h lit e tl t.o t ( t:JI<r!(l'~; (;o clt:t sc i11to lite hr.liiSt: :1 111 1 ky fcHil. t\11d, (l I'll}' SO li, !Je, 1111 tl1 c <>llC !J:111 d, g<111tl, ,\ 11d ell) n ot , o n the o1hcr halltl, lJc h:1d; .. , • • "!>• For r.lt :1t is very much th e s:1fest plan . Al.r:: I gn in lu the hou se with h eels ;111<1 sp ee d . '· ··:~1D. ', ~:i:< .;;,+ ::.•..~. c'~, · c:111 11 'S: (1 . , ~ s/ )()filii: . 1n ~>pcctil:ll \,·otild io n willi n g ly a cquire a n :1m e ""t F o r i ll ·tl it, c' l cd 1hnu~~lu; Hilt :din l"l11dning ll1ll c h T(J tl1i s conclu .~. ion 1 :1t bst I1 :1VC CO!llc: Lifr~ i .1 lli/ U~ l/ llill . · Tit is lilith 1 I! a vc \\Ti lll' 11 dn: fl In 111\' 1r:flccl il'e rnitl1 ilf ( ln r:tldcr•; Jll)l. nl w: r:-., :'\" r '''illl :1 JWII did I i111< 1ilr c il liH'JC, \.1)' , ii nul 1 :or Jll :tlt )' r (': l ~ tlll 'i : l.ij f' , I .J 1/ ri/IH;n /0 111/U'!I•Iill/ y. i'\t1 1 f1" 111 rl 11' lligl ll ( ,J c riiJt' tl - ycl lin ~~ low l'i Tl1i ' l:1c I did [ di iC<li'C r, i'\t11 · ditl ril e Del phin e tr if rLld b:1rk ir Ollt, < . Ntll· yet Dwi (J il :L li s 11 :11.ii:C ingcn11i1y <;tdlin: d . :11 y ~c ·l l · l.tll)', h l di ;lj d ll . 1 .~ 111. ~l. ,..,,llQltotk~--""..,..,..:":-~o·.,._J,....• ,~,~'~~~~~~ar~~~...-,_.._.,.._~ 'l"~...,..,-.;-..rr.rr;; ,..JJ .,.:•""'"''c.:lll:llll"lf:!''J;t:~~,...~' • . r .• . •· .:;'-" ' ' ,· . ' ..... - - '"···.. �'' :.~.I. ·. '·• ·:··· .. ~ ..._.. ___ - -· ---- ___ _.,., ' . - --~-- ' --·-- --·:- - ·- --- ·-'"1 :f~;.:!i:.:~- i~;;,~:·~~~-~?:;~;:~~-;: .~ :_: :_~-:: · .~ ~:\ ·~ .,;.:; . ,I .·111/istrof>ltc '· '.; . •: r:·.·~0fijE-2S;:,.Z~5,- \Vhy sltould I mention The ltt:tchc:tn tl :\\l glitt:r, luvcc\ of Zem? , !fer 11'1 10rn of <lid 1h <.: g(ld s, '· .· :nr th:111 ki tHI, \ lw e pro1•irl c l'mvidt:d with fnttr h.,ll r,, ll,·o hontS: one 1ail, :\ g ifr. 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Yc: t C\'C JI tlte 1-':tl:tt·c· :tppc: ti> ·-. ':' ~ ~I. !';Jill • • l To m y yuke of cir cul:tr ey es ,' ,I ' : ' I · · ·/~ •. \, • .o: ;; _ _ .;- . ·, " ... ..... .. - . :· (T I1c ri g ltt, nnr t> ;nit 1 Lit e left ) Lik e :1 ~ l:nq~l tt crlt<Jit~e . ~o to -~ J H.: : tk, C:Jm i, !tcd with wo r.J iy d c:1t h:; 1\t1d t11:1n y sltipwrct ks ,,f cows. 1h ncforc in a C is>i:tn str:tin l:ttncnt: .\ttd to the r:tpid ;; 4 .,.,..,.. • . ' ,·1 ,' , J -.;;_,··" ; • • l I lJnlikc th e \'< cc of OIH' tlt: tt jllliiJlS lo r i"l · >i t·: t11: I lc S[>ii t:; ttl/' 'kull , ti< Jl i11 :t It ic ntlly IV<~f' , Onu: m ore: he pttrpt, ~c s to kill III C d c.td r:tiOiti•S: I \I'Ott!d n ut ill: !Cjli lit:d t:1 sl1, l> tJ{ ye t duu l>l. if al l be g-:1y witlti tl th e !JotJ se. 1-'.IU: ()-J 01 ;t !I Ot licr \ll'llkCi tit:tt IJI:l kl:' !it t: t!t ird. Jlc :: 1:tl!~ nte \O 11t e h c:1n :J g :titJ ~t Jll )' \\' islt. 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"I-!' . . : ' '-" "· W � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Playbills & Programs Description An account of the resource Playbills and programs from various St. John's College events. Many of these items are from productions by The King William Players, the St. John's student theater troupe.<br /><br />Click on <strong><a title="Playbills &amp; Programs" href="http://digitalarchives.sjc.edu/items/browse?collection=20">Items in the Playbills &amp; Programs Collection</a></strong> to view and sort all items in the collection. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context playbillsprograms Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Page numeration Number of pages in the original item. 2 pages Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fragment of Greek Tragedy Date A point or period of time associated with an event in the lifecycle of the resource 1974-12 Identifier An unambiguous reference to the resource within a given context Bx2-14 Description An account of the resource Script of Fragment of a Greek Tragedy by A.E. Housman Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Publisher An entity responsible for making the resource available St. John's College Language A language of the resource English Type The nature or genre of the resource text Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Format The file format, physical medium, or dimensions of the resource pdf https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/c8467abcd6dec5a731c5f0b0bd3c4254.pdf d7a6685ee548168ef6680dbc38bcffc6 PDF Text Text Sunday., May 5 3:30 VM franeis Scott Xey Aud.itorium �PROGRAM I Andante and Variations for two pianos, opus 46. (1843) Schillll.ann II Romanze: Larghetto Second Movement of the Piano Concerto No . 1 in E Minor, opus 11 (1930) (orchestral part reduced for second piano) Chopin III Sonata in D major for two pianos, K. 448 (1781) Mozart I NT E R MI S S I 0 N IV Sonata in C major for piano four hands, K. 521 (1787) Mozart v Variations on a Theme by Beethoven, for two pianos, opus 35 Saint-Saens (18 74) � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Playbills & Programs Description An account of the resource Playbills and programs from various St. John's College events. Many of these items are from productions by The King William Players, the St. John's student theater troupe.<br /><br />Click on <strong><a title="Playbills &amp; Programs" href="http://digitalarchives.sjc.edu/items/browse?collection=20">Items in the Playbills &amp; Programs Collection</a></strong> to view and sort all items in the collection. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context playbillsprograms Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Page numeration Number of pages in the original item. 2 pages Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Two-Piano Recital: Reed Woodhouse and Elliott Zuckerman Date A point or period of time associated with an event in the lifecycle of the resource 1973-05-05 Identifier An unambiguous reference to the resource within a given context Bx2-13 Description An account of the resource Program of the Two-Piano Recital feat. Reed Woodhouse and Elliott Zuckerman Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Publisher An entity responsible for making the resource available St. John's College Language A language of the resource English Type The nature or genre of the resource text Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Format The file format, physical medium, or dimensions of the resource pdf https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/dec2d57e20d6e180a3811d1f57f241cb.pdf 0923b73d561d5f8e0ad1f6b248a7b868 PDF Text Text AS by YOU LIKE IT WILLIAM SHAKESPEARE Directed by J. ROBERT DIETZ Set and Lighting by ROLF BEYER Music Arranged by RICK PELASARA Costumes by JOSEPH LEWIS Choreography by DONNA WELBY THE CAST DUKE SENIOR, exiled. . . . . . .......... DENNIS GROSSMAN DUKE FREDERICK, his brother ......... .RICHARD WIMTERSTEIN AMI EHS ) . , ,. _ . „ . ( JOHN GRAY JAQUE3) lc>rafl ^tending on Duke Senior. . ...... (^M SHARE LE BEAU, a courtier attcauinp, on Duke Frederick. . .DANIEL SZELAG CHARLES, a wrestler ..... . ........ . . . .PETER MAYER OLIVER ) e _. n . ,, „ ( RICHARD VERKON ORLANDO) 80nS °£Slr R°Wland dS B°yS ' ' • ' ' '(DANIEL GIULVEZAN ADAM, servant to Oliver. ............ .TIMOTHY JENKINS TOUCHSTONE, a clown. , ..... . . . . . . . . .KEVIN GILMARTIN CORIN ) (TIMOTHY JENKINS SILViUS) shepherds . . . . . . . . . . . . . . . ( JOHN GMY WILLIAM) ( PETER MAYER ROSALIND, daughter to Duke Senior. . . . . . . . .LESLIE FLANDERS CELIA, daughter to Duke Frederick ........... DQ^JA. WELBY PHOEBE, a shepherdess. . . . . . . . . . . . . . . .NANCY AREUSTO AUDREY, a country wench. ..... ... ...... JOYCE AUDLEY MISTRESS, to Duke Frederick. . . . . . . . . . . . .JACQUE BURTEN THE SCENE Oliver's Garden; Duke Frederick's Court; the Forest of Arden There Will Be One Intermission NATIONAL PLAYERS appears under the exclusivr Mrs. Edith Dappert Box 191 Delrnar, Hew York 12054 "-vagemcmt of �E C>l Pi t\™ nr ° OC o "-CM 3 •o > C 2o m ~1.2 ^•?1 «> ; .1 c U.I K The National Players present WILLIAM SHAKESPEARE'S you £ike It SPONSORED BY THE CARITAS SOCIETY OF ST. JOHN'S COLLEGE •A BENEFIT FOR THE SCHOLARSHIP FUND- RECEPTION REFRESHMENTS � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Playbills & Programs Description An account of the resource Playbills and programs from various St. John's College events. Many of these items are from productions by The King William Players, the St. John's student theater troupe.