The College Star (San Marcos, Tex.), Vol. 14, No. 43, Ed. 1 Wednesday, January 19, 1927 Page: 2 of 4
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THE COLLEGE STAR
THE COLLEGE STAR
Newspaper published weekly during the school year by the stu-
dents of the Southwest Texas State Teachers College.
Entered as second-class matter, November 21, 1921, at the Post
San Marcos, Texas, under Act of March 3, 1879.
Office in
Subscription Rates
Per Term.............................................$ .50
Per year (regular session) 1.50
Advertising Rates
Per column inch ..............................25c
Locals, per line ...........................:........ 5c
EDITORIAL STAFF
(Temporaryy)
Editor-in-Chief........
Business Manager
Society Editor..........
Sport Editor..............
...........Frank Vance
............. Bert Wilcut
Bertha Lawrence
........... Manton Ellis
YOUR ASSOCIATES
People will judge you by the
company you keep. This is an
old saying with worlds of truth
in it. Everyone has a number
of friends with whom he or she
associates with more than- oth-
ers. These friends may not Jbe
of the same group as a'whole;
but they represent your choice
of friends and the character of
these friends will reflect on your
character for better or for
worse.
Now, for example: you go to a
community where you are a
stranger. People of this commu-
nity will wonder what kind of a
person you are. They will ask
questions about you, watch your
actions and listen to things you
say so as to size you up as a
human character. Suppose that
soon after you get into this com-
munity, you begin going with a
person of your age who is known
to be a thief. The natural thing
to follow will be that everyone
in that community will think
you are just about the same sort
of person. Would you expect
but they are not the end itself.
It is the mind of the reader upon
which he is working, not the
texture and fabric of the
thought expression. The effect
desired might be an exquisite
sense of beauty, of fear, or hor-
ror, or even disgust. By every
process of verbal art, by choice
of words, phrasing, in verse the
metrical devices used, by the
tone or atmosphere, by the in-
cidents or details of the compo-
sition, by the central idea of the
main theme, by suggestion; in
short, by all the objective means
at his command, he produced a
single impression upon the ima-
gination of his readers. Today
we would say that Poe sought to
create a definite psychological
state upon the consciousness of
his readers.
In regard to poetry, this des-
cription of Poe’s philosophy of
technique is considered in rela-
tion to his definition of poetry.
Poe believed that poetry of
words was the rhythmical crea-
tion of beauty. Beyond the
.limits of beauty its province did
not extend. It has no depen-
dance, unless incidentally, upon
STUDENTS, TIKE YOUR BLANKET TAX TO ALL
GAMES AND SHOW IT TO THE GATEKEEPER
Each student is given a “blanket tax”, or more properly, a “Student Ac-
tivities Ticket”, which, when presented, admits the student to all college
activities, as football, basketball, baseball, track, Lyceum numbers, etc. In
the recent games of basketball at the men’s gym, some students have failed
to bring this ticket. Their alibi has
been forgetfulness, or that they did
not know it was necessary; or, more
often, the gatekeeper was greeted
with such expressions as the follow-
ing: “You know me, don’t you?”, or
“I have mine, but it is in my pocket”,
(and then they look pleadingly at the
gatekeeper with an air of supplication
and tenderness, hoping that he will
not impose on them the arduous task
of showing vit); or, “You saw mine
last night, didnt’ you?”, or “Lobos
don’t have to have a blanket tax, do
they?”, or, “You want to see my
blanket tax?” (this last being a sort
of accusation that the gatekeeper’s
eyes are modeled somewhat on the
pattern of the X-ray),' or “I’ll'sure
bring mine next time” (this last us-
ually from girls), or, “Oh, T have it
all right”—and after this last unbur-
dening of their soul, they march bliss-
fully by, if they are so permitted.
It will expedite admittance, save
time for all concerned, and may save
money to the students, if each and
everyone will. always bring the blan-
ket tax, and have, it in sight of the
gatekeeper, by the time the door is
reached. If the student waits until
he gets in the doorway, and then
reaches down into an inaccessible
pocket,, under a coat, vest and over-
coat, and gets out a long folding
pocketbook containing tbirtten varie-
ties of papers, telephone numbers,
New Braunfels adresses, etc., and la-
boriously hunts out a certain red or
them to believe you to be a pecul-
iarly privileged character who j either duty or truth,
could touch pitch and not be de-
filed?
If you put yourself in the
same class as a person of low
morals, you invite the world to
In writing fiction usually there
are thought to be four points of
beginning from which an author
may start to gather the mater-
ial of his story. He may have in
take you at your own valuation,] mi]ld a plotj the personality of a
At it does. People will talk about :• character, or a group of charac-
you in the same tone they use] ters to start with a.setting or an
when they talk about your as- atmosphere. Finally he
sociates.
Everyone wants to be well
thought of and will do much to
encourage others to think better
of him. A teacher going to a
may
choose some truth of life or prin-
ciple to exemplify. It will be
noted that in all four of these
methods of composition it is with
the objective that the artist
strange community can not over-| starts. The usua] author js satig_
do this idea of care m the choice
of associates.
