Ellsworth Community College - Web Yearbook (Iowa Falls, IA)

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f yt gl , c , 1 l H li F lmllllllt B Q- lim i i , T4 1 Phi Evita Eliterarg Snrietg TOP ROVV tleft to rightj-Yaw. Clark, Hoffman, Trit-key, WVood, VVa1l, Lien SECOND ROVV--Gnnfield, Thalman, Simpson, Thompson, Lee, WViggins, Howie, Thies THIRD ROVV-Slater, Sheets, Krieg, Rowe, Fanselow, Conklin, Gantield. Sanders BOTTOM ROXV-Humke, VVright, Mziuss, Hunter, Meisinger, YVatt, Russ . - l' Hin Belts!-Aletliean Banquet Perhaps one of the greatest social events of our college year is the annual banquet, held at the Woods Hotel. It is given by the Phi Delta Literary Society to the mem- bers of the Alethean organization. This event is formal, providing an ample opportunity of becoming accustomed to I l the laws of etiquette, which are of particular value to men and women who expect to be found in future social circles. , Such experiences are essential in college life, since they aid in securing a well-rounded education. They provide the right kind of variety to our Work and will naturally leave a most noteworthy influence upon our life. I The toasts as delivered have always proved to be of the highest order. They have been interesting and entertaining and have called forth many shrewd and keen ideas which have been latent in the mind of the student. l l f In a general way we may state that this inter-society banquet is of vast importance to each participant and provides an experience which no college man or woman can afford to be Without. It is an event long to be remembered and one which is most cer- tain to have a definite inliuence upon our future life. We can rightly consider this as one of the many opportunities which the literary societies make possible for their members. 3 l i l 139

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I , X 5 W llifllll ii g i . v ' I 1 I ii rl' 5 ' Tv if 7 ' Qi. 69191 iff - I -' ml J 111 req, Of dem I am kwvite browdt 5 Dey shtudy hardt in all der books Like all der Gherman grovvdt. Now Eddie Virds, der best ting dot I gan say of dot von, Iss dot he iss der brudder of I-Iiss older brudder Shon. Now Steinmetz, elektricity Of hiss life's der main pardtg But some say dot der iss some shpark Dot's zettled in hiss ieart. Der Hoffman poy, he draws der lines Dot funny pikshures makeg Und if you don't behafe rite goot Your pikshure he vill dake. A Roy Schmedika, now do you tink Dot from hiss name you'd guess Dot he vas German droo und droo? Ach! my! I should say yes! Und den dere's von I most vorgot, lVIeisinge1' iss hiss nameg I-Ioch der Kaiserf' each von says, Aber mein poy shtays der same. But now as I haf shust begindt I iindts I haf to kwvitg Vor ven I koms mit too much shtuff, Der Annual Poardt says Nit. I vis dot I could zing der braise Ov Gherman graduates und all Der many, many Gherman girls Dot dis dere own skul gall. But time vorbidts und shpace bermidts Me nodt ter say so much, But let me say diss von ting yet: You gannodt beadt der Duteh. I 'I 138 WEN :laws vw Agia is aeglwi En f R 'E I I Ng - 'Eli-,3E'5':.f'?i' -,fy I

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' X ,,il.iilf1,q1 L , if XX LilQgt-tiiiftitvff 93 pg-P!:'x,.1llj51'i QL ,Q I X l X4 uf' N1- 'Y z ,-. 14.6 f at , ll ,H 3 ills- irtnrial Glarirature ADOLPH LIEN There is something curious in the fact that man who alone can laugh heartily is himself the chief object of laughter. The laughter is about some ludicrous element in the personality, whether aimless action, nonsensical thot, broken speech, absurd dress, or the work of man-not at the mountain or the brook, the bird or the beast. Truly, man may laugh at monkey, because monkey looks so much like man. Any form of lower life that mirrors the ludicrous attributes of man is apt to cause laughter. The chief instrument in laughter is caricature, which is the selection, distortion and represen- tation of the significant features by word or picture. When a moral is conveyed thru symbol, the caricature, if verbal, is an allegory, if pictorial, a cartoon. Most caricature is destructive, aiming to ridicule and satirize the object by wit. In literature Don Quixote and Ichabod Crane are types of destructive caricature, while Napoleon III as the root of all evil, and Louis Philippe in the evolution of a pear QPoirej are types of pictorial caricature that are destructive in purpose and result. Fortunately, caricature achieves its purpose thru humor, that creative mental process which laughs with the chief object of ridicule without malice. David Copperfield and others of Dickens creations are slightly caricatured with a kindly sympathetic humor, while in pictorial caricature Freshman Nuts and 'iPreps are convenient examples. Both are constructive, the former aims to eradicate detractions from studies, the latter to secure self-reliance in the pursuit of studies. In caricature, the factors of laughter are: reserve energy, occasion, subconscious basis, and form employing antithesis or comparison. A Energy is the source of all laughter. The faint smile of the invalid indicates the low ebb of energy, while the robust person laughs heartily because he overflows with energy, which iinds an outlet thru play, smiles, or guffaw. The convalescent laughs because he triumphs over his former state of mind and body which had been at a low ebb of vitality. So when he feels his strength growing, he laughs as a boy that has solved a perplexing problem, or has performed a difficult feat. He laughs when he sees the sickness, danger and sorrow from which he is free. It is a pleasurable feeling. He laughs in triumph. Any triumph or suggestion of triumph, whereby the organism tends to be built up, when charged with reserve energy, is conducive to laughter, unless inhibited. Special occasion, too, aids caricature, for it generates energy. The people, when agitated and when sentiment is strong against the object of ridicule, break forth in laughter upon slight provo- cation. Also the pent-up energy due to lack of expression, as in the lecture room or church, accu- mulates until outburst is imminent. The audience observing the caricature must be aware subconsciously of their triumph, apparent or real, by feeling their superiority to the object of ridicule, by having lack of reverence for the assailed element, and by being in sympathy with the caricaturist. Generally, a people do not laugh at their deities, but they do laugh at bogies, bumpkins, and buffoons, for the people feel superior-they are apperceptively prepared thru a complex network of associations, and the con- trast is bridged by suggestion. Of course there is the laugh of the ignoramus at wisdom and the sacred, but his laughter is due to the illusion that represents those objects as being nought to him, that he indeed is superior to them, which really presents in him the same psychological process as in rational laughter. The means of successful caricature is attained by form which contrasts the superior with the inferior, the sublime with the base, the dexterous with the clumsy, the noble with the ignoble, the logical with the illogical, as expressed or implied by association or suggestion, whereby a feeling of triumph arises. The greater the chasm or, antithesis, and the closer the parallel between these opposites, the stronger will be the caricature, other factors being complied with. This fact depends on the laws of association, similiarity, and contrast, by which like and opposite are brot to con- sciousness and upon which analogy is based. , 140