<br /><br />Click on <strong><a title="Playbills &amp; Programs" href="http://digitalarchives.sjc.edu/items/browse?collection=20">Items in the Playbills &amp; Programs Collection</a></strong> to view and sort all items in the collection. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context playbillsprograms Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Page numeration Number of pages in the original item. 2 pages Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource As You Like it Date A point or period of time associated with an event in the lifecycle of the resource 1973-04-27 Identifier An unambiguous reference to the resource within a given context Bx2-12 Description An account of the resource Program and Ticket of the 1973 production of "As You Like It" Subject The topic of the resource Shakespeare, William, 1564-1616 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Publisher An entity responsible for making the resource available St. John's College Language A language of the resource English Type The nature or genre of the resource text Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Format The file format, physical medium, or dimensions of the resource pdf https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/3e2ba1e235b55e224f10d4a765a5f433.pdf a464d66f79b1fa8ba529f689d39b96a9 PDF Text Text �l ( I Douglas Allanbrook HARPSICHORD CONCERT frM $t. Anne•s Churcli Church Circle, Annapolis, Maryland Sunday, March 4 , 1973 PROGRAM Sept i eme Ordre La Menetou Les Petit s Ages: 1. La MUse Naissante 2. L' Enfantine 3. L' Adolescent e 4. Les Deli ces Francois Couperin Dougl as Allanbrook Fantasy (1963) Quat orzieme Ordr c Le Ros s ignol en Amour Le Rossignol Va inqueur Francoi s Couperin Hui tiem Ordre e Passacaille INI'ERMISSION Sonata i n F Major I . Allegro Moderato II. Adagio III. Finale: pr esto Five Studies in Black and White Chromatic Fantasy and Fugue Joseph Haydn fuuglas All anbro0k J. C. Bach � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Playbills & Programs Description An account of the resource Playbills and programs from various St. John's College events. Many of these items are from productions by The King William Players, the St. John's student theater troupe.<br /><br />Click on <strong><a title="Playbills &amp; Programs" href="http://digitalarchives.sjc.edu/items/browse?collection=20">Items in the Playbills &amp; Programs Collection</a></strong> to view and sort all items in the collection. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context playbillsprograms Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Page numeration Number of pages in the original item. 2 pages Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Douglas Allanbrook Date A point or period of time associated with an event in the lifecycle of the resource 1973-03-04 Identifier An unambiguous reference to the resource within a given context Bx2-11 Description An account of the resource Program of the concert given by Douglas Allanbrook, harpsichord Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Publisher An entity responsible for making the resource available St. John's College Language A language of the resource English Type The nature or genre of the resource text Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Format The file format, physical medium, or dimensions of the resource pdf https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/ceea36653c8a0baf85e7e59fb53ddb37.pdf ad50b57b5c45e5588a42966216c16c80 PDF Text Text IN CON CE RT ~aa~o-k~un .vei:J~n· ACCOMPAN JED BY ALEXANDER FARKAS, PIANO AT ST. JOHN ' S COLLEGE, ANNAPOLIS IN F S K AUD ITORI UM FEB RU ARY 16, 1973 11:15 PM PROGRAM Sonati na op. l 37 no. 1 Franz Schubert Allegro Malta Andante Allegro Vivace Part i t a no . 2 i n D minor J. S. Bach Allemande Courante Sarabande G gue i Chaconne INTERMISSION Sonata op. 30 no. 2 in C minor Al l egr o con br i o Adagio Cantabi l e Scherzo Finale L. Van Beethoven � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Playbills & Programs Description An account of the resource Playbills and programs from various St. John's College events. Many of these items are from productions by The King William Players, the St. John's student theater troupe.<br /><br />Click on <strong><a title="Playbills &amp; Programs" href="http://digitalarchives.sjc.edu/items/browse?collection=20">Items in the Playbills &amp; Programs Collection</a></strong> to view and sort all items in the collection. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context playbillsprograms Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Page numeration Number of pages in the original item. 1 page Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Matitiahu Braun Date A point or period of time associated with an event in the lifecycle of the resource 1973-02-16 Identifier An unambiguous reference to the resource within a given context Bx2-10 Description An account of the resource Program of the concert given by Matitiahu Braun, violin soloist. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Publisher An entity responsible for making the resource available St. John's College Language A language of the resource English Type The nature or genre of the resource text Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Format The file format, physical medium, or dimensions of the resource pdf https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/2050bfc7383fbe99e31c270c04268e99.pdf 845bfc76b64d41119dcbf6db56a291cf PDF Text Text I The l."- GR..".N GE, DU young _::;e·,;.;:;:mart cnor->i, yo•.:ng gentLman C.UHOS, niece of Gcrg:hus ;.;.UJ4}~iWtc J.azkey-ffi-Gorgibt1~' hoJ.\:.eho!d M,.,:<;c ...RlLLE, manservant of La Gmng1' Pmut.E!lS l .A " RA NGE ou CROiSY: LA GR~\ "iGr~: OU CIH)!~~y: u ,f..AS(,f: Dt! CROIS Y: :1 ho"'.!t it'~ and DU C.!!.CiSY ar~· diSt:Oilf:Fed. &!gt:tur i:a GrangeWhat?' Look ;:.1 me tor a moment . All ngh. Well? '."/hat ~.:; yo:.; think of our visit? Arc you happy �rea!l•"n t~~ ~te·r 'to tt;!Jl th~ ~,m~, ii!Ol ruuch . LA cav.Nor.: To sp1:aJc. !r..t mys,eif, I ~.O!mit ~ wss ~ho1t:uwdy dk.'" gtl!\tf:d. Ha:5 anyn&J (lt~r ~n t,...!:J ~eilt:l.!•·br.-.Ul'l'l;iJ country sirb put ~~~ ~ucll ;\irs!' Or tli<V !f<f$fi tr~~~'!~tJ as offh;m®dly n,~ '5\;.,i wer<''J Thl>)' could h!ll't:it.Y •bd'a& e~.f!'~~':l!~ tO t.h~ ;;;~\!'it o.t ~w iag us to sit dowz1. :~)it~ 1-* ~"' ~~ :J<l ~'!Ntay mutu~J !";mt:"J.~l5ncils in ID~ i,.~•Y, "·':\ lli.¥JCh Y'l>'i:.'cing. ~ :ir.!UC~1 ~Y~·rubt~~,g, :?~ M~:::h rep-:\ti!ion of." '"~'b~•~ ~i.~m. ~ ~t7' And 1-n (!Verytl!iSJg """'! oou~ -> thi r.k. of to ~sy ~-:. ~~4 cooM ~· fi!ld nny a~'JW ~ . ... "Yes" <"<ild ..N~/'! Sit::~ won't yc.u admit ll-.:11 li: "·w:'d W~ !ht;} '· f scurvie'!t 1i>C'.l.'lp1e \ll~ erutl~. t:tey ~"7J~:V:id\;'t ~la>ro tr"¢'i.t~~ ~ite. W&J"b'f; than thl':y .:Hd? :DU CROtS Y; Jt ~ {0 Q1W; }T/.t'!ct tiJ;il!ig o.'h~ i7<1at~b;: (ii,W)" m.~ to heatl Ll. GRANO~! : C~rt.'!it~~l:O ~m it k! hit.Mt. :~-, jiUJch 20 ~ ~ V~ to ge·~ ·tt'v~•'lf~il! fo:r their i.mperth~!::n~. 1 )\Jw>w whe-t tn!ld& th:~ .; s~ ha·u(?h~Y t£~WQ.!tl lli1. [rh.:y ~1-,:: f.l!~~:b·;;-.1. , DU CROiSY. DU C:!l.OIS 'I: L.\ O~.UltJw.: i"1·~ .inus~ {,:~~ ·Th~; J!Yf'~CW} UC ~~!~ WhO ga mlei' .jU"~ cio.~ty. DIJ CROiSY: LA ~MNGI!I : PI: ~:t~ico~tlty? .e:o.:<i<"<.!tly. ?re-~l>;;/ci'!y ~ ~!::1> n~w ~e:<!'i)o:;.,.-, ,.!!f.W!\{; ~ intel/,-ectml.b. Tbc,y're 00. ~urc :w.