Our Lady of Lourdes High School - Knight Yearbook (Marinette, WI)

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1 V We-P g . is V vb 53- . D YN tain the audience with music. Next she ran from the house to her home. When she burst into the house she breathlessly exclaimed, Mother, my new slippers, white ones-accident-couldn't help it 5 between gasps. Mrs. Doll went for Mary Louise's slippers not comprehending Mary Louise took the slippers with a single thank you and dashed out. When she reached the Greys' home she immediately hurried to Matilda's room and tried on the slippers. To her delight they were a perfect fit. Matilda was loud and sincere in her appreciation of the borrowed plumage. Mrs. Brown said to Mrs. White, I don't see how that Doll girl could have acted so nobly. It was plain to see that she longed for the part of heroine. She certainly is a model. Mrs. White said nothing. There was a queer tightening in her throat. MARGARET LALONDE, '28. Literary Confreres, Illustriour Associates, and Heroic Accomplices: I am taking the suspicious moment to expound to your most comprehensive understanding, the grandiloquent execution in the art and sublimity of creditable English. The bibliomania of the study should lack monotone and excruciating re- peatedness but should be consistent in the fundamental exuberance and dexterity of manipulation and not in plagiarizing your incommensurable velocity of elhca- cious rendition. Primarily, contemplate your exordium idosyncrasy and adynamia at your escritoire. Do not procrastinate with clearness by your obscurity. Obliteration of in- artistic symmetry in English produces an embellished and effective result. The congeniality with which material for the study is engaged is luminary to an intrusive climax. An invigorating plot' is frequently interwoven in the most dull, repulsive theme. Any illiterate scholar solicitous in the specialism of Eng- lish, stimulates his intellectual powers to the avenue of expediency in extensive literary achievements and by constant revision of thought. - Creditable English is written in the legal basis of uniformity, cohesion and emphasis. Capacity for acquiring knowledge of this art should be phenomenal but not lacking the ability of applying it to theme-work. Furthermore, since these fundamental elements are not extemporaneously taken up, so much more unobtrusively ought they be brought into application in rhetoric. English that reads under the title of finished is done to the best of our abil- ity in applying fundamental principles of unity, coherence, emphasis and revision. FLORENCE MEYERS, '28, t 3iSf6iI 7 5 . sigma if N Pug? 56

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1 K 1 . s' v ' Z- he 'fin qi ' 3' , Ygxw y 'xbwdtis'-'f- Nr - 5 B- J el - THE ROYAL TOUCH Oh, Mother, said Mary Louise, do you like it? Will it be a sensation ? Yes, I'm sure it will be, said Mrs. Doll enthusiastically, answering both ques- tions at once. Mary Louise, her only daughter, had surprised her by writing a creditable playlet. The girl's ambition was to have it sponsored by the Ladies' Association. All the women were amazed when they read the play, for no one had realized that there was such talent in their midst. Mrs. Grey offered her drawing room for the presentation and promised to prepare all stage accessories. After a little persuasion Mary Louise consented to have her play acted at the proffered place. Further preparations were postponed until the next week. During the interim, Mary Louise imagined herself the hero- ine and lived in joyful expectation of the assigning of the roles, which had been voted to Mrs. Grey. Imagine her chagrin when Mrs. Grey beamed on her and said, Mary Louise, I have been planning and think that your description of the leading character would exactly suit my daughter. Mary Louise felt abashed at the idea of not being the heroine, but this feeling was only intensified when she thought of giving it up to that little red-haired bag- of-bones. She blushed at the description she had given Matilda Grey: but this altogether outwitted her patience, she said nothing because she couldn't trust her voiceg but tried to look pleased. VVhen she was returning home from her ill-fated meeting, she turned all these matters over in her mind. The result was not altogether calming, and she had to pinch herself as a reminder that a young lady of sixteen was beyond the age of tears. The play of The Golden-Haired Goddess, Mrs. Grey had renamed it, was to be acted the next day. Mary Louise sat wondering what she would be doing now, if she were the heroine, trying on her dress for the last time, perhaps. VVas Ma- tilda trying on hers? When she entered the Grey's drawing room the next day she saw only the place where she could have gained her fame had not Mrs. Grey stepped in. She could picture Matilda on the stage now. She looked at her watch and wondered why the playlet didn't begin: it was already one minute after time. A thought suddenly struck her. She hurried from the drawing room to the dressing room. As she approached she thought she heard stiiied sobs. Upon coming closer she heard them more plainly. She entered and found to her dismay, Matilda, the heroine, huddled in a heap on the floor crying as if her heart would break. She walked over to her and touched her on the shoulder. Matilda raised her tear-stained face slowly and looked at Mary Louise in hopeless dejection, but Mary Louise gently took her hand and soothingly said, Now, now, Matilda. Everything is very wrong, is it ? VVhat are you crying about F Matilda solemnly pushed out her foot for an- swer, and to the dismay of Mary Louise, she saw a beautiful white slipper soiled by two large black spots. She looked around for the cause and discovered it in a bottle that once contained ink, now lying on the floor empty. Mary Louise was a quick thinker, but she broke her record and became a fast one. She jumped up, ran to the adjoining room and bade one of the girls enter- VX sg . ig ' . jig- Q -x 1' sa .isfftflvrtfwfift-. at-Qsi ' '13 -W Page 55

