Academy of the Visitation - Crescent Yearbook (St Louis, MO)

Page 19 text:

CORINNE WAGNER Chnld of Mary Asslstant Prefect for Sodahty School Record Crescent Tenms 21 Poor Rxchard Debatmg Club Brrght and cheerful at her work Not a duty does she shlrk But the twmkle ln her eyes Shows her sprlghtly as she s wlse PEARL MICHEL Chnld of Mary Alumnae Notes Crescent Poor Rlchard Debatmg Club Kmd her heart and hlgh her arm Latm verbs call forth her mlght Muslc and Pops are her dellght MARY BAKER Chnld of Mary Alumnae Notes Crescent Tenms 21 Baseball 21 Poor Rxchard Debatmg Club Mary has the blggest heart Everybody knows She excels ln klndly art Everywhere she goes 17 . , , ff ' '9 ' 2 1 lf ' ,T ' A Pearl is worthy of her nameg ' fl 1, ' X - . , If ' ,Y ' 9 1

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NETTIE HEMP Child of Mary School Record Crescent Tenms Captam Baseball 21 Basket Ball 21 Poor Rlchard Debating Club In the studmo w1th all her heart Nettle doth pursue her art Her Joy abounds on tenms court We all well know tls her favorrte sport MARGARET FAIRCHILD Chlld of Mary Assrstant Edltor Crescent H1stor1an Class 21 Tennls 21 Poor Rnchard Debatmg Club Obscure quotatlons can always trace Deplctmg character fills her with Joy To show our fallmgs shell Jmgles employ HELEN THOMPSON Chnld of Mary Prefect of the Sodallty V1ce Presldent Athletlc Assocxatlon Edxtor Crescent Baseball 21 Basket Ball 21 Poor Rrchard Debatmg Club Ne er heard nor found the world around A mald so faxr a frxend so rare Who can talk and play charm and sway As our Helen 16 0 fr 7 9 C5 ' 97 ' S ! , . . l . . , ' v 66 ' ii ' At the head of the class she takes her placeg 3 . . . Q . . , .. 9 9 66 ' Y! ' ll 1 . . , . y V7 ' 9 1

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TENNYSON AND BROWNING A CONTRAST CGleaned From Varrous Sourcesj Tennyson and Brownrng were both great poets Both gave a long and laborrous hfe to therr art and to the maturrng of therr rdeas both burlt upon a phrlosophrcal foundatron both made the poetrc art subservrent to the sprrrt ual lrfe, both towered above therr contemporarres as the hrghest and best representatrves of Englrsh poetry Both were alrke rn therr apartness and self unrty but rn therr poetry and rn themselves they were opposrte as the poles And first of all they drffered rn therr publrc fate, Tennyson s first two volumes gave hrm rmmedrate recognrtron and In Memorram erglrt years later placed hrm above all other poets of hrs trme A host of young wrrters rmrtated hrs mus1c and songs But Brownrng s first works were consrdered so obscure that few cared to read them even hrs Bells and Pomegranates those orrgrnally fresh and delrghtful poems fell dead on the publrc Only a few krndred sprrrts knew and loved them There were no rmrtators of hrs style at that trme Tennyson had Frfty years of recognrtron rn hrs lrfetrme Brownrng had barely ten Agarn, there could scarcely be two musrcs two mmds two methods rn art, two rmagrnatrons more contrasted than those of these two poets Tenny son s strength rs that of perfectron the perfectron of art from the standpornt of technrque rhyme measure color harmony hrs weakness the over perfec tron whrch marks the strll lrfe parnter Brownrng s strength rs that of rm perfectron paradoxrcal as this may sound rmperfectron rn the sense of rncompleteness hrntrng at a hrgher unattarnable perfectron Hrs weakness the lack of perfectron rn hrs technrque whrch he often delrberately sacrrfices to the thought Tennysons method rs rnductrve Brownrngs deductrve Tennyson rs the rdealrst Brownrng the realrst the rmpressronrst, dealrng wrth the objec trve rn art deprctrng sudden moments of passron rmpressrons layrng bare the motrves of the soul Tennyson does not as Brownrng catch the secret of a master passron, he grves an rdeal prcture of an rdeal person, hrs poems are mostly rdylls hrs method rs rdyllrc Brownrng s method rs dramatrc Tenny son forces men and women to adapt themselves to preconcerved statuesque oprnrons of hrs own, he never reaches a sublrme herght or depth of passron He grves a serres of marvelous tableaux rather than rmpassroned speech and deeds Even when he began to wrrte Tennyson drd not always take orrgrnal themes or methods He rs more remarkable for artrstrc perfectron than for rnventrve genrus rmpassroned fervor Grve hrm a theme and he wrll handle rt exqursrtely Wrth the Malory legends to draw upon he could go on wrrtrng Idylls of the Kmg forever From the Hrst Brownrng s poems show an orrgrnal poetrc lrfe all hrs own He rs never monotonous hrs subjects vary rmmensely both rn the characters he portrays and rn the scenery Tennyson often lacks the freshness of orrgrnalrty Brownrng was rn some respects rnferror to Tennyson Tennyson scarcely ever wrote a lrne that was not poetry Brownrng wrote pages that were un mrstakably not poetry Tennyson s work was one clear sweet melody whrle hrs brother poet s was often harsh and uneven-overcrowded and unfinrshed He had a style of hrs own more rnterestrng than Tennyson s and rt would have been more to hrs glory had he taken more parns wrth rt 18 . 1 1 y - . . . . . - . . . . . . 1 . . . . . . , . . . . . U . ,, . 1 , . . . . . . . . , ' ss 11 , .T , . . 1 1 1 - ' , . . . . 1 1 1 1 1 ' ' . . . . . . , . . 1 1 1 1 1 , . . . . , . . , . , T - , ..- - 1 1 . l . . . . . . . . . . . . , . . 1 L . ' Y . . . . , . 1 1 - . , , - 1 v . , . . . . , .