~ ~hn>itive a.."t& t~?Mnrcy that they can't .stwd aGythin,;~ wmmoa cr i:'r.Ja!. T~y .-:.eu't c.t.'l!i ~ny· tl1ing by il;:< right r:.ame; :.hey phy !I r..i.t'Hi of i!tem.l)' ;;lame, to ~ee: who ~n utal\.1': the moot far-fe~ched. a!lusiom, necord.ing to ili.::lr Spt!cial cofi.e of aifffi~orit..j 1 Thl~ precious fashiora hll-; oot only i.nfectl"..d :t' a\ig, i~ hns spt~r,td in~ the province\\. i.C.l1(i Ci!.!T ridicmcu!i .Q~b h:we b\!:,.en <1 SOI.l'~\ r~ooc "'~ it. l" ~;hort, tJ-.2;y are combinatio~ of ~'r. preei!::nl!:. t11l~ the Ct-,q~~r:ttt:-. i c..a~t ~ the :sort of thing ~tty would a.p!}:t?.~:i:.te; &lrl if you'll t~~. 1 �Th f! Precim.>x Damsds ·v...,;' Ji p lay ;.~ trick on ~hem which "Nlll show· up t~~ir folly, ~~r-1 m.1y teach them U• >·uzc pec;p!i! bJ;~ <er. Ptl CRO!SY: How du ~. ou mea;n? •.. A Glq:-lvi.' · J have a vale! r1o.m~d M:a3C,?,r:H~. ~~• Ulll ···~· ir•im'l c:[ a gt:(td rnf-,ny peopkz.1 he p~ses f3r rJ "JJ"it in ;tfJ~ !' ~ {~;.JJ.!·:~l ~nat! . . uer, for ".he re ·~ nothing '.::lv~aper til:~11 wit mw;a~J.l')'"'!S. He's ~ fantastic fe!low, whu has taker!. ;~ i,,lt(~ his he:;;1 i•t pby ~L':l gen tlem<\ 1~ ::;f quali!y. He makeJ ~- spe;:; 1~ll:y of e{>;;b~n::•~·a ;..md re · linemen!: 1~:: writes p.<.•dry; and h~ looks dov, ·•~ o•• H:.~ >>ther ~;;r·.;ant~ ; coarse brut•~s. b<! calls them . Well, Yih~t rio' yr.:m exp~:ct <:J ..:;,, with htm? What do l e,;pect w do't Th;~ thin;& w do·-··iJ>«l: ::\Ni ge-t I.)U~ of here. .r.;u CROlSY : Lt. GR.\NOE; i;~t':, (£11ter (JORGlf:ltJS; <.!a~ ;gh ter. coaomus.j Y!t..f~?J , zeo!ltiii('!'.Jl, yoa Hew ?.t:! ha.v~ .$-t!"~n M'ltY ~.si.~.ce ~:':4.(( thir.gs g<.ling? V'hat ;:J th~: r.<:~ulw. #a!f d ym.n vh.it? ;_ ,_., GR:.::-w ~: Thllt is something you <.~F.. tt learn better fwm thet~': tL m fwrH us. All wf! can teli you is ttl''\~ we ~hm;.k you fer the: favor YlHl have rlono; us, :;~nd we: r~~na ;n ym:~~· Vf.l'/ :humbk· servants. (Exit l.A G~,\NGi~ and !~U C.:<f'(!·.t'. ) a-;.:}RGlBUs: \Vel! now, V1haf~ this'? Tt.>;;y ~-.:em :;,J b!!: leaving i.u a very !n<i humor. 1 woncler what'~ ·~i'ie ;~/1!5·\~n. fd ~twr fi :r.r.! ,>; L Hey ' l'!rl!, you! (Enttr iiOllOTH.. ) ,,1;..!tO r-rE: Whnt do V<>tt wish,;;;!;'( c.oRGHHJS : \V'here at<: th!! l,>.dies? MA.RuT TF : In thr.:r bt·udoir. (;0J.l. C,J HUS: \Vhiit are the y doi ng? M AROl rE : Makmg hr, .::'1:ve •~oRGii3U5: Too ii"HlCh 1':.\;e. And roo ;wJcli !i.p Tell th~m 1.:; CC'il'lc down . { fx it MAROTTE) T hose !mssie:s an: 'i:ryii'lg f.o min m ,: _ ''; th their lip ~alv~ . All [ s;:e around is \'thite--s of eggs, �virgin·-!'lill~-= Sin{'~,; we :sud ! dtJ-n'~ f'!;co2"ru;.~ . h:<:m {hey h:.tH'! used 'Jf. the flit iJf 0. dozen ~ t~urai.in~G ,,~;~~,. ~t ..::.cer~~·~; n~;ve be·!:f.? pi5ii lit ](.'>4-9•!; and im.u· ~:!lr:''l!servllnl$ could live \·:m the ;;.heep·~ trott:!'r<- Jt7.;;r g~t rid <)f. { Er.ter MA~~c1DF.; -f>N ar-zd C..HHO!"; Girl£, )'OU' '>'C t~t l;) .EW_p ~iJ<em;ling 00 mud~ r,~O"!f;y to tr~:l!>e you!' zn.aigs~ ~-:,;,;t"\..;~· '1:eU illte., \til,~t did yotJ :{;o w th0$e. g{!n~ok:rn~n . so tb.a~ ! Dirin'f. j~ '-'"'W tht!l1~ ;;-c .:•ut wiL"l ~ very chii!y c.1r inrle!:'l'! ~ ;c;x~_\ltt you 1;1 ~-.:.-:;;>1-.r.c tn ·gt~~ :ro;l ~• ~el,bw~.\t'l? VJ't'ls.t f.Ci)<!lfd, JUA~Dr.L:DN them ~ather, dv ~ .:;~~(ltremen :•;:,u ~X['l:-Ct 1.11> ,,-:\>pose.'I· to b~s~ow· UpJ:t (.l;~~ i,.i~;]~{l.nr proe~d i~g~ Of th01t!! f.J~?'SO~~i? An<S !;ow, Uk'!·:.C:lc. ~;o uid ;;. ~.c:,,.,~wh~l. r:ea:sonah~t ~~r~ "*'iii-: theLr. cilata:ac~~rs1 c!4:m.GH,{!;;. Vlh,lt oh.j!f.•;t{n;·, cc:1 you 1huJ t.o !h~Fl? MAGDI!.i.;;)H~ W[-gr.,t ki!1-C of ~'ili!Mtry ~~td thr.:y d':iplay! •;;.+/hetl 'r.r> CA'rHO-s: ma~e ~~hiit b-e¢n.r-itW-J. dt -~i.tit OD;tGI!I-US : ~~!tn.~ ru.a•·rir-<&\~! do yo•.• "':•ru.< frfilM tQi b--.!jirt with? Ct:·ocu- bina.ge'? r,,m 't ilr;~ir J.nCX:~'.lif·~ s::-ne yo~ 0ll~M t-u <~ppnY e, as ! should l<'HJ? l.;m't that '11e l'''~'- emaHiy ~hbg .,:o do? A~id ~hat sacred ~~~::l ;}~'lt they propc.e, i!.~'t Jr':rn e·.-;denet! of their. hooon;Me b.'~3tion~·r iltfACDEl.O<..:t ; 1-~~lh:::r, yn-<i.'r~ :;a. utteriy c'):f].mg:·i!Oh! lt i'n~kes :m'"' a~hari.l:;;;j ~o l».~r you till~ i.hat ws.y. You ooght tq t·.b~ !'!. coun:e in ccm,vr;;rvation a'i all;;;~ .-..rt. OORG!i'JUS : R :.:?:!1 C:ODV?2t.ol.oiC!:t. M la !'it".e Wll-Y of Sit)'ing •r;ha~ 1. met-..Il., _;,nd i lillY ~b~t .!t;<.:~r-i;,ge l.:-; "' i11ll)' anJ :>N:reil mattP.r, and is's onl1· oi~nt to bc~\n ~~ith rt. MA<:IDEUlN: U-~ar m~ . ii eVJ;'I:fO'll.>". were lliv~ you, wYN:is wou.~ti btl YBr.-_r ;t1w1J A nk:t: ~h~::;;g it . ouM ~, if the Great C)IT.us marr~<::->i l!i!J Mand1'i<;: 7i;:s1l~ ~t th~ !'!<~:~inning. CJt if Aroncr; m ar.-i ~:•J Cic li~ in u.~ ii~:~~ d~~-pter ! • ·lf::.1: is. ;ru: tl-yi,r•g w !>ay? :r·}:tber. fll~ }..i)U!in \•rill i:::U you, ju~t OORr.t;;;;o~ (t-o o:n..:•; ;s): )f_t.GDt;:t.:·J.N: ~ '..v;;U M !., �that m8rriage should n!v•::r ~cur unti1 1!'Jter th.~ :r.ili·"'~ a dvrmiures r;1·€' over. A lo.;;;:r_ lr, order i.o bt: accept;;bh•. !5ht>uld b,: , ~~hle h' toy with noble fa11Cil!'':l, and }!1c.y tne gam'-'! r.-> tmotkm, sweet and tender ·.md 1mpassioned. And ;.,e s~o<. id W•'X} according to the ruks . Firs~ he ;;h~~~,;ld s<;? ~::-,<· fuiur.l:; c:b) ~;d of h~~ ;1ffections in ..:hurch, ot ml the prom::n;.uJi.', or ir! :;;.·me public o;eremony. O r dse he ~hnuld m ake l!. fat~! vi:::it to her h,,~l'.>e wstil. a rd>!tivt or friend ; and .~.~ em~rge,; in ~ tnmce, ~li .ne}a."i· eholv. For :1 >"hi!e hi!< hid<;:s. his passion :'mm the letvf'C: vr-<~, but r.evertheies5 he pay:; her a f"w calla, wh>~.n ooml! problem ,;t gallan try \!l lllways hn.Ji.lght up to e~l:l::'ci:-.e t'he 'vits \:."le a"M!mbly. lh'~ <!a.y of the ;Jr-el:.:ration tl.rdves ~ l.hi.s :'lit:)t;Jrl 1.1:m:.illy take place iu a gtmkn p~~h , while ··;1.e ;·.;,~,.. o'i th~: p;;.;{J hu gom~ ur.. This J.eclar;:;tion l.-. follm~erl by il;m~&<:te ii;;;t'i!r tm om· part, whid1 show:.: iisdf in o>..u bl~~; H U~ for a ti.\le c w fl ..~y ba.nishcs the low:r from •Jur pr-.:s~nce. 11let~ h<. tim;h some •ny J;.' c:oim u:. down, altd iittie b:.· l.~ttic h~ <llXUStQtl::s m ~~ his de:.o ip!bl't ot h:s pas.-:km, anil he draw.ll from ~; that ~ ­ mission whidl ~aus~J> tH ~o much disir~e. ·Then t.."t"..roe ·~e M · "<:ntt:res ; the !·ivals who crqss u; alfcct!uo whieh ~=lll bell;,. c~tablished, the ~er~S-ec~,::~k.n:. of f'lthe r:>, :.he i~alou."i~ •1%tkh E«<~ W!lce i v~ <:1 011 some f!!lse b:2.:;i~. ~h-e n-:p.-r1ad'feS, thr, nc:q;S~irs, t!1e «bd.uc dl'm :tnd ali t~e CIJn<'·~quen - •:,. Th9.t\; i'ww ma~w:· : ~r!>; treau ·,-? ~lCC<H:din g to p-roper etiqueti.e; ~ho~ ~re rules of ¥.A;. !ant"-y whi-:h r:an ham:y he set a:;ide. r=m to come right o ul at th;!: b:::~;i nning with prOjYO$in~ ;\ m~t r)moni>:d unior., <!tid r.;;, pui: ~H .YGI; t lovc .. m akir;g m thf; marriage ~on:r;;;ct, a~ui to st%r< ~h'<' mma!1Ci~ il l t!w wren~;': end, really, 'father, liothing t:nuld ~~.. more h uckw~r ish lha~ , such a procedure. tHd tbe: ~re tl<ougM of it makes me sic!.: ' t W<!f ~icm ac · OORG UWS: W hat 'khsd cl rubbish i:s <'.!.:' thir,·; ! suppt rt.e thaf"l)) " the highfz!utin style irt fas hion. c~ rHos: In fact, lJnc!e, cne could barely be righter than !\if cousin. How can one p roperly receive persons who are quiie ,,f �at ~~limttyl' ':'V "<~~t tJ¥-i,' II>· ·•c:: ~~"' Map of i..t~,~!MWJ , ~~ th¥~ ~M itJ!'rJ'if.':l: •fl~ ~~~ grct.e~u~ i"..\ mattM·;; eveu ~~n ~h-,: notC!ll, r;;;::.,:r..Mle> Milw.·, "!r~v~· Tf).!I...::?.~M>m. ;w:i4 Vill?.g<: ar:J 'ltnngv;· t.:!)l.lntry to lliem.. poer!lmu btt".athe t.l"~ o.~e~~~ dulia!l'4, i?:~;:nyver.>:.: :QQ~·~ }~ ,;:;:'.1 ~!':,ut ~k M'~<\ th~\t tb:ty t~:n~~z ~nsiut ~. ~~u i.mpr~~n ;:m. aM:opb? To ~"-$ ~o,;.,-:i~ wi~ooi.lt !rii~ Ill the li.nee, Y ith !!< !.\'!£ ~ of iet;!fu,Jis, :<' ~ un~•~. r;.!J;.;.1 t " s::oat rocle-~ing Cl ~.;:;tt~ - tiboom~ (;:;;"'~ tse3\~ ~..~i:t~: m ltino of 11'>~'7.1 ;:;r., ~<s~ ~Jif~a.l ifl!'IUcity i::~ 'l'~ttu·~ wl!&t ariclity of ~OOVt!l"l!&tiou! h•:e nikt tc tie endured!, it'~ ~~,Vt ~o be ¢:.UUI':!te~ tt ...l'k."'