POE’S PHILOSOPHY
OF COMPOSITION
Edgar Allen Poe hardly needs
an introduction to Americans,
and especially to Southerners.
The average person only knows
Poe through his short stories
and poems, but some of his most
valuable work was done as a
critic, in which he set forth his
philosophy of composition. Poe
can be considered as an authori-
ty in the literary world and is in
truth recognized as such.
(Editor’s Note: The following ar-
ticle is a summary, of the original
article which appeared in the latest
North American Review. The original
was written by James Southhall Wil-
son of the University of Virginia)^
The first as well as the ulti-
mate aim in the creation of any
work of art is to produce one de-
finite effect, or impression, upon
the mind and feelings of the
reader or observer. In literary
art the first word and every word
must help produce this effect.
The central idea of the composi-
tion must be chosen to secure
the effect desired; each incident
in the working of the plan, the
tone of the writing, and even
each word itself, must contribute
to the one end of creating a
single mental impression to ac-
complish this totality of effect.
The term totality of effect or
of impression has been much
misunderstood. Poe did not
mean the unity of design or plot,
or mere construction of any sort.
01 * ^—„„ o;£ idea, simplicity of
i in the story, direct-
lity of plot, are means
lg totality of effect,
green piece of semi-flexible card-
board and obligingly and triumphant-
ly shows the gatekeeper about one
sixty-fourth of an inch of an exposed
edge, as,if to say, “There you are;
I knew it was there!”—while all the
time thirty-nine people are standing
behind him wishing that he were in
Singapore—if he does this, he ought
to read this protest and next time pro.
duce the said delicately tinted blan-
ket ta xin plenty of time for it to be
seen to be bonafide, trustworthy, and
the genuine article, considered from
all angles of perspective.
We all detest and despise privilege
wheer it is not due and warranted.
Then let’s not presume that we have
any right to feel privileged to the
extreme of asking to be admitted to
the game without a blanket tax when
the other fellow has one. And the
other fellow will have one if the prop-
er spirit of cooperation is shown.
The administration does not want
one penny of gate receipts from any
student who has paid his blanket tax,
but if students do not bring -their
tickets, the practice; of other colleges
may be brought into use: that of
charging regular admission prices
from all who do not bring their ticket
and show it to the gatekeeper.
Those who have not yet procured
their winter term tickets, may get
them at the Auditor’s office. Do so
before the next game, which is with
Nacogdoches, here, Wednesday night.
fied if the parts are properly sub-
ordinated to the whole.
Poe, on the contrary, accepts
none of these objective starting
points. He sets up a fifth, which,
he declares, is the only proper
one. He finds it not in the ma-
terial to be used, but in the sub- i
jective or mental effect to be
produced. In fiction, though he
recognizes the outcome of the
plot to be a starting point, he
still holds the. totality of effect
to be the end toward which ev-
ery art device must be trained
to secure the desired psychologi-
cal effect. Outcome of fiction is
most important.
Poe says effect; never plot or
whole, or poem, or tale. This is
his mature statement of his
philosophy of composition.
It was Poe who developed and
gave currency to the thought
that the test of art is found in
its effect upon the minds of men
rather than in the material that
is meant to effect the mind.
It is easiest to illustrate his
philosophy of art by citations of
his poems. Of every important
poem that Poe wrote, he at-
tempted to give a central effect.
In the poem, “The Bells”, where
the effect of each stanza changes,
but changes to the tones of the
rhyming and chiming of the
bells.
THE BELLS
—I—
Hear the sledges with the bells,
Silver bells!
What a world of merriment their
melody foretells!
How they tinkle, tinkle,. tinkle.
In the icy air of night! .
While the stars,, that oyersprinkle
All the heavens, seem to twinkle'
With a crystalline delight;
Keeping time, time, time,
In a sort of Runic rhyme, .
To the intinnnabulation that so mu-
sically wells
From the bells, bells, bells, bells,
Bells, bells, bells—
From the jingling and the tinkling of
the bells.
—II— '
Hear the mellow wedding bells,
Golden hells!
What a world of happiness their
harmony foretells!
Through the balmy air of night
How they ring out their delight!.
From the molten-golden notes.
And all in tune, . . .
What a liquid ditty floats
To the turle-dove that listens, while
she gloats
On the moon!
Oh, from out the sounding cells
What a gush of euphony voluminously
wells!
How it swells!
How it dwells!
On the future! how it tells
Of the rapture that impels
To the swinging and the ringing
of the bells, bells, bells,
Of the bells, bells, bells, bells,
To the rhyming and the chiming of
the bells!
—Ill—
Hear the loud alarm bells,
Brazen bells!
What ■ a tale of terror, now, their
turbulency tells!
In the startled ear of night
How they scream out their aifright!
Too much horrified to speak,
They can only shriek, shriek
Out of tune,
In a clamorous appealing to the
mercy of the fire,
In a mad expostulation with the deaf
and frantic fire,
Leaping higher, higher, higher,
With a desperate desire,
And a resolute endeavor
Now—now to sit or never,
By the side of the pale-faced moon.
