Joplin High School - Joplimo Yearbook (Joplin, MO)

Page 19 text:

nfl In fmilz I IIIIIIIW XII N IIIIIIIIIIIK IIII IXINIII XII XIIIIII III I'IIx'fIL,II I IIIIL IIIIIII XII IUIIIIIIIII Nikrflzl XII XII I II HII.IIII,II, XI IIILIIIIIIX XII I I 13 in 'XX'I I II XIIN IQIIII

Page 18 text:

I?.e . i h l l l Within the A alls of Have you ever been fascinated by the precision and efficiency of an enormous machine? On these two pages we offer you a few glimpses of a Very special kind of machine-one that turns out as its chief product the Youth of Today, the Citizens of Tomorrow. The raw material comprises assorted sophomores, of different sizes and kinds They are put through our many depart- ments, under the direction of capable and efficient managers. Ignorance, habits of procrastination and laziness, and such phrases as Ml seen and 'Tye sawn are lopped off. A general knowledge of many different subjects, such as geometry, his- tory, speech, typing, art, chemistry, and languages, are not tacked on, as in some schoolsebut drilled into the cerebral or- gan, where it is so deeply embedded that it is almost impossible for one of our grad- uates to lose all this knowledge. Through extra-curricular activities, rough edges are filed down, and sharp corners are gently rounded. The boys attain an extra gloss and polish through our military depart- ment, while the girls are given a smooth- er, more feminine sheen in the foods and sewing divisions. The finished products, enclosed in flow- ing gray gowns, and stiff little hats, satisfy the demand for intelligent and capable high school graduates in colleges, in the business world, and in the training schools for many professions. 'finfi fn hofff III llnglish. Miss Robin on Geoiiitstry. Nliss lflliolt History, Kliss Hasm echaniczil Drawing Nl! Rui nn!

Page 20 text:

anis Most Enduring Works Are ot of tone and Mortar . . tPasque Dieu! but what are these books of yours?' 'K KHere is one,' replied the Archdeacong and opening the window of his cell, he pointed to the mighty Cathedral of Notre-Dame, the black silhou- ette of its two towers, its stone sides, and its huge roof sharply outlined against the starry sky, and looking like an enormous two-headed sphinx crouching in the midst of the city. t'For some moments the Archdea-con contemplated the gigantic edifice in silence, then, sighing deeply, he pointed with his right hand to the print- cd book lying open on his table, and with his left to Notre-Dame, and cast- ing a mournful glance from the book to the church. tAlas!' he said. 'This will destroy that . . . the book will destroy the edifice!! . . . Our fair readers must forgive us if we halt a moment here and endeavour to unearth the idea hidden under the Archdeacon's enig- matical words: 'This will destroy That. The Book will destroy the Edificef To our mind, this thought has two aspects. In the first place it was a view pertaining to the priest-it was the terror of the ecclesiastic before a new force-printing. It was the servant of the dim sanctuary, scared and dazzled by the light that streamed from Gutenberg's press. It was the pul- pit and the manuscript, the spoken and the written word quailing before the printed word-something of the stupefaction of the sparrow at behold- ing the Heavenly Host spread their six million wings . . . But underlying this thought-the first, and no doubt the less complex of the twofthere was, in our opinion, a second, . . . pertaining no longer exclusively to the priest, but to the scholar and the artist likewise. It was a prclnonition that human thought, in changing its outward form, was also about to change its outward mode of expressiong that the domi- nant idea of eanch generation would, in future, be embodied in a new ma- terial, a new fashion, that the book of stone, so solid and so enduring, was to give way to the book of paper, more solid and more enduring still . . . Now which of these two arts, we ask, represents in truth the course of human thought during three centuriesg which of the two transmits, expresses, not only its fleeting literary and scholastic fashions, but its vast, profound, all-embracing tendencies? Which of the two has fitted itself like a skin, without a crease or gap, over that thousand-footed, never-resting monster, the human race? Architecture or Printing? Printing. Let no one mistake . . . Every Cathedral represents a milhon. lmagine now the sums necessary for the rewriting of tha.t archi- tectural tome, for those countless edifices to spread once more over thc land . . . A hook takes so little time in the making, costs so little, and ca.n reach so far. VVhat wonder that human thought should choose that path? Though this is not to say that architecture will not, from time to time, put forth some splended monument, some isolated master-piece. There is no reason why, under the reign of printing, we should not, some time or other, have an obelisk constructed, say, by an entire army out of melted cannon, as, under the reign of architecture, we had the Iliads, the Romants, the Mahabahratas, and the Nibelungen, built by whole nations with the welded fragments of a thousand epics. The great good fortune of possess- ing an architect of genius may befall the twentieth century, as Dante came to the thirteenth. But architecture will never again be the social, the col- lective, the dominant art. The great epic, the great monument, the great masterpiece of mankiind will never again he built, i't will be printed. -from Notre-Dame de Paris by Victor Hugo. 14