!:dl Woot,;,1 more, ~ rn;.;i•~ ;}<.:,),~ th.i.f' 1'1:!•'·~~~ ~J~ wAtt m<~d.e by tht1 ri8h~' fur~~r. tllt>~.i :b~~ d'..Mr ~lllips~ ;&i"'' • good ~if-f~~~~-~l(~ft.Gl!.1V<I: ~ ~ni: t!eytlil ~;l.fi C/UY, ;.l;fJ.,a ;.:.nythl~g a egm'~ .,f tim: (libi:lerisb" ·~.a2hoo , ~rl. y.(:>\!i. M.\®1?-t.CN.~ ~--~~ lfliltMr, ~l•t<!Si. y«tmit ·~~~ W.i: .. .M!i>~t~IDQ-= t<.:f t.~.c ~ttnnw; ap~!l~tiM~ ~~ il\Mr~ ~~ (~h~T#i~Yt. \ ro m:ms: Wha\1 rt.~n. , 2ippcnation"S'~ .-\>:'C'LQ'\ ~ ~~ \~ ~~WU'I~'f c~ b·;:tJi~l!;:>. ~ MAOOI2LON : w!:.;l!:t ~··J;J m-:'! OM &t.&-,i t!-~:'· lllrui~ ~ ;. tJW. ~ wu.~! h '•"' f11tt....,~ t> ~:d of m' !~i· .s~na!. Hl!i· ;A[~yone ~W®i ~~ken h~ ~it.en.r~· ~Y-~ of· ~li;~. I!R CJl Ma,~e!on'! woo·~ ywo.~ al'irult eha~ 1.:r~ $!,~ be ewau~ to Nii!i t~ ~ rwv~H •.:m oellrth? CA'fHOS ~ }t Es r.rm:. Uucki. fun>:<o~:,v ® KieadY.J~ tha~ ~l wmi!:wh•J ~.;I;; A!lfii~ ',VOOJ~~ ~wahi'\;;c ew· ~N~rif!~t~ tm uuenmce; o! thtr~ ">"!X:ab~s; "~d ~\7,~ ns.m~ n; ~$o~yxe.!iii., 1;:d:;icl1 ;;:;r •:(_;t;.,in h<li. ch~·m. :M!I.'! ·lhiAt ~t wm Aminta, whkb i ~~'~1ll &dOf-1\ed,. l12"• , 1:1. ::.1:ruil'.:i W~. '/~¥';,) !urely gt"'..Jlt GCMJBU' ! !f.-:n; mw: Wl,';ityj •,;.'ill ~ t!~Jft:') . ~ ~'lli·t ift~ ..r.~ !iu~~ . y;:~u lbilt?: hav r:.lky ~ ~~~ tbi!n tr;~~; -.~·hi-:h wero!.i' ~w.~ · .!to J.f.IU by yc;n so:>dfntb.'f=~Z ;:"?.t2' t;:JJ1.~moU"I(.'! n;, Arw:d a!l [(t.i' ~ ~!tdemen jn qtt.estion. ~.,now litei;· fa mil!<.![> · .·u~ their l'inft~.io a,ud it is my fu-m min; ~Vii you disp.r;~4) yoo.m~ lc: te.~ - .... ... .·. �them as husbands. ~'!ia gettir,g ~mx£ vf hr.mt;.r; yo:1 001 my h ...dt•. Taking r;:ar..: d - " zir!g lc Ct.:>:ni:t~ ~c h:,"! to\}0 Nlff.;h ot ... J<)t> fo, a ma11 of ;n-• a?~ As fo;: me, ':Jndc, nH r >r;;,m teH yr.m is Uiat i t!flU n1arrut:re a v~~a"Y t:h()(.;f.(hzg ~:tforreu et'"'~. }1o1""" can O!f.t. ~1:1:riurEJ the ide21 ~f d{;..e):ling b-zsi~~ ;a m&n who i~: at~so~ute!y m.u•:.e·; MAGDEL08: Permit t~" Ofxi:r f;.,~ brt-ath;;: ~ hi~ ia 'he n<'.e &~ty of Pads. wh:m:o we !.;av~ ~.{:. •~ntly ;-.rriv•;d, Let u.~ h'lve; ~me to we~.-#: ~lle plot of r.- '-'i:' l!•:0'.".1:Ut.:c, ag;u de~·~ for;;(! U\:!; C'm~ CATHOS : (~ i usioo ~---~ ra~~ OORGiBlJS (a-'~ '-) : No t.i•t<.>J~~ a~:'!I.:S ~~.. t.hotjf"ra: <OOmp!eteiy t~Ld. { !loud} ~)~--: t~ore, i •"k••~'i: ur;den:~.~tritf i£\>:"11~,>thlug oi l\.~ ·• his. h~~~ ~.:::!rd~h . r. ara goh,;~f ~ b r,;. abe Dl~t;;:. r hf1ti~; e.nd to ~:trt ~""IIi to thiF. svrt of talk, 1?-iLCr yoo•U oo~tJ ~ n·~ iiTitd "'e'i.Y t-·oon, c~~':. f:~ ~tn, ~~· ;.t.t~':J go int~ ~ :rtPlt\!.lrf~.~-y_. .l i-~~.(.~ m~. r.::.•th l)r.: ~ '"·1 ~.[;.~At \J-ORGF-bi!iS¥} rny <.J:~d !~eav;:r.tsl' U~t!.t, :t'-~\"1 yc.~:..~r subst;w.(:r; is biJried i11 \'fl>:t~:. m,atWt( H ew ~"m.."H hh• i;~lclli" geoce is! Whrit dnrlm~s h~ Ns roul! -~'-/hat d'") Y'm. c.Kpe<:~, !H}' ~ar'! f>tAGDEI. DN: ! a.rll ~hl;,m~:d :for Zli!n i. ~an hHdly p<:muad:: my!eit that ·i &.1"!7. ~-eally £~iii t.ii.;'l.ugt.-· \"l.ir . a.r!d ~ think thr.t\ ~;f<;~~ day ~n n:iVt:~~.K1J~"'~- wB! r;1·1:;.:th* ·.~1~ic~ will 1:·Y.•~ al that I ha,) a _;-:*)'•~· musui O>Y.~:~; < ).-ig!r,. t:A:THC!i ·. ,. ~:a n vteU he~ h~v,~ h.. Ye.. .... 2:.J.f the ~videi'f'-:.'--' ~>ait~t.~ dt!tt Wli y. An::l ::.•j for. me, wh~c·! .:. !cok' at m~if~(F ntf?r MA~~:rr~.~~ . ~ SD.ys la:i .rnc.~:t,··~· wa\'~t-~ ~~~ "~iJ:"l·te ~nd ~¢t. yut~- :•1 AJmE ;,,_:.:-~: Sa~; ~ "~t!err:: Lean;, idiot, ~o pn:m~m;;;·< ym..1rseli I~ <¥1.'l g8trly. is a i!eCe$..~7}' evH, a4!r,Jrt.g ii y·c~J· visibf~ity i~ 2CC~Z~'bi_~·.• ' -: ~:our ch3nce tr; ':v~Ac~DE'!...\.}t-.: · rM1~Jer lea ~ n ~'h ik:s·t)phy h ~ ~rnc lrnpudcn d of thi,, \ack.:s'' CrPat ::y.tu.r. . R.:t;, aHy~ yc.11.f!~ :.ns!.Jfrt;'i;~b!t. Whc ~ s tbt~ �He says he's the Matquis oe Ms:.cnrille. Oh, m y ,l,!a , a marquis' y,;:-; , go and ~1'!1l ~;,(;tha t h~ can see t< ( To '\'.THOS) No doubt hf.. ·~ lfl(.' of ~he~ wi'~ whc· s. ha~ h.e~rd ;;bout us. ~: AI Hoi>; Ok r.;..:;suredly. my d?.ar. 1.'-iAf.lDELON; Yr'./d better receive him. in this parkrr, !Hld in our !:-..edmom ;n the gre;'lt larlies Jo. Let'~ ~ust arrt:~>~g~ ~;.u heir a Iittlt:, nnd support out reputation. {To M..uto·ni:) ·Q~:id;, come< ;ur.o tbe (lther t<Jom and displily bek•re us th',! c:>~.msc.ln~· MAGDELOt<: ,.,o, of t!-te sra(.,es. G. o;::i J.and, r C!cm't :·now w!!a.t ltit:ld of a C:Nlh.lt~ ihat o is. You've get w talk <..hris.tian, ii yo:.J wartt ~!1;! to understar1o. CATH0~1: Ering w the mitrot, you ignor<Wi' [~,:;. and t:>k~ !:<1~ no~ to suily ;±~; &1~:; 1 the r;<Nnmuni at<o11 oii your image. ;y (Exit O.T!m.s, M;,GOEJ..ON, :md M.uo·n .~. Emer . Mi'.ROrrt!: MASC~!.\U.U:: in a s~a(J.n chai?, ;:arri.::d by :.w:..• :aQ? ... f;· mv..;.) Hey, bcan::r!;, he;', hey, bey! N-,r;.::, oow. >'lOW , "0'", n~w, r.ow! i thin!\ >.hc:;-r. £cm.m dreh wa;;1. io clestril)l r~:t by. c&shing ag;:linsR tile wal!r. arai c-,e ftc10rs. !'ll<ST arv,REet: VvcH, after all, it wru;; a r;:;t;-row !!<';''"· tu~d nmhing ·,VQ<.!ld bl:t w·e :>.om.:.ki bri11g you rigM in h~r<~. MAo,•::.~;t.u:: N.aturally, iru:leedi Would you wh~• , me;·~:a:s, tha~ 1 shm1ld ~x~~: the profi:;;:hy t\f my plumes ~o n::; int:lem~:nc\e-::. :>f tbl': pluvious seascn, s;nd that I ~hould ins.;ribe my Jbc>e prin!l: in Jr.ud? Comt,, gd yovr chai; m'.t CJf here. <;.EcoNr..• R€ARE~.: Pay us, then, pie:t.><: ~i: . h'iASC. ARILL<i : H\•h? SECOND fJEA l't.l:: ! s.ay, '\it, tMt you shouM ~ive us; C!.it ~HOI'!t.y, 1 you p!ear-e. f M '\.~C.o.Raul ( gi ving _l. :,..n a slap on th1~ rvce): 'Wha~, i'ii!\Cal, ~~1. r-~t. !:'CAIHL .t;: .a., money of <::: per~:m S'C COND !IEA:'l.F.lc your quality of my qu;;;.iity? !s that ttJ W'i!Y you pay pc~r e giv.-~ u~ any•hing to eat" snen'! 1\.ud do~ �MA~i..U: Ah hal.[ wS!l wants to :;wir.dle ¢~;:;~ )-.r~ :,;t.c'l;< ~~~l "[""'--j;:( ~: me~ FiRST S£!\i<E~ {rcMO'i?ing C'f>.Jtt of th.f! ;;ole.<; fr<H~ tk-t :C:>?dJtX~ t:ftoir) : Com~: Ol"\, pay \.!.s---&nd quieUyt How's th11.t? Fnts-r :n.AR.r:l".: ~ :18.y th~t I want my money right llWB}". :i>U.sc.um. u:· H'-" 'S :a ~wnabk m~~;.n. MAS<:~>tm.x.~; PIRS'f l!2ARE~~ MASCA~UL£.a ; Oh, y~, ls a lmav<: other~ Are you ~ -urry U~f ~l."ttd. Yt:!<~'l l:.;l;l\: v;z~·;r U.-n!!ih!y; 'tmt I)~ wmo dccsn't lmow what ~·!l saying. H~. $Rt~d? I'U!.ST ll:I!IY't~f: No, f•~-l not s.a.ti:?.fied. You a.!td ~f.... MJ.SCt1.ruu..~ ; New, jue.t ta.'te i~ M~J- !?J~::il': sln~'1;:ed my fri<md'a f&CC!, i~ ~!Yt ~ .9!~. One: g!J.'e!'i ll.bout it pro~rly. N"w go, and con~ b~dt ft.rr .;Jte ooor. to t;;:"'e mew ~0 l~"~ i of the .Kinj!:'s Mimniimt C..'l.!li get anything fre2'1 ;;ne it o~ Enter '!>'l.P.~!>Tn!.) my m~tre~s ~oo .-~omi rl., in :ri~:M ~-y. No n~ f1.1r haste; ! am e;.1mfe:rt:abiy &"'' biis~C: {&~ 11&\U'ItS. MAROT1'll: ~onsieur, z.r.<~:>CAS<.iU.i~: hete ~o e-.·~<o'a.~t th~m. Here they c:.:~.:.. ;;,~1\.P.o-...·m; (Emu MACO~l.ON ..wd ·C,\Tl'ltAJ. Exit M . r\OTT'"."3-) you umy n-c.1 ®:;!Jht 1)1,> !;Ul:"!'-H'iwd ty it.>.~ .sud.-ci ~y ~f "-'Y vi:;it; but y>)l!r merit brings thit ·Jis~ upcn you, !?.fiG m-erit ~''*' for li"•l>e well a ~!!.i.i~.ant 4-':h~?m &..:at ! spe~d everywhere in ~ts p~r.mit MAtriDELO~·J: lf }IOU are in punmt of r~~erii, i~- i~ ~-~ UJh.""n 01.1r d~mai •>J t'llat y,;;u tdwuid hur~tc...nw~: If muit i:> 1:o be Cound h~.r~. yon fli!l;~t -~'*~rily li•~•>m brought :1 wi~h .'ou. r.~X.\!>Ci.~I!.Ul; Ah! l file: ll~e;:tiot: n:;;~in M y 'O!W tJ,':.n1emeMs. ii.oe· nown sp-.:<~g i ~sltly ln Tef'l.rii<lZ ji'Oul' wor~n; y~ ·will Ma~e ti g!'n4l-il ;;l~rt o~ tile: gu.ilant wc.r!d at p;\!"&g, MASCA!UU.. t.: M~s<.Umlt:!$, �HA<.:OELOi>~: Your amiability exdt~" ,j~ie ttY.> fH the lib::r.\ilit; of its praises; and n!)' cousin RN'Il takt; gooo C<"ltl:: HOt to •:<)i:'.· fide our serious tru'>t t<' ~he duk~;;t Sl~i.ln:d o£ your !b~;,ery. CATHOS; My dear, wr shnuld. havf.; -.~ill!i.n: set ·:vr Af:D.t: LC N ~- Jlere._ f~ imal'!::!'.iJr! (£'nter A~ . lYJAXZ.Olt~) i•LMANZOR : ?:.1AGfJ£J..oN : Madarw;:<! Quick} ptoi··H;~~ h.~Llt~r til~ c~nnn'".-(N.t~!