St Catherine High School - Mentor Yearbook (DuBois, PA)

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iii? fi f iQ is its ff mill lgnnier HROUCHOUT this world of ours, we find almost every human being looking for and aiming at, at least, one thing in life, and that is the secret to success. But suc- cess is no secret. It can be summed up in one word-fwill. Any one who listens to and heeds that word is fully equipped to face lifeg to turn failure to success, and to rise to the highest point of his ambition. But how must one develop this will, so as to attain success? This is the question that confronts us. Have you ever noticed a small boy at some difficult work? If he is one who has will power, you will see him struggle faithfully until he succeeds in mastering his task. If you will but follow this boy through life, and see him exercise day by day this God-given will in the right direction and at the cost of any struggle, you will some day see him, a leader in the world of men, in business, in the professions, or in whatever state of life he may be placed. He has the will to lvin which is the foundation stone of success. Today, we find too many men who are content to sit back, resting on their laurels. Qthers, too ambitionless to try to place themselves in the winning line who prefer to have someone direct and lead them through life. What the world really needs is not so much the man of talentg nor the man of fame, but the man with a will to discountenance wrong: to brook oppositiorig the man who can stand true to his own convictions of right even though the world may scorn him-this is the man of will power. Now in order that the will may be properly strengthened and di- rected, one must make frequent use of God's holy grace, which comes to us through the Sacraments of the Church. With this powerful aid, and the determination to succeed, we can rest assured that victory will await us at the end of our quest. ' JOHN GREEN, '26 OOO The 09rnlie5irar AVE you ever thought, as you listened to the melodies of a first-class orchestra, that an orchestra is the culmination of centuries of experimenting and the result of many an old master's dream-P The orchestra is the result of perfection in each individual instrument, whether it be string, wind or concussion. And what a history each of these instruments has! As we trace the gradual process of development down through the centuries, we note that each period of history is marked by the style of music for which a preference is shown. It is claimed by many who would verify the old-time saying, l-listory repeats it- self, that ancient Music, in the individual instrument-although of much inferior quality, I3

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1.4 ' 4 , N i Q x f ' 2 M? S: Jr- 2 :ee E e--. ' ' Q ,-.-H, ??2?EEfiifi? 3 4 ..n-5:3 eff- 1 g fipi-5 5. - I 2 . . ,.,.. ..,.,, 5... ,Zf, Q A . Q EM, T . EKU- ,:::g-'23,--.t,.q 2 5 1 . 1 5 s s -..-.-t.,.. . ... , Q 2 y . 2 . ..., 1 - N .:..Q. . .Q...z.1r.., . -wg,-5 2 ag::2g1:gf:I,: K wtf 3 gs 5 : 1-5 e,: 1: 1 t r., .,. U- , . . . . ..,,,, Ive, V W tgii' 1, I Qistury ' ' ISTORY never permits real generalizations. It deals always with the particular. Ei ilihe historian talks of heroes, but means Antony or Napoleong he discourses con- cerning nations, but means Rome or England. The generalizations of histories then, depart either on the right hand or on the left from the exact line. It is easy history are either illusions or pretense. At times they are valuable. In such cases. we have philosophy masking as historyg more often we have merely the complicated and ex- tended intuitions of the artist-historian borrowing the airs and phrases of the sciences. This province of literature is a debatable land. Instead of being equally shared between its two rulers, the Reason and the Imagination, it falls alternately under the sole and absolute dominion of each. It is sometimes fiction: it is sometimes theory. Many for an historian to occupy himself merely with the arrangement and publication of arch- ives, and the timidity of such scholars throws much light on the whole matter. Some his- torians lay smaller stress upon the inherently uncertain nature of the data of history, than upon the manner in which such material inevitatbly is transmuted into the written page. Whenever real history, as distinguished from source-books, is written, we are in the field of the intuitions, Out of the variety of possibilities, we get the one that has vividly ap- pealed to the taste of a given historian. This is true of what we ordinarily call the facts of history: and evidently its interpretations are even more deeply colored by simple per- sonal preferences. The facts in history are given to find the principleg and the writer who does not explain the phenomena as well as state them, performs only one-half of his of- fice. Facts are the mere dross of history, and it is from abstract truth which lies latent among them that the mass derives its whole value. A perfect historian must possess an imagination sufficiently powerful to make his narrative affecting and picturesqueg he must be a profound and ingenious reasoner. He is the best historian who can, in his own work, exhibit in miniature the character and spirit of an age. He relates no fact, he attributes no expression to his characters, which is not authenticated by sufficient testimony. The conviction of the perfect historian is the undemonstrable conviction of the juryman, who has heard the witnesses, listened atten- tively to the case, and prayed Heaven to inspire him. Sometimes, without doubt, he is mistaken, but the mistakes are in a negligible minority compared with the occasions when he gets hold of the truth. --FRANCIS A. HABERBERGER, '25 I2

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l ' T:11v:1't ':f'??1'r:1:t ::r r ' t2:':::r: '.:-:-': - :: '..'+ ::':: :'- - : . ',':::::::: --:::1::.'--:' ::::: -v::' 1 --:':::- :': '1 1:11:31 -A:'-- --:- 1 -':1::f:':::':z-:1 '-----' X W x f WN bore a resemblance in style and rhythm to the music of the modern age. But with such a late development in the wind or concussion instruments, and this with all due respect to the stringed instrument, for which the early Romans and Greeks had much taste. The interest of music devotees was augmented by the introduction of these to the already numerous collection of music generators. ln the development of this latter class,-more than in the class of stringed instruments, a laudable effort was put forth to imitate the sounds of nature by making suitable additions to the instrument so as to change the pitch of the sounds emitted. And only when nature's sounds are repro- duced to an almost perfect degree, is instrumentation perfected. In the maiden days of musical instruments, versatility in an individual piece was es- sential to a group of performers. Today, on the contrary, almost every degree of sound, and every depth of tone finds an echo in its producer. Musical perfection, undoubtedly, was first attained in the person of the ancient, when they played upon the lyre. Especially, as an accompaniment to song and recitation was this adaptable to their mood--and universally so, for playing upon the lyre was not regarded in the light of an accomplishment, it was simply and essentially the custom. BLANCHE A. AUGHENBAUGH, '26 OOO I what Qlumplex N OUR grandparents' day, the young man or woman who shirked his duties was branded with the unromantic term lay , and the culprit, permeated with a sense of his wrong-doing, tried to escape unpleasant lectures by tactful absences-but never by such an unheard-of thing as manufacturing excuses for delinquency. Today, a sympathetic. and critical public gazes with awe at the favored creature who finds no element his own: this profound personage, in the popular language of the day, has a Hcomplexn. 'When a complex is once acquired it should be minutely devel- oped, and never for the slightest instant, should be owner be forgetful of the fact, that he is a mortal far removed from ordinary people: life has a different reaction on him--does he not possess the much admired and talked-about complex? The first indication of an oncoming attack of complex-itis is the conviction that one is the victim of circumstances. The simple explanation of the term, ironically enough, -when most people regard it as an impractical joke of nature,-is the outcome of deeply seated emotional experiencesg if one almost constantly rejects impulses of a lesser stan- dard there is a tendency for the spectres of the frustrated impulses to lurk continually be- fore the mind. This is a result of desires with mang thus mann either under-estimates I4