Oh, the bells, bells, bells!
What a tale their trror tells
Of Despair!
How they clang, and clash, and roar!
What a horror they outpour
On the bosom of the palpitation air!
Yet the car it fully knows.
By the twanging
And the clanging,
How the danger ebbs and flows;
Yet the car distinctly tells,
In the jangling
And the wrangling,
How the danger sinks and swells—
By the sinking or the swelling in the
anger of the bells,
Of the bells,
Of the bells, bells, bells, bells,
Bells, bells, bells—
In the clamor and the clanger of the
bells!
CANDY DAY
at
GALBREATH’S
Saturday, January 22nd
Put in Your Guess and Eat Your Piece of Candy
—IV—
Hear the tolling of the bells,
Iron bells!
What a world of solemn thought their
■ monody compels!
In the silence of the night
How we shiver with affright
At the melancholy menace of their
tone!
For every sound-.-that floats •
From the rust within their throats
In a groan.
And the people—ah, the people,
They that dwell up in the steeple,
All alone, - ’ /
And who tolling, tolling, tolling,
In that muffled monotone,
Feel a -glory in so rolling
On the. human heart a? stone—
They are neither man nor woman,
They are neither brute or human,
( .They are Ghouls j - ■ - .-
And their king it is who tolls;
And he rolls, rolls, rolls,
Rolls .
A paean from the bells;
And his merry bosom swells
With the paean of the bells,
And he dances, and he yells:
Keeping time, time, time,
Keeping time, time, time,
In a sort of Runic rhyme,
To the paean of the bells, •
Of the bells:
Keeping time, time, time,
In a sort of Runic rhyme,
To the throbbing of the bells,
Of the bells, bells, bells—
To the sobbing of the bells ;
Keeping time, time, time,
As he knells, knells, knells,
In a happy Runic rhyme,
To the rolling of the bells,
Of teh bells, bells, bells,
To the tolling of the bells,
Of the bells, bells, bells, bells,
Bells, bells, bells—
To the moaning and the groaning c
the bells.
—-o - o-
Mr. and Mrs. H. H. Goodman and
Miss Ruby Henderson gave a party
Saturday honoring Miss Minnie Knis-
pel, who is soon to be away on a leave
of absence, doing graduate work.
JOE FULLER
Headquarters
KINGS CONFECTIONERY
Closed Service Cars
With or Without.
Drivers
PHONE 446 or 57
BARBECUE, BEEF,
SAUSAGE AND PORK
At The
Q. K. MEAT MARKET
We Have the Best
Phone 432
PHILOSOPHIANS ELECT
The Philosophian Literary Society
held its regular business meeting Wed-
nesday aftetnoon and the following
officers were elected: President, Doris
Summers; vice-president, Mary Fran-
ces DuBose; secretary, Cleo Nowlin;
treasurer, Annie Louise Tuttle; critic,
Florence Taylor; junior warden, Mary
Louise Ivey; senior warden, Deborah
Galbreath; press reporter, Mattie
Belle McIntyre.
These officers will be installed at
the next meeting of the society which
will be Wednesday, January 19, in the
club room.
He: “Do you believe kissing is un-
healthy?”
iShe: “I couldn’t say—I’ve never—”
He: “You’ve never been kissed?”
She: “I’ve never been sick.”
BGGGUS SOE SHOP
Is Prepared to Give
Better Service, Quality and Workmanship
And Appreciates Your Patronage
We Deliver
NORWOOD'S
DRY CLEANING PLANT
We Guarantee to Please
Telephone 314 One Day Service
THE STORE OF STYLE
While we place price first in relation to sales, we do
not debase quality to meet price. In every instance
we offer merchandise of unmatchable value plus,
style ... Come and see us.
JACOB SCHMIDT
SCHOOL SUPPLIES KODAK FILMS
HONE’S DRUG STORE
Phone 21—Free Delivery
Everything new and modern, and clean new
stock ... Our fountain is the very latest and
Cur drinks the. best . . . We appreciate your
trade.
KING’S CANDY
SUNDRIES
—"■
Parlor Barber Shop No. 1 and 2
And BE BACK BEAUTY SHOPPE
We are prepared to give the latest
in our line of work . . . Phone 509
Our.. Work.. Speaks.. For.. Itself
SITTING PRETTY; FEELING FINE
BECAUSE Papa and Mama
Send Their CLOTHES to
JOE, THE TAILOR
—all the time.
Phone 99
Also Closed Service Cars
STATE BANK AND TRUST COMPANY
San Marcos, Texas
.. . v , " . ■
TEACHERS COLLEGE DEPOSITORY
STUDENTS, MAKE OUR STORE
YOUR HEADQUARTERS
—Quality
■—Service
—Courtesy
Mutual Mercantile
Company
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The College Star (San Marcos, Tex.), Vol. 14, No. 43, Ed. 1 Wednesday, January 19, 1927, newspaper, January 19, 1927; San Marcos, Texas. (https://texashistory.unt.edu/ark:/67531/metapth614269/m1/2/: accessed July 11, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu.; crediting Texas State University.