·l~, { Al.M.IINZOR am:u;.s-t:s ch;airs c,,,ntf ~xit.i.) o .f ccn•te.r-:.:fl-• _ L ~J 17 : But .;>t l<:ast, is there !I!>~""''~Y ;;,,:'"' for me? ~ WVt.at~~ . araiC of? ~ MASCi, ruu.<:: $;.1m.<~ larce.t.y ;Jf my h~att, r;<;z;t.! ; &SSas.~matiOr'i v-1. ~ my Pli!r!y. I s.;;e ht·(.;: a.~··r~~ .:!ves wh.icit h:""" t.~ lao~' of •rcrj r;aug:My fellow~. i:-,luit~£·:;; of r,~ mii.!l's fr.c-t:oom; th-ey ·vwld tre<'-i z soul ~~s il Barbruy zc.:.lley l'it\:lv.e. Y'lhst tlw dt"lrii ir.; t't'1h? As e>.••e :;pproachr.,.· uiet>l, tJ;;:;y pu~ tl'lt~mseives nmrr.h:.0t11~ly l:<!"'.)ll theh guanli F aiili, 1 distn.1st thtr'·i, l :>hall rly\ tn' I 0.~~ , mana 'l solid &'J:tl'lll'i!C.;:, t.'L::<t they wm do fllt' no harm, '· c;Ue..W.--3 MASCA;;.!LLE: CATH·O S: ~JVh a.t ~.-n~ yuH h...v- ~ UJ{; tro!ic chM~'<{~rct. C:AT:HOS; 1 s.ee that he is fL<nik.-u, GltJI. ;)f t~lt: .;ovel CUli.':!. !v!AG'NiLUN (to MASCAJ'Ul.. ~£): H~ve no (~~r. ; .:1\.ir ey :::$ h:n·'-~ J1.tt evil desl»_;iL>, anti your t<'.!ow.'{ rt;dy ;l_1~ ~"' ~<~ur;;;s!<;,;; f.'!i •li:~ir in!egritL ~.s w !Eft_ ~ ivl/iG\')El..ON (!o CA'l'W.)S): !":iy {k<C.r, he .h t.:t W Ct\THO:.~: But ha·~s'"e rnerr:y., !non01eur; rlo ~o' t~ inexorable ~cwu.rd this cha.i;- which has b~e·• holding out ii~ ?.'rrns tr.; you fr.;rr a gor.-Ai quarter-hour: content a ]iUie its o~~~!-r: lo et'flbract Yt:~.:- ~ tvf:\.S(ARH..J...E (a, j('?r t·eaifng ishrut·lj~ r::ontb:>ts ,~-;.:_,. hair ~ adj~.;s;infi' his stvckingsj : 1/ielt !adies, :u\d how do yo!,'. fin':l Paxi.<;? MAGDELON : Dear ,r,e, what is there to :my? It would t.~ th.-e very antipodes d rea.'ion :no~ tt' <"-Ollf~s.~ tint f'ari:> is the .f)ft:<t~ rentra! office of marvel<;, the c.l"\lring-hifl!lh'! tJf ~u0d tm•.t~, wit , and gallantr:.·. l.lASCAR iL LE: As for mt, ! insist that o:.At!,idr· of ?;<ris there is no saivaticn for people of bn.:~di ng. ~ f! �.... _ " 't ··- ~ ~nw~; 'ti'!:•<\t it ~tt·~....,b~t: t<~tt. r¥:, -:--:-:- s-:t:.ia;u:~u.ir. MA.OOEi.O~ · .. w oy':.J.iJ}"r~: h',; ~ "l~·~L,:;. ~!Sl"; ~ MASCA.;m.J..u : i~ ~ t\.'UI~ ·m,~t !l:!te -z~• cth:lr ~~1i'.hr~ ~ls-'li j!j,S'ufu; of IDe :HA!C.®t.~· You ...,<X.~ ~~~d h-~.t ~ ~~~":'J w/ / ~ ill "" n:., [C!V"<"~;ec~.wr;t '!FO!m 1:-~.l '¥1M:,(!~·~,~·'·· S'~~ Y~~,il!IY ·1ri~~~ ;:~/~ ~~nrc-<;~.! wi~ bclon~ ~ )'®!' clfeh'f .i\.~l 'Will ~M~ tiit!IJ'; i~ '::oi ;'i!t; !;;'l..!t ·~ Clo<<'; '» c<::mms :!(.•. tiM 'N) h~ ~' t~p;;..-;ir.i frilz!ld '9>iw 'i2gr> ~'1-ise.': ~{~ blir.g ~ ~ a!! . ;)lR""''tkii\t'~ w::t!'> ~·,<:~t-e ;il»f $;-,·. ;l,.i!C;tf!if Jr::s MAOOE.iA)N' ~ pie~e~ chm<Jiu~'!l CA"l'F.lOO:. ~ t.:$~ 01 ~ Axfd ,;-fhe. ~:OW..:! it.!'!':I!U i:[il:5'4::.'tff.f>i ~* ~!S !'.h the lfmat rA~~ Gill ~i.<l'tt$li:l."l7~. MAS.<:'~<UitU.~. 1 .1m ~ ~!1 tt' t:iU'l<~·~ ~ "~ ~~ '-':·< ..2: w ~ n.e. lll'W ~ mw.y !#o\f ~t ~ a;;~-.~- d~ bt t1~" ''~!·r.!n:~ wiiliou~ a batt~i!m;mrellliti ~ MAOJ.>SWt'2~ frltr~M, ~ perferv'i'-~ ~.i~tbQ. :,ill. Qrtlll !~ wa>Gt:: in at~~~~"t:. th.."lii k~ cl<tie>Jli re if yc;.~ oo ~~'Ci w bcOOns }!Q }~ ·~~ .:l! i.<~J))'' ·~U €W titl ~~~ \i:h1d.~ 19!.' '*ft~r witQ) !Jl t!~ p.~tlfi".tmil, tat! ,-Md '\jf ,<J~Jfi~. 1'bey i'i woo ~ 1:!00 ~M: il0!'l.!l&tkn:I!J in :il?o"!ii., ~ ~ f.aww ahat tOO~ ~:: iil. ~U!il't i\'cl,h~:.hUt; ?<'~'~ oxif> ~ ~;, tml'!'lt w.;l~ ;m!J. tooreuy ihit"'¢ to k!IO\i~ ~ruilly ~ :C::·"'l•.i!kl"l; s.l'tr:: rt:pi~Jle<ll of ~.efu$.1 an r.~h'<.~r, if y~ M.~ ~!!'-!her qnal ific:b1.i;:~'.':.:. . ~~~ pt~~Jiy, wh!lt I re .a'"~~ ~'~ m\tl~St imPM"ilt~~ i" that h)' .:11-eU~.s a! t~£: ~~~ of wit .~.ih:l (11;~1 o~ ~"-"M hw"ldredll oi ttings r;vhicll &1: a~­ Jute!y "-~~:~:o~iai. tt~ ·1~ry '-Jtli.ntt..$1!!~'1* "f sm~ Thu~ one finds. n~ t:"'erf dny t~w~ .:aitchl't cf •Ire p.~!~>.m 'l 'Cirkt &nd ell the qui~~ r.~~d wm~ ~ !r.fl'; being p~..::cl nro~.>n.rl. WfJ! k~m at just ;h~ ~izitt •nomen~ that ~,_*ud--oo hu .:C.."'Xi~V~ u·¢ r..c\'\1~ ti.ttle thin~ oo c~u.:tHll\ld-.r:.Ucli a ~~.~bie~t; ;.. :i Ol:ruiitl. t.~cly h!'-3 ~v;~:r. na ~!ppiied :~~i,l · madri ~<·C Q,'t:;;;·4,; 1~..~r ,;>. ru:.~; an ~iflil\i( ~• I~ JUt {:::...-t.i::t!} ~~ ~ ~MtU!di~~;.t ~;.;;:.;<:; ru-lf:i <I ;~r.H<.tll!<.<m lady':. \'<;von ; mil t:4.bt\}W ..'t\JS!~rt~ t!"J.~y t) ~~~ f'IW ;qfl~' ;:r!-f~o:.~il~"" "" ::~.-. h\!!JI; ~'h{.~~ ~~ ~tk·~~\ ; o-:.,. '"·~~"i"~SI h.r:.\ ~~m~ J¢! ~~ tht. �p(}:>ed U}(l.te ,,t,.,_nzas on Mn 1nf.ctd.i~y~ ~.t~on..: i~~;s P.h;..,•k: v.-r·r.v.e J~~ n:gh t an epi~a rrr. in verne ~c M~tdemoi..~f!,•, DiO>~b. and Sihe ~n.t bim the reply !.~is i1'1Dming &b-.)nt ~~~nt; art 'l!Hih~• t<P~'l ;.. l>!rtnin (>iut foi !\ •~~....- t~ook: ;:,r.c,l.hc.r h::.~ r·~~cb:-;r ?a:i '!br~ i•; hilli :sev\r nove;; r- ~a ~ nothert$ 'vo;-\::; h;a~-te ju~J g:i~~e t,; pr~. . "'~.~ :;t ;.s ~.:ht~~ ;..;fifn~t: y.ou .teg~rtiJ au ~;:;c}eiy; aJ:u; ii yot.~ •:r.Jr-l't kncwV !Lili!i: S<iJ:f"t O·f thing~ 1 Vt(;U!rln't Jtiv; . r"·~~Al\Y Jor ~j]. ~4~~; '!~..it ~t (,;tigh~~ .:: have ::t.Td(>$ _ to il;;_ i(•gi., ?4 .~nl:ntn~.a iliink any<W~'!~ ·;;.it·!:! am\lc¢:1 it' h·.;r; quatr.::>in ,...,·h!r.h hs.a ja."!:1~ ~L\ :.lig:h~t;.~t <~'idm qu it~ tc ·~? rir.Ht' 100u~ iic.;·~s.r;'t itnf'. ~. ~:.!;; most trifling iiHh~ h:~xll WK-itt~c N, ::tndl k.r my paa ~ :<h~uid b-.7 ~.!..>Om.k!!t.bly ~~:>~!',;t,c-<i ~~ ~~m~I.l.<~ -t, $hould ~:~~~~!lc.e to ~ -~1: rnt" if r. h~d. rn~~~.n ~.amff.!h.tn~ new: t:.irl-tZ E rwdn'~ !#';,t:1l it ;.{t,sCA"->U.e: !t is ~rtainly ~h~J,ninf! M~ w hi&'/~ the t.lm :<!igh: v! ;;v<.:>;ti:ruttf, whkh ~ ~'ci-:,g turned w:~r. 3Jur. don1 ~i ~~·.tret!' ~mm·.dv~tS. ! !'-1<.u ihmkint ~f e:t~bmh~tg it> yc;ur ~'>J; .J;.l':. .Acadcriq o[ the WirJ<. ,;md J :N~ 'f{)<l ~\t.i'Li illOt ~ :-.cnap <'~ ~-cr:.;e wili \."Mn "'If in .aU l?'~l.'i'i .vhhoot yo::;,t,t•: kt~owing it bv ~~.t b-efore :~.rq·a-at: d1111 . 'Why, fc,r rn)"Stl!f. ~ torr 't~~llrt. J. to.-n thel~.) off whn> ~\"!i ia t3.<~ m«.~-d. Yw vi/Ull ~,~,·''.'-"'red m :Ut~: •·~a~ excius!.ve t:citrit:;; ol P;:~ris tW-t~ s rn~ n.1.~· ~'lh~r ~1 ~.un~~t~~ th3.fl ;;,. ~b•;';..!:'!f..t!d ~im;:.rick,. !u.uw:red ii'"'~gs ~·i oofne. a'~'t t<&st fi:'~J~.!· h'tu~.t!fl5..~ t:Iii;:f7W"n! .~s.~ r~~r~ f·IOi ~»t.mtir,;g ~h :-:cigmS!.t ~;:ii too p<>I'U~fs. M AGOHCN ~ ~ Vi ii! l\dmi<. tha! .['-'"' <;;;t;_;,ri.'l!WllM} fcN\4 tiYf l''.J:It~ trait:. ;. ! ':an't think of ::myn~ing $.>U<U~!('. MA.<;CJi~;t_t£: Portrait<; :;re h;i.rd; tn~y ~aquil'e d~pt.h. r!~pih. Yoo"' some of. mine which wcm•t disp~e~ yon. I:ATt!O~; As for rne, ! love ~tm.igml!>.S oofiu.!tdy moarJJra&:l.~y. MASCAIU LU~: A good e•er-ci;);: br the brt~~in~. 1 p.G{'p'!ico; . ;\1 fotez' 0 this rnomir.·e. •01hich l'H give }·~·u t{l :JU~$. MAGDE!.O"' : Limerieb ;.::.re ~gre>;:t~.bi2, ....: , ~n tht!!~'re dteftiy iil.)~-< . 1 ASC"lULLE: -f ''fhe]'re i"rr'j '-J)eCiillty! rm l:l'USX ·:··~\V ,P 1.lttm~ t;:m~: will se~ . whole of Roman "'""'Y i•ID ,;,..,,.,. fo':.;~ ~lv--. �~.€.Js..OOE::.ot~: :l th-·:.:..~·"! ()i'li, ~«t.~inty ~rrlt:::~t:P.lti;.l; :!_:;"'i_r.".:ty1 ~~~.a~ copy f':.'·r ~, if~.~ i.JI:~.1f~ ~!: ~;ri.ntt:-d. promi1;o!: }'Oli ~l!dl< 2 ~"0!:!1\'l~?, VerJ' hc1~WY'Ftne!y b t~t~W!' . ~· my l'&n~; i .._·mly ;}r; ~! ·;.:. ru:~.p, out th~; b.>.cJ..t¢1k:rs., who :.;i•~:il!y ~·~ oc ~!t;; r;:;:;. h~Jt<.~n~.LON : i ~LtilU!!:.i t~i.in& i; wu,lhi ~-~ R ~jr~:,~ ~1~ . . .~{-i;· ~ t..~~ ;f~~K· M.\OCAW L.l.E:: ~ l:I~Uf! ii f~,~,~Cj(;.;ation ~If In K?r'm.s:.. '.tf.~tttt.r.. .:.~ 1t~~ li'i!t~'1t·r. BH t. wh~~ ~ ~l11h1~ !:~! i~.t Z :]~'J;.\"~ ~1~ f'.JU rlU i111pu·v.m~ptu i i.td "fN•cr~y w :h.::<"l 1 <~;;..."~- ·.-i:.~.ti ..g r,, (>·~-~.C: M min-.; ~S (!u~.. .\'\"1·; ilt.vilhll.ly gooo .l.l.i: impn}mfltli:;L CA-:rHoo: fh>?. iooprt~mptu i.~ t~ filb!'nh.•w tC~<"••;;:kc-1'~ tit ~<f. . M[j.SC..o\~11.~.1!.: i!·~'m. 2iJ>te!1 , MM;o~.z,.,ow;· ~\~~ f!r?J ali ~ill!?:.. ')h, ~;! ~ Wa! •;¢ ~;;\!"¢[:~ ~'i"i~1 Urif'li"!.ld~i D !Jf _ ~ f.r:; ;.~ ll'Jlil jU'Jt ~a1:inj\: ..ln-u :-;role my i?.i 1:01!.. M; ,,.f~:r;; 'i!ii'O'l.!.lldll:•!t':; h~.%rt, t!:1><§11L6ng; m~ i~ 1!lrief;. / §~o~ u.t.~n ss.~:.;p ij,.idl Stop tm~n st."'J . r~_ ~n ~"ff f1. ·~ ~ #U r . . . .. ~ ~ ~ ' ·· -· • I< ~~i.~f! c,woos: f)~..Aif' be;lv~~ l'h.t'11 ~ iut wo:u.i iJ.l ~Jx.