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Sufi? sg - .s - ' ' egg 95 AZ' -'Nr ii XXV ' ' CQ,,4:5'.,fL,9- f 'Qt5i, 5b B- 'ROYAL BANQUETS From our very infancy we have been fed with literary royal banquets, though, of course, they were not given that name. In the nursery-rhyme days we learned of Old King Cole, the merry old soul who caused his feast to be enlivened by his fiddlers three 3 the Queen of Hearts, who made her tartsg and last, and rather gruesome, the fearful ogre whose greatest joy would have been to feast upon poor jack's bones ground to a pulp. At a somewhat later period Biblical lore furnished us with accounts of a dif- ferent kind of banquet. Among these was that of Queen Esther, by means of which she saved the lives of her countrymeng Baltassar's, where the power and justice of God were showng and Herod's during the course of which the dance of Salome merited the head of St. John, the Baptist. Then next are the parables of Our Lord relating so frequently to feasts and banquets. As our studies carried us farther on the paths of knowledge, we arrived at the classical literature, where the feast of Beowulf is the first to fascinate us. Stories of King Arthur and the Knights of the Round Table, describing their deeds and entertainments, follow next in line. And last of all is the famous ban- quet scene in Macbeth, It is interesting to note how like and yet how unlike the foregoing scenes is this the last named. The external setting, the splendor and the magnificence of the banquet hall, to my mind, would correspond with that described in the Tales of the Round Table. The order of knighthood was still in vogue and the customs of the people were strikingly similar. The principal characters at the banquet of Macbeth and Bal- tassar are in the same frame of mind. The latter while using the sacred vessels for profane purposes realizes his guilt, and the former, weighed down by his fears, also assumes a forced gaiety in an effort to conceal his inner feelings. In one of the Parables, where the invited guests did not appear at a feast the king had pre- pared, and he then called in the beggars and serfs of his realm, the guests are not in harmony with their host. So this is like to Macbeth. Here the courtiers ap- peared because they were afraid to do otherwise and their fears were not un- foundedg in the Parable the people care little about anything except the food they obtain and the merriment created for them. The usual ending of banquets is the feeling of satiation, though there is re- maining the emptiness of unsatisfied human desires, but in the royal banquets of Macbeth and Baltassar, the end comes suddenly and with an awful crash. The frightened guests disperse and we leave Macbethis scene with a feeling that Shakespeare has created a Royal Banquet, in catastrophe second only to that of ancient Bible lore. ELIZABETH SCHERER, '28. rx , . Q, ' - . ,- , . ' 5 . ,g U , -Gi 3'S'Kif 05l', +5.45-19 V A S K MSSQQ, by ss 1 1 Page 57