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THE CAMPUS MIRROR
7
JUNIOR-SENIOR OUTING
By Annk Hudson, ’30
Hereafter the class of 1930 will remember
April 19 not only as the date of the Battle of
Lexington and Concord, hut also as the day on
which the class of ’31 entertained them with a
jolly hike to the green woods and there with
Miss McGhee spent a pleasant afternoon to
gether. This was a departure from the custom
of the annual Junior-Senior party.
It was a rather unique procession of young
ladies in hiking “togs,” preceded by a small car
of mysteries, which set forth from the campus
that afternoon. Some carried interesting baskets,
many were free to linger over flowers and note
interesting things along the way. The little car
was rather popular; everyone seemed to be glad
to give it a push or earn- it across a stream.
Soon they came to an ideal “woodsy” spot
for an egg hunt. Here the “Junior Rabbits” had
hidden beautifully colored Easter eggs and then
stood round simulating the border of the nest
while the Seniors went in to hunt the treasures.
After the hunt all sat around under the trees and
were refreshed with peanuts and lemonade
served by the Juniors from the car.
Another interesting number on the afternoon
program was the gathering of sticks for the
fire, which was placed on a long strip of white
sand and fed with dry sticks until it roared
and laughed and crackled and sank down to a
bed of red coals, ready for roasting the food that
had come along in the little car. Peals of
laughter echoed again and again from the jolly
group seated around the glowing fire, which
held them together with its warmth of love and
friendship.
After clearing away the rubbish and quench
ing the fire the group turned their steps home
ward. The little car seemed to have lost its
charms. Xo one rushed to give it any assist
ance ; its mysteries had all been revealed. Slowly
the woods began to disappear and the lights of
the city came into view.
A DECADE AT SPELMAN
OR A LOOK BACKWARD
By Allie Mae Allen, ’30
When I look backward ten years, I recall the
taces of many persons who were then students
and teachers at Spelman Seminary, for I have
seen Spelman grow from a seminary to a college
and to a school where graduate work is being
done. She has eliminated the eight grades, the
normal department and the nurse training in
order to put more stress on high school and
college work. Every one knows that from her
founding Spelman has emphasized quality and
not quantity.
Ten years ago a student entering Spelman
High School could choose between two courses,
the Normal course or the Latin course. Most
students took the Normal course because it was
thought to be easy. Now every student who ex
pects to go to college is encouraged to take
either French or Latin. This encouragement is
essential, for most students at this age do not
know what to take and need guidance in their
selection of subjects.
Spelman High School became an accredited
one in 1925 and the college has recently become
a member of the American Association of Col-
Calliopc, Muse of Epic Poetry, Ruby Sauipsou.
VERGIL
A FESTIVAL DAY
By Rubye L. Sampson, ’32
The Bimillennial anniversary of the birth of
Vergil was celebrated in Howe Memorial
Hall, Saturday evening. May 3, by Alice
Coyle Torbert’s Festival Play entitled Vergil,
with a cast of fifty-four players.
The play is a historical pageant and is
exceedingly difficult to interpret. It pre-
leges. This recognition v'as won by the efforts
of President Read, who is as deeply interested
in the quality of scholarship as any leader Spel
man has ever had. The affiliation of Atlanta
University, Morehouse College and Spelman
College in 1929 gives students of these three
schools a broader and richer curriculum.
Two buildings have been constructed during
this ten year period, Tapely Hall and Sisters
Chapel and several renovations have been made
—our old chapel has been changed into a spa
cious theater. Shower baths have been put into
the dormitories and into the “gym” in Giles
Hall. The first floor of Rockefeller Hall has
been converted entirely into offices.
One must not forget to mention the social
calls. You would hardly believe that ten years
ago one could have only twenty minutes once a
month to talk to a friend due to the fact that
there was only one reception room where all
students received their guests. Today in each
college “dorm," there is a reception room mod-
ernly equipped with suitable furniture and a
piano, where its occupants receive their guests
each Saturday afternoon, not twenty minutes,
hut two hours.
As I look backward and think over the past
and then the present and future, I almost envy
Spelman under-classmen for there are so many
new fields opening to them from year to year.
All that I can say or need to say is that “It
is good to be here.”
sents a panorama of Vergil's life and lit
erary experiences. The prologue, spoken
by Italia, in the person of Ruby Brown,
created the mood for the play by bringing
to mind the immortality of Vergil, who lives
today through the vicarious experiences of
thousands who know his epic songs.
Episode I
It presents a scene on Vergil's father's
farm in Mantua when Vergil is fifteen years
old and is about to put on the toga of man
hood. The outstanding scene in this episode
was the potter’s dance which was performed
by a group dressed as potters carrying pot
tery jugs. Bernice Starling played the role
of Magia Polla, Vergil's mother, who tells
how Lucretius and Catullus predicted the
poetic future of Vergil, when he was only
an infant. \ ergil the Elder, was represented
by Edna Kennebrew.
Episode II
Here is given a glimpse of Vergil receiv
ing his inspiration to write poetry, and
through his poetry to glorify Rome and
her Emperor. Elsie Edmonson made a state
ly and impressive Vergil dressed in the Roman
toga. V ergil seeks inspiration from Venus
to enable him to pay tribute in sounding epic
to Caesar. Alpha Talley was a winsome
Venus, the goddess of Beauty, and a touch
of mystery was given to the scene by the
appearance of the veiled Calliope, the muse
of epic poetry in the person of Rubye Samp
son.
Episode III & IV
I hese episodes give something of the first
two of Vergil’s- works, the Eclogue and the
Georgies. The artful Cytheria, Augusta
Johnson, reads from Vergil’s Sixth Bucolic
while pictures of Roman Mythology are
shown and the Dryads and Fauns dance.
The soldiers arrayed in Roman armor repre
sent the form of entertainment for which the
Rome of Vergil's time was noted.
Episode V
Pictures from the Aeneid are shown. Ver
gil invokes the muse, Calliope to sing of the
fall of Troy, the founding of Rome and
Carthaginian pleasure. As the muse speaks,
pictures are shown. Dido, portrayed bv
Mora Hill; Aeneas, by Magnolia Dixon,
and Cupid disguised as Ascanius by Juanita
Jernigan, are reclining at Dido’s banquet
table around which are the followers of Dido.
Mora McKinney carried well the part of
Juno. \ ergil is anxious for the completion of
the Aeneid.
Episode VI
\ ergil is shown in his last hours begging
his friends to burn the Aeneid. He had
spent ten years on it and felt that lie needed
three years more to bring it to perfection.
He said he would not leave this “limping
child to Rome. After his friends promise to
burn the script. Vergil dies.
Epilogue
Italia calls for tribute to the undying mem
ory of Vergil.
The cultural value of this play is not to
he ignored. Not only is it a jxirtraval of
\ ergil s life, but of Ins works also; therefore
it gives birth to or renews our acquaintance
with the Latin Classics.