~ P,~..i ~~: iE.t'llx;rJdn;£< ~do ~10s r~. ~""'rt~ ~~ !k~'$ ~'t,V Mii.1tC.A.ailrJ,:a: p.:.'l~Jmtk a~t'.GU ., ·' ACil)EWJ<e:. 1)<.1A.S!'C,, ~ n.:L:::; en!!e: ot: it. ()~, ~t'~ .% fum.!:ibl~d k-.;~~~:;l ~-f~ ~ ~;dantic! l)~,:n yo:.~ ootic>l: 'Oh,...l k 1:\s:i: 'LU:c '!. m<trs ·4'£t..::> ~--til!:ll"~--·'0'"' c.':lir;· Sf,::rprire, .. th~ bef.#.J:<.~li!i: '~")h. ":H~:.~w <txtrwroinlrry!-Ot~ ....,hi.,. ~~.~ct~nly l:l.e-"....om~ awl'xe o~ you ~'---' '()h, ohl" ~t..GC;E !.et-?l~ Yt\4, I thins, ~h<~t "Ob, ~'h !,. is ~!y pr00i1~~<$.. triA.§C.t,~M. LE.: Rui it ~J.!;;!~ti!l ~ .--.othin~ ~x dl. <Mn~o;:;;; S~;;;;r£! b¢av.;:n, w~<\t :NC yw;, «-;'; yir.gl T~~ ;;·; ;;!<>.ll ,.,..,~t af ihh~!J. th<Rt i~ ~tv.gpk~el y pri~~ NAGDSL(~u ~ C'~:ttrun f.y. !: would t<!lfr...a h<l'\<~ \illrl~;n lfu~ "~ ah!" ~hMJJ "l00t'3 erJ~~~ ~~:.t.J.• MA!CAIULI..!li': MAOOm.o,~· ~:~~ ~! S..Li'!. Yoor t:::.:Jt;~ :~ rr-:"«1. ~rl . 'r/dil, h'~ nt:•~ pr~.sely ~d. L'::r.r.'t ~ >:!U t1.t ~' li:i';.t~:: '"! w~~ ; J ~Zl!l"etree l!<rMl in~ �18 prudent."? ~refree ami imprude.~trt&k.en :lp!!'ak; a ~rf~ctly everyday ot! my gu&rd, ~ to tu.-n of sp::;ech; carefree <'-«O im~ prudent "!was just gn.ing at you,.. tbat is. inrwccotly, <"~i~{:t* full y, like an unh~ppy litt!e sheep. "A:l wht> wm.ddn't?" 'fll:tt is, the mc:;t natural thing in the woi:}d, I ohserve you, I con· t~mplate you, I gaze upon you, ?.S wbr.· \'o'(.;."l.l~d~l'i? "You ii!o1" my b(;art, enguffi.na; m,.: in f> ricf... How ~..'b you: iik~ "enguill.ns tr.e .in grief'? t:<,nfos: S••~rbl MAS<'A.AU.t.~: 11m t.-to ha.d g'' t~et.ber giv;~ .a surgeatim1 ;lf surprir~ and terror, "Enguii in ¢el." Like: 11 f.cGr little mo~ soodenly engtlm~ by a d.:r:" 'Uit.ui c.:.<!. "&ff.:Jfi::~z >t!.:: in p t .. ~ :~-:u.m·,E•.vN: N~Hng .cm~u pc;l.!~ibly b~ futa . )t.A."JCARIU.i! ~ •;;ydY..! ~to;~ my neari~.,. ~.hat is, yllu :nl b bed me. ~~O'J. ~me-t it away . ..S~ thld! ,s.t.Jl);_..; dUd! Stop Z:h.ief! ~ thief'! : top tr.ir.o.f!" v.,.'oukin't. you ~y i~. w :s ~ 'f.tl'iit~ ~~:.ouililg rum mil-< S run;; ·a.""Z~:" a rohbelr :ro try to eatch hiro? "Srot' tliief! St.Gp thl:.;il Stop !.h~tr Stop thief! S!op llii~fl" {.He ri:x ~. nms amW?.d 1to.gtt, .:-,;ltd CQ!i!lpse4t ir~~ I& ch{J.f;·.} InAODE.Lo?<;; One mu.1t ;.?;i.nlit that that !$ e7.t"N".mel)' wi~y ~ gal.l.ani:. MASCA!~~u~: I 1>1U~ $'nz you the tlLn.{; f'v~ t<::OK1~ed ftl':l' it, Yo>./'· 'e studied. m.M~~ic? < M AS<CMH.L~~ What, ;:ne? N~~ at aU. CAn oos . Enw ~it pmsi.t!e, tb~n-:MMCAA!l..L~J. : Peopl~ of ·~uality !mow evelrJthl.tt g ti:ithcmt C'I".S.~ . having }~.med rmything. M t.GDELON: He's perf~r:t!y light, my dear, ·CATHCJI: ~ee if th::-: t;m~; suits you:r r~tc. (Cleats hi.~ th;-f!M.t} La, !a, Ia, la.. la. The b:nKaJ.i~y of the <::t~Oli bas fu.-iowiy 'tfut~ raged th~ d~H~acy rJr 1ny voice. But li.O matter; it's ju..«,\ an :'Jff.. na>1d i~d<1rtn aoce. (Si ng:>.) C<~.rtsos : Oh, what p.R$3iian itt that tun«:! i don''t kn~N wl11y :~ do.,'t die of it. M ASCAIULLB: �1-.U.®E>.~!<: m ~l"'o! is cluomr,ti:: tb#t. .i'kln't you !i..'1l!J t.iW: tbe tltooiht i$ w~U render.:ed in the mu:d.t:'l' "Stop thief!" Asr.~ tllen, ;;.:; if ~ou wcre shootiD~ '!!ery ~ow1: ..Stop , lltn-p. stop,~ tbrtf!" Ana tb.1m fu.taliy, u iJ ym~ w~r~; cCOOlpletely out <.1f &~ "1; "S~ thief!" ... :MAGDE!..-01-!: W! the pc!iti'lfe e~~ ot rut, tit.e er.e&.m (.'It the cream, or ev1".a the c~ of the cream of the f.!N'.,II'..m. ~ w;sure y;1u, i~' ~ mas.w:ious; I_ 111m ~~~lle<r with botb words iil:ld musi,;. CAT.Hos : !'l."~ ~nr heard An}'U>Jng qu.'!r;e ~ p.owerful. ~1AV-.N ILU'i: MJ!!;oCAA.IL~: Eveeyt.l:\iog i ® ~ ~ ~ rut&:,lraUy; i'v~ ~v~ studieft.. M.MJ!.l~H : Nature M.l} ~-~t ycmr ®tm.~ gE...::-ilim- ~ you ~~G:J her !lp;.>ilcd chili!S. ~HJ.l!;: Tell nl@; oow ~ ycu il-~~ )"!:!I!W ~1 C.U.fJC~: Ail, we ~ly ®... i.u..om:.um: Ti!J oow. lj!;ll! M¥-e. ~ill 11:nrlmiUj ai\ ~1li:..~:; ~w..,~~ tion of amusemeut. M~CA.RU.U.: ;~ •11 t~ ~Pl'.W ts;;;_e Y~l to :he ~tn!! one of th~ !b~. if~ lii:e. · i it hll~ tlt.."'f :ue :.bout ie pti~ A on ~ new 1,:1J..e.y w~ ! ~ hts ~-~.W ~ have yov. <3i~.end '<rvitb :>i.Mlo£t.Ol\'l : T~'"s lilll ~ez I}~ ~ b'; lf:,'{~"'t :.~CA.Rill~: ~U:l I muai uk rr t-j ~p,hud propedjf. wh~.ro 'He ~ ere t.~re, fc;r ! baw: !)rmni~ to h:<:lp ptii~ the pksy over; tiM: author. C&llllf: k; req~ i~ just m-a mo:rr.i\2~- m~ th~ ~:nstom here fo:r tM authtmt t¢ ~ M4 r~ ~~il" il)!.;W pltty~ to l.i!i !~ nt~­ men of quclity, tc ~11$~ L"l tc ~px.m:w"' iliem ~{'.,d [&:iv~ them me. !om~ "'dvml'i"..::e rep~ltv.tion, YC1.i m~r we u; :;..,ro.ethir.g. ~ oommo~;-:i's ·:ontrailit:t us. For m:y· part, ! \"o"e:il sup~: th~~ w~a U3 i:be pit won't dare ~ ~ "'~r.y ~.:rupulouto ~'('.n)t!t it; ana when I've promised oome ~Y'Wl~ttht, I a.lway~ sh·~ut~ . "Beauti~ lfui! Fkt:mtifuli" ~fo.re Kl~a('ff~ !.it tM f®tlighlt. MAGDi:itoN: N.;; d.:r,~.be: &~~ it, £l'!;.J:lil ill fl '~mno.er-fa.d pl~i•~. �Thf' Predou.r Damsels }1unJred ~ oi things go on titre th ·.=tt. one dc~s,~ ·'t ~r s.H')W !:! tb\.: one r\1ay be. r \'n iOS ; You need n't s:1y ,, ,,other word. No'.il t h:~t you've inf,">rn:.e:d '.h, we shall make. it :' r•uint to cry ('U~ properly at ev\:ry speech. ~-·L\SCAR:LLE (io Z<.· iAGOELON ) : Possibly l'm m\st:1keu . Lut you look tv rr;c· Eke the Jcjnd of p r:;nn who h.! 'l wriucn >erne :i~<.le pro\· in·~:i~~ , ho~·cve. r tnte1Ji 1~ ..~:1t corrte 1y . ·' · ..tGJJE LON : 'L\sct.rtiLLr: Oh 't there might be son1ething in Aha! On my "~<Vord . we Hm.o,i ·th'hai ha'.re a you say lor)i'; cour;e. 111ey :w.> the Of1ly it. :;t Ju.st b;:twecn us, 1 ha ve sc ribbled one w~it,;h ! 'Na<;t to piA M .;.1,0f.i.ON: Oho! Which t ;~1up;:: \':iii yo\; giv·~ i< ~ v? '' ~!. <la"s who can tri;1g ;::mt whiit\ u-: ,;~ te\.t.: the oth!.!:ts :-~re ~gnoratr;. u~es v.·ho re;l~i tLeh- ~ iti e~ th£~ -:v ... y pi::::' :;Jpie sp~ak. The·y don't ;...nu·. :!0,,.. . ~c t.ht)rHJer out •l ~uod line. N of verse . and stop a~ th right pla.o:~-e ·. an-:1 ho\:V c0n JC•il 'H~U "'' hich is the !be passage. if the acior duer.o'f1.?;w&."! rJ~ tt. ;;r;d thus ~ndic-.tr. n~at it's titrle !c applaud? CAT Ho:-.: ln fan. there is .1 way of commu!;ic&!in.g the b-t;:;uties ot a wo rk to lht: audi1;n(;c; am! twilling rl:l!' any C':W<e v;J.lu<: :ha1:. wh<;l the p..:rfurme< puts. into it. i .. ~i\SCA.H!L L t:.; I-Io\V do you Hk.c n1y r!bD:Jns ?.nd g&.Hr';~;:,-.;7 Do :.. ou ft nd them har:·.1 omcus to my ac(:oute rmen>s'l -:::ATHOS: Oh, q uite. h .~. ASCAH f LtE: · he ri'bbnn is wcil chosen? M •,GDELO"i : Furiously wdl. !t';, pure Perdrig.:on.1 :<! ~;)C.\H ! \. L F : What do you sa~' to my knee ~uffle.s? ~i :\GDELON: They strike the absoimdy right <wte. I cz,n at !ea~t daim t hll.l they an; wid.;r than the common ml<~S . . I lie oili:d,lf troupe. l\ToH ~rc · > fiv.ats. 1 "! ~:~ ! \ 1rn;~ : li~ f :t la. mode:. ln an 3.C~in:g v::;s{on , a..'1 e:tC;UJiY;: lCc1l1 lcl.e?C:hal"t: rinrt}" ~c ..,; ~:n ... ti ttH'I:d. �l nm~t actml; !hat ~ h<~.,~ ,, · v~r ~fl ~ d<!:gan~ of c..~ hal:::i.,\rnent;, co.rrir: .J tn Sli>;h &. te:-.~r· p1tr:h. M,.sc "'1!! :.t': Apply a n o<n H !t tl) ~~!e!.;; glovt's ti!:~ approbation MA.G!Y£1.-0N: of ytlur ol.f.il\ctory r.rgan. T hey smell pe<!iiyiu,e~y gcoo ! i•11Ve never ' nhal~d a "}rt- hanror;;ic;,u! an>m~. M ."-. ;CA.<.tu:~ {prP.UIHi118 hi• powo.'c·Nf w;;;). < r'..nd how :.<botlf :hi:;-.' MAC.OEL ()'J: !t has n>:a.l ch~ra c!er : <:me·'s s.em~ of sublimity i~ dei kiet!Sl;i ·noved. MA.SCAi1.l' t.. <: You den'• m~nti c. t m;,- ~bmes. How do yon lind then·<'! CHH0::: Terrifyingly iPau!i~.jt !>IAGOFW••L C!ITHO!'' M.t.sc;,,1<H..1 £; hwis? .Sd ther:;: ~~hAGD£1..< i<; ) ~ ··m Do yo::~ ~mo w .: r.~~t ead: f.:.;tUJ~;· co~.t!J me a gohkfli my Wl':-l ..:r•,;~; 1: ca n'~ r~.!;.~t hu:rir.:g the vuy !ineet ;~·11 £ 3.!131.!1"~ 1 0H il'l '•l <uriou~ly dc \ic!ll>!' -,ve <!HI':d\; !-Jf•l•.. :~~hiz.e wi t~ yooJ. >'Ou!J• eve;v(J\im: 1. w~ ar: anJ even d o·~-r~ ~c r;ly :i!oc kitt~3~ ) i;an\ kH~Gr c.H;~~·ung whi~b. Q~sn't 1h~e rig:!-J ;s;JOj) {shours sutlde•"lY ): Cw. (hV, < ..,t! Damme. ladies, ,· you'Jt: ~n,z.t in.g me \1!'')' hi!.r.tl.y! r. hav~ gc.od. ~o":. !lse to complain ·::oi . ;: f,·ot:. Ni ,\SCMW... t ~! of J0• ..il' "' tions; th i~ i ~ M! kinu of you. '"llhat is it? Wtmi's th~ matter'( MA~CMti!.. I..T.: Vlhat? Wher. you both ·-~au lt my heart a~ the sam~ £im;:7 T o attack r•1~ (rom nght :mJ ieft.? Ha. that':; con:rary w illi the rights of m an. tt i~rt't f;~;ir; ~ am goin~! to ~hou l: "Mu:~ derl M ";-oe 1" CAn;r,:.;; CATHOr. ( 'L~ ~•.. ,;..Vtll:'.LON ) ; On.;; m u;,t ~-j! ;n t ;:-;at hi.': 2.\fo th!ngs in .. , it CATHO!l (to ~·.>I. :SCA~LLE) · You're more frigbtcrre-d than hurt; your heart cries out !::etou: it> woc mkc f".\ SCAAtU.!l.: The:- devil :t . .;o-~:'li tf:o; "" t>~<nd~:,1 from he1itl !o foo• MACDF.J..ON: He fu:s ~ v .1-; r'~;·;, ark..,bh~ �22 The Precious D:unsd.~ ( Enter MAROTTI!,) Madame, then-~'s 2 gendeman tn ~ y u. M .~GDELON: Wllo is it? MA.ROTH.:: "fh~ Vicom e de Jodelet. MASCARI!.L£'. The Vic0mte de Jodeiet'! M~Rorn::.: Yes. sir. CAfW.)S ; D~) you know him? MASCAl':li !. E; Why, n~ ··~ my ~:lt fr\~:!.d! M~.GOf. LON: Have him com<' in immediaf.dy. M,;.ROTTE : (E.xzt MAROTHl.} We haven't seen each other for delighted by d1is happy chance. M ASCl!,RILL E : c.c.THOS; Here he ll<m.;~ time; I'~ is. ( Enter AL'MANZO. , L"itrod u-c.ing J®Si..tr.-::.). M ASCARIU.E : .Ah! Vicomtel .Ah! Ma;-qu.i!ii How hap!JY 1 am to see y<!l.l agair.t\· JOOELf.T: How joyful i. am t.o find yvu ht:le! MASOCAaiLUi: Kiss me agt.in, pl&>:ue. (They ~mbrac~.) MAGvELON (M CATHOS) ~ Darling. \W're i>r:.,inning to ~ !i:.:!l;)VtJ ; Lbe world or fashion i.~ til.dh<g thf' w11y t£> o ur rioo{ . Mt.sCARlLLE: Ladies. :~--.ermit lGe to present this genilernti.ll U> you. Upon my , ·ord, he ~" worthy of yom ~lsninttoCP.. JoDaET: lt i.s only jus~. th::!.t i should cone to r-ender ro you what is yow due; ')!.Our cham execdse lh-.:oir ~ignotia.i rleh~~ on all sorts of poople. MAGDl:.LON : Y.~u are carryin~ your dvtli!!~ '-'> ll ~ uttermo~ J >DJ.::LET (embr.;cing MA.SCA.ttlU-".): M.c.:,o.,flu..LE: cnnfinl!~ CATHOS; cf flattery. 'fhis day l'.ll.IS hi.: !-rtar:ted in 0:>Uf rliad<M by ll ttJd letter. M.I.CDELm< (to .-.\.MAN7.0R}: what to d.:··? Don't you ~ t~il.iSt J always t~li yo~; oeed the augmentation c f Come, t'Oy, that w~ a <:hair"? M.ASCAIULI.E: Dcn't be surp:.ised at the ·vi.cotute~ loob. H~ �.. . . . ... - ~ . . . . .. _.. .~.- - -- -- · - ~ ~-- fu-.3 jus~ 30t out of bed iro~ m !.Tht:« 3 t~ili-...h ·l~ &a:t;l....,- h.• .r®n.n: · T ilat"t tile mu~* of ltajYOO!i! ~p W; ·~1" i;i~ 0~1 ;~il:ill of ail the s~tterinp of vro:r ..-~. MASCARlLLl!: j}j }'0~ ~'fll.l!ze, iNkS. ~t ~;,.; .~ ~ill tM Vie romte one of tb.e ~MSt va!iMt m= tJ'l ®It' ~Tl~i'}"1 n~ isa . champion s.uldier. n non~i! nooc~ JODELil'T: ·;roo don't owt!. PH: aay q:owpU~ . - ·. -- . . ... ,. ....,.....~~ ...-...- ~. -~1;Ws; y~ 'Well k1lown aJ~. MMCJIJULLE: It is true that we haw ~ in ttw right spots• .JOOOLilY: And in !lOme pretty bet ~?0ti3 ~ WA.SCAm.:&.l! (looking tiJ the /.Hie); 1fe , bl.~ · oo: $0 h.:rt·~ tJ:is spot! .Ha. t->\.\, n~s; ? J ODEl.llf\' : We ~ ~ai!i~td in r:Iw !tf!JDy. ~ fin.t lim= we saw eacb ~~. he wa. ~ ~ 1)J a esv&lry :rq~ on th~ .Mdtese Willey$. M .UCAatu.!!t: 1'hat'• t~ A1~i ~w ~ ti'iM? arruy bda'e I wu; ~oo i 'l~bti' th£t ~ IllS d Gi!~'A') ~ minor ~f&rAr when ycu·y;ere in 001.1tmml'dol. C.w o ~~ ~ ..rooeU!T: Wez it a fule ~hit~#. but }.pd.~ ~ M\~>'al'da · very poody old aav~ tib u.s.. MA!CJ,J!JU..l:l : 'l'lmt'~ w~ rm i001 t\) haDif up my 1!\\' 0tid oc the hook. ~::... ntos: .A>~ tor me. X ~w .w a~ :~ f"~>: me-.1 ot r~d ~ war. l:.'LV.l~&U.GN ; val-;,r : Ul ioud of ~hmu S~;o; ~. l m.c !JO ~~ d'-s senan~ with "Hit. MA~l.>:..~: Vioomte. oo y{~r; ~boa' ~ hiMt~ fo.r.tifi~t.iu, wt- :'~<Jok ~· !iQi"m ;::~ the ~~;. of .Arru7' JODBL~-r: }I~f-moon 1 ~ do you m~? ~t 'i'l~ ~ gt.!Od full moon. l&IASCAJill..U~: J oou£<·: -~ iliio.k c~ ~, }'@U' re t'jF~ J ~~ \t:1 ;;u~~!if ~ i · w•• wo~ • FC!Uowin~t ~ (:1:.~'11·~. d ¢lq <'!':·~' :. &Wr tl:!"llW, ,..~ ;&!,~ il£1 f Olll't till !7hlt•·fllCC. ~~::.~ >; ~:Mn ~jl~ ~~ • ···-·- <~--- �....... ~rtllto~oir-; It~ la ~lt' me~. tllere io the leg by (T" (,4TH05) lu:§! feel -. lil:ti;;: ah;:lre, ~all::~ JOU'll ~ro~.nme wh:.1:n l ao.~ sr.1acked. .CA.THOS : i:'~, tn;·~ . i!'t ~ g; ;;::o.{if>l¥ ~t; 'fJI{F. Uivt: ~~"'-~ •OUc t • nd il rninute, fbcl ri&hi 1.hm:. at the b~(.:k. of m:r !l~~a-1. H;zve Y"Ll f;Ot i\ ? wz• .;,co£LON; Y;; .<, ~ fe~i ~=,;~~ thing. ~U S<"..AJUL Lt. : Th~t s ' musket shot l CJ!t:~ht in rny l!is<: cam- WASCAIUL!,E (M MAGD£L(Hi};. J0l)£~ b- A~d ht<;re's whe-re .v. •;word tl!z att:Ki:. on Cre\>·eline'>. l'#..t.'>CM'JtLE (pWiiii:'J l;i:t Juu.d orz hh ;,;;u b:'~cc:hu br~Um<i}; !'m going lt., ~how you a frightfu( WOI.•l1d. ~'>G.W!l>ru.a~;: ~t\. :~t "'-'!Ce&ury; W ('l. Cilt'i! h-.Aitv'~ ~ ""'~dxaut s.~­ qit. i<·tU.CAWll.-~: ·nle:y· u~ hrti·<orah:e ~·ouiilh, -:;!fl!ld;; tb!.•w wh:lt ~ir..d oi !J'f't.>plt! we :.r~. ~~:w.m: W'fi con't rlo.:.bi ~t ~:<11 wh<tt !Lind of p~le you are. unb ..UUi't! 1nfJ /I.;.! •ver.t right through me 'i' shirt): !\l !)fi\SC~t.ftlu.;:.: Vicomte, bl.w: yoo got yo•~ t cm·i'il!t~ h~;z-e ? 'Why";' ltl!A.~.fu. F. : We oi';<''-J ~d tr...k-t the lad1<:~ f"oir a ri* rn.l!.$ide the pJet., 0':1~ [.li·:~ them M ~-~J't ainm en>. l•CAODF..t.ou: Oh, WI} can 't &,o out t()day. l!ASCAJULL<!: Tl'en let'~ htaH • -..rm: r; ,w.ic in .:JJ~d dl!IF..<ee• .JOO!J.!ET~ ·" ~ob!e though!! t-~AGDEWN : '\-Vt>!l. w~'d a~ru t-<j >h<.t. ~ut we {•Ufh · •~ havt: ..rroom.~:-r; :oome mor.;·, pei.~pl.;. !!olat Champ... ~tlt:, hc~:rJ, :r.;o·Ufli\OJ~n~~. C?,s.earet, Ik:.<:toe. Lll Vtr::at<(t=, torrain, F·m•-en~ftl, Lz. Vloiette!' Wbe~t: tht:· .;i~···ll :in<: ;;H my i!>ck.ey:;'! 1 !i<Jn't thlr::t '!i!•:tt<'s a ger.tfl~n::.~t i;1 !'II; !F nt*~' •;,.hv ~ wors-e r-e~"·l'1'.d ili'1!1 S l'Wl. lbo~e •'UCAh a;-e .a..~w •.;·:~ h!a'' i;;g m~ uione. ~6..P..;;'""ntrt.VN: AiLF;·-. nn~r, ~;~H. t.t"-1;., ~~·ni.:;1n•.e~'"!t ~l-'\! . ~r..s. ¢.!~ {cccr;, 1 "'u.SCA.ItJl-H.: �ilOmf"; M~ciliru; ; Hnd bring in the ladies from next door. to f"JJIp le the sol;tmie af. our dance. (£~it l.I.MA!>:ZQR.) :.asc!>r RU:: Vk.ormc, what':; yo;.Jf· opinion of thc1.;e eye$ ..I' OOC:i.~Y: 'Wei!, Marqai~. wha< d o you think'! there~ Why. I s.1v that our !i?eny will nave some troubk uut of her. with a whole skin. At le.~~~.• to speak for \11}'5~!f. I'm :~ll c.f aq uiver, and my heart hangs only by >o.SCMI.ll.. l.e. (.~<.uin~ in lt ~kgie duead. ,,,;:.wm:.tm: He pl!.t! ~~4~; ( to c,.nws) : Ho.,.· n: !ural 1s cvery(hiDg h\': sa}'Si things so :a~r~nb ly! it's tru~ !ll.u h~ makes ::. furicn_~:;; expe1H!itur 1o of wit . goin': !0 m;;.''e an im~mmptu Ol'l <.ha< theme (He ml'!ditotes. ) i:.\T~ : or." I il lplofe you with n!l my heart's devotion, let T <t lw\SCAY.JLI.':: us ~~bow ;h;;;.t 1\zt !;.lr!C<:n. rm ~m"l'l .:.otn.eth in~ d;-m~ oes~·dall y for us, I 1s'lould lilt;~ to do lh-t. same, but ;•m ~~ little incommodot-J in the peetic: vein. h~c:mse of all tht literary bleedi n ~ I've !>uffercd in the last t ew day~. lt!iASC.«.R!U.s ; Now, what th~ ~· evil is this? 1 c:,n r~l ways do th ~ fin~ line v~ry <"'icely, but I h:we a lot d tro:1bh: ·.vith ths: othe ~ - G ad, I'm being h:.~rri::d tt11~ much. I'll mai< e you a.tt impmmph1 a~ :::1;' leilure, ~nJ thmk yvu '!l rind it very :fine ~OOE~n: :ndecJ . .f~D~LEl ; Ht re,;.H ~ ~l.'\~CAIW.tl::; lUI:'Itil'lg. A~>~~·;} has a d;;:vili$b wit. &allant, a.nd so n~a~ly put ! Vicomte, tell me., wm you, is it long sin.c~ ·you've ~i:en thO! Counre5s'?" .J.:-oe:t..£1' : h 's more th:m &.:ree week::. sine!." 1 ::•aid her a visit ~1.\SCAR.li.U:;: [),) ~·.ou k..now that the D11kc o;;;;;ne to see n'e ~his !1"1Dl1fting? He w:mt<!!d to t:i!a; a:.;o: to the .c<.Hl'.t!' to go .:>tar; M;;.GDEUm: �25 · Tlu Preci'ous DamJrl$ MENE. AtM ANZOR, f-lDOL£ . s) EleS$ me, my .t<l!:a;-:~ . we mu~~ ask y()lir pa don t'.>r d ;.s~urbing y..;u. These gen!kt1Hm haa th~ fancy !o gwe life an· l roul to 4~ ft.>et. &:> we sent for ;rou to r liU the void of our gathering. UJC!LE: We are much obliged to yc.u . cc1tainly. MASC'A1l:LLE.: Tbis i:; just an improvi~W:od affair; 1.>1.1~ tlne ~f t~esc day5 -..·e·n iive you •t pmp-<:r ball. A.r~ the i'iddiei.'i hue? ,Yes., ,;ir ; ~'l!!r. they are. : . LMANZOJC c..tT}!O~. (.''ome, my dears ~ ta k~ yvw· p!aCM. (dancing a'.:me ): Lr., la, ;a. !!l, !a, lr\, b. , i>!At1DELON (to CATHOS): He h:ss r:z:sl!y a"' eieg~m :i,3Ur~. •.:MHos: He's jmt the: dancing t~pe . MA~C RILLE (taking MAODE1..0N'! ~m): My fre-edom ~;:;h.eg :il chance, by <'entuting to d~mce . Ahlll., the oon-:ntl;?l K<:t:p the ume, mu:~icians, keep the tim;;! Oh, wi'lnt tf;norant fc..:,ls! No one can uan~-e wltb them. Ca;n't you play in ti ue? u, li.c, ~01, la. ia, la, la, l:i). Stead~·, you ,.illJJge fidt!i.en~! JOO.I!Ui'f (dancing) : H~y there, ~cu't k'1ay 00 f:wt; rm jW;t MASC.iitn. I.:E tEnt:!; !J. {lr'..A.r.tne: ~";,'e've been · C:Km~"t' a.7id L/l, GMP-G~.)"'*·~ Aha, ycu svo~rKir~h. wh~• ;.re you doinb '· <Ntt? lc~ki;Jg !or you fer thr~~ bot~n. (Hi!? b:tats Mi\5- CARU.u:. rtJi~N MAS<:PSit 1~ 11: mJ hi:t C<tJ.m:.) ow, .ow! You ()·.-.,, d~dn't tt:ll n-te there- .:rocEu·r (beaten by nu Ca!HSY) : '<'iOUl~ b't: Ow, ow, ow! LA G!I.•, NGE (to MASCARtLU:. ): If~ a l.i.rle t~ing for )'C!.I, yuu blackguard, 1o try tc play the man of h'tlp<Jrlance. ou CiWiSY : This will !.f'adl you n know yom· 9lace. ( exit 0!.1 Ci~alSY and LA flf'.ANG2 . ) What dot:~ thti f!'l~an ? JooeLET : It's a wage-r. c.nuos : \!;.'hat! To iet yo~~r~eli b<: be:AI.t" fi !.h at •;.ray? MAGDE<.OrJ: �2'1 €gad, l didll't w~nt to let myself ~o- I have a very .. ~~k.;'1t ;;:harac:;:er, tnd l might have ;;ot real!~, angry. ·:MAGO&LoN; To endur~ ll!J~h < insult in om pr{'.sence! Ul MASCAM.U.L,s ; A tri -e, . trifle! Le~ s imi~h the dance. We·ve known e:'!cll other tor .. long time- , Wit.ll oid friends Ol! don't let a little thing like iliat upset yo u. ( EQter DlJ CROlS't' and t..\ Glt!il' u'E .) LA GRAN<::e: Hn my wc;d, }O'.l rogues, you won"i: make f,X'ls of \<:;;, :! :usuroe you. Co;Tte in, you rneu. .. MASCAIW.U: (Entu two srurd~' e UL L.J£S. )T ;....t~< ·' v ·~ ..... MAGOIW:H~: What .kir1d of impudence i!> this, to come aud disturb m1in nw: l10use'! ou CR-.:..1~·:-: What, lad1es, we shall perm;t our ackeya to be better r.ece~v-ed than w.z w~re? We shall a.llow them to court you :<t cur eot.t, and even offer you a dance? MAGDELON: Your Juckeys'? LA GRANOe: Yes, our lactP-ys. And it isn't hones t and d~cent for yot.. to spoil them the W<'l~· you're doing_ MAGDEI.ON: Oh, heaven! "!lhat insolence ! I.A GRANGE: llul they w'11~'t have tht: arlvantage of using ou; garment:> to !x~azzl!' yuu. If yo•.l want to 1nve them , it will have to be fn:r thei r .natiV(; charms. Come on, strip them, and be quidc Fll.r-'!W-<lll to our finery! MASCAJt!!..Lf: Now th;,e mnrquisate llad tht: vi.scounty are humbku in the dusr. ov CiWI'! '.' : ,i\h:;., you rascal- , you wanted ro follow 1n our footsteps! You'll ha\·e to go somewhere e!se for the l"...quipment to .JODELEL dJarrn your be;mties , I • n assure you_ lt';; too much, to tr 1 to t.ake c,..,, place:,, and especia!ly witb m.1r own clothes. HASCARJLtl;.; Ah, Fortune, wh,;t is tby inco!lstancy t Lt. GRAN>:H!: �(\!rne o n, t~~k~ e"r-ryrhing ofi lhCrt L3 Dll c·~Ol~Y: Tilke a\\::v ulf tlx•sc c!.Jt.h.:·; : hrrry- (E.:;it ;:u LA Gf<,\NGl:: BUL .. LH S) rJow 7 l:tdie~. , H i !h~ir pr -e~ea ~ StJte1 }'Ot: c.:;n •. .>:rnlH'l Ue j' ~1U 'f io\t' f•as;<.l·::es V;;"lt~·l ~~ ~ :(· u ~~!~ ~t;) .he-r you ft•!l liberty to •io ~'), ;~<!lcus .1~ ycc pf(.. ~s-:-;.. \\"e ,vi!! k~~v (~ ai L ">hail 'lOt be ;,q. J i:l)' 1;-!CN.! and .\ ~Ex~·,"lt GRI'\NGE ~tnd !::D C}{.O!S r~·::;k~t tkl ~- 'i.'f!; -.J Oh. wh · i a lH>nOr! fn l si'-k. \ ·l ~ ih ~;,horne ! CA THus· MACOF.LOI'Y: dDDt l~ R Uo 1 ;.,~C." "· 'L Lt.)· w pay go1 :.g Mo~1s 1 eur ,«. i!.. Mli.SC;.r.ILLt: !~ tucti-:R. (;a JO ~)r;• _r.~ JODErE·r. \·V in es :!il ~his, a:·:•;l:ww? \'\-"h;.:>'s t.3'1 1 : le V~~.~om!e. Who's going !O A,k \lo;-,,i eur 1 e g~ ve os t,ur xnoney"' ~ta:qu1s. {Et:f·'l' C·ORGISIJ:' ) 'A-i !ly"t Y{iU li Hh~ bL!SS;<:~, YC4!·ve. zot cs if~l') a }r.;·;el}r 1 tc~ .. ap92~re.ntly" fve jus: h;;:~rl1 so!ne fine !1!~:-t.~·~·,. ,, ~cat )O.J Jwm •h0:>e ge· ntle meo who h<tvt just goo.; c-uti ;/:,\GDELOr;. Oh, raHu~r . they've piayed 1.\S a <:r :;1!1 and ugiy <30R('tr.a.us. t;~r:\-, ! Ye-;, 1,·~ crud ;md ug!j, b1 • a··, th: rc:;tllt of yow:! impe;·!mence, you sb;~ru.:(u; gil b! ;'hey l'P.sc•Hcd ~;: e w· y you treated them; ~n!i r...__, ....,.• tc. I'll· mi~fortt..r•t. i ':a,,e t0 swal 1ow C'rt)RGIR U " : rhe~ r ~ !1St!lt . Mt.GUE!.Ot-1. Gh, i sw ~:;,.r th<>" we shai!. have our rc'<e(1ge. or i'U tht• of fiH;rtitr:,ltiOn ! ( fo M.o\.~C.i.RILLE fi.'id .IOOH.!:T, who CJT(;' knreliriK in wp p /icau·'r.J AnJ you, ye t; "ii:.,:ns do • .:m dare htrf: ,.... ~~..: : fOUr ;:"1\0icnt ;~ct.ton:s(· • f .\ '>C-\JUl LE · W hat a ,~ :; y ta : e;lt a mo~qu;:;! \Vhat sociciy b\~. c;.>mt:: t.ci Tlv; sligine.s t liti:e misadventu r<: '11:::J.u:~ n ur dea r r.ne•, ~cor ct wt;! ('erne o .. , ol•J comr,tde, lef~ seek 0\1':' fortune son:eto ~t~y f; The. tr...~uiaunaJ D!U V~$ ~ ~pr~,..-·; s: ~ti :t:s. V l '1-h"i\.~I~t~~ ,_~.r· ~'Ucs.ir,e:>~ r~qt.drt·• ~o.,.~: .. li.A4U\ . ..;,., ..,~~ a a ar..t i!Vt.''"Z-l.'~, hir 1 tJ ~ ·crho.r.~. 'Slo~v. l'~l~,·~;;.r·i ~igfe: ..-t .. .'1 .il ~ohsr··,~ , r~g. Jodeh:~ C· .... ~~ ~ -wbttt ':.:·lfi re·· Jn-:l �\YheH: e~sc. j see. ~ l;~;e, rfy tha.t t"~rt· t.;.r~ly ~;~t~ ·~r.a:u:~. ap?ear?l.nc~ ..1r~ pr .i.1J:~d ~ ~~ :1d t h:.~re ~S !1C1 es!ei!'f~1 for oakerJ \<"lf.'t'..!~ . { Exi! MASCA.•U..Lf. and JO:DELET._} FtiJDLl:.R: Mom·ieur, we expcd yo·.; to pay ;.u .1o1· our nm!,ic. smce they didn ·t. G()l\GJBt!S.. Y'-''· yt:s, {'lJ pay .i'!'Jtl: and this is no-;v. (_B!:'tF> them } .Am! ycu. yon r~sca !ly wend.1e<:, 1 don't know -;;hc;<c \r<:.;-p~ ;;; : from do;q~ ~l!~ :same ~l"J y~;1.1. V/.,.·H br.: a l<:.\lgtings!.ock to everybO<l y: rba.t\ what you'vv.- !.lrv>;, ;~tt on us by }'t>;;r fanta!tl · (;;> Iitle;:_ (; :" _r-,:cte your face~. u;~ti~ he~; hid>: t~:!:<n for good . And you who ..t.tc the cause ot thtlr f ollic!>, }'JU crack-t.ramed )J:..cies, pe!-•1\r~ious amuserne,-,_ ~i idie minds, EvV•:h, ··,et s.es, , ., :K•ngs ~.mi. !X•MeiS. may the dt':;'!U i.e;··.:: L~~ lm of }'L)t'~ �,, I ) //),;_/ ,t ~(_~· <',, ,' · . ~.JJa1.o I q .. 3 v~t ;:;. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Playbills & Programs Description An account of the resource Playbills and programs from various St. John's College events. Many of these items are from productions by The King William Players, the St. John's student theater troupe.<br /><br />Click on <strong><a title="Playbills &amp; Programs" href="http://digitalarchives.sjc.edu/items/browse?collection=20">Items in the Playbills &amp; Programs Collection</a></strong> to view and sort all items in the collection. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Identifier An unambiguous reference to the resource within a given context playbillsprograms Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Page numeration Number of pages in the original item. 26 pages Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Precious Damsels Date A point or period of time associated with an event in the lifecycle of the resource 1973-1974 (circa) Identifier An unambiguous reference to the resource within a given context Bx2-09 Description An account of the resource Script of "The Precious Damsels" by Mrs. Hilton Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Publisher An entity responsible for making the resource available St. John's College Language A language of the resource English Type The nature or genre of the resource text Rights Information about rights held in and over the resource St. John's College owns the rights to this publication. Format The file format, physical medium, or dimensions of the resource pdf