The Story of Wellesley [69]
are so closely followed that the illusion is sometimes startling; it is as if real Titians, Rembrandts, and Carpaccios hung on the wails of the Wellesley Barn. In 1889, also, the Glee and Banjo clubs were formed.
In 1891, the Agora, the political society, came into existence. The serious intellectual quality of its work does honor to the college, and its open debates, at which it has sometimes represented the House of Commons, sometimes one or the other of the American Chambers of Congress, are marked events in the college calendar.
In 1892, Alpha Kappa Chi, the Classical Society, was organized, and of late years its Greek play, presented during Commencement week, has surpassed both the senior play and the Shakespeare play in dramatic rendering and careful study of the lines. Gilbert Murray's translation of the "Medea", presented in 1914, was a performance of which Wellesley was justly proud. Usually the Wellesley plays are better as pageants than as dramatic productions, but the Classical Society is setting a standard for the careful literary interpretation and rendering of dramatic texts, which should prove stimulating to all the societies and class organizations.
The senior play is one of the chief events of Commencement week, but the students have not always been fully awake to their dramatic opportunity. If college theatricals have any excuse for being, it is not found in attempts to compete with the commercial stage and imitate the professional actor, but rather in dramatic revivals such as the Harvard Delta Upsilon has so spiritedly presented, or in the interpretation of the poetic drama, whether early or late, which modern theaters with their mixed audiences cannot afford to present. The college audience is always a selected audience, and has a right to expect from the college players dramatic caviare. That Wellesley is moving in the right direction may be seen by reading a list of her senior plays, among which are the "Countess Cathleen", by Yeats, Alfred Noyes's "Sherwood", and in 1915 "The Piper" by Josephine Peabody Marks.
But Wellesley's recreation is not all rehearsed and formal. May Day, when the seniors roll their hoops in the morning, and all the college comes out to dance on the green and eat ice-cream cones in the afternoon, is full of spontaneous jollity. Before the burning of College Hall, the custom had arisen of cleaning house on May Day, and six o'clock in the morning saw the seniors out with pails and mops, scrubbing and decorating the many statues which kept watch in the beloved old corridors.
One of these statutes had become in some sort the genius of College Hall. Of heroic size, a noble representation of womanly force and tranquillity, Anne Whitney's statue of Harriet Martineau had watched the stream of American girlhood flow through "the Center" and surge around the palms for twenty-eight years. The statue was originally made at the request of Mrs. Maria Weston Chapman, the well-known abolitionist and dear friend of Miss Martineau; but after Mrs. Chapman's death, it was Miss Whitney's to dispose of, and, representing as it did her ideal modern woman, she gave it in 1886 to Wellesley, where modern womanhood was in the making. In later years, irreverent youth took playful liberties with "Harriet", using her much as a beloved spinster aunt is used by fond but familiar young nieces. No freshman was considered properly matriculated until she had been dragged between the rungs of Miss Martineau's great marble chair; May Day always saw "Aunt Harriet" rise like Diana fresh from her bath, to be decked with more or less becoming furbelows; and as the presiding genius in the lighter columns of College News, her humor--an acquired characteristic-- was merrily appreciated. Of all the lost treasures of College Hall she is perhaps the most widely mourned.
The pretty little Society houses, dotted about the campus, also give the students opportunity to entertain their guests, both formally and informally, and during the months following the fire, when Wellesley was cramped for space,
In 1891, the Agora, the political society, came into existence. The serious intellectual quality of its work does honor to the college, and its open debates, at which it has sometimes represented the House of Commons, sometimes one or the other of the American Chambers of Congress, are marked events in the college calendar.
In 1892, Alpha Kappa Chi, the Classical Society, was organized, and of late years its Greek play, presented during Commencement week, has surpassed both the senior play and the Shakespeare play in dramatic rendering and careful study of the lines. Gilbert Murray's translation of the "Medea", presented in 1914, was a performance of which Wellesley was justly proud. Usually the Wellesley plays are better as pageants than as dramatic productions, but the Classical Society is setting a standard for the careful literary interpretation and rendering of dramatic texts, which should prove stimulating to all the societies and class organizations.
The senior play is one of the chief events of Commencement week, but the students have not always been fully awake to their dramatic opportunity. If college theatricals have any excuse for being, it is not found in attempts to compete with the commercial stage and imitate the professional actor, but rather in dramatic revivals such as the Harvard Delta Upsilon has so spiritedly presented, or in the interpretation of the poetic drama, whether early or late, which modern theaters with their mixed audiences cannot afford to present. The college audience is always a selected audience, and has a right to expect from the college players dramatic caviare. That Wellesley is moving in the right direction may be seen by reading a list of her senior plays, among which are the "Countess Cathleen", by Yeats, Alfred Noyes's "Sherwood", and in 1915 "The Piper" by Josephine Peabody Marks.
But Wellesley's recreation is not all rehearsed and formal. May Day, when the seniors roll their hoops in the morning, and all the college comes out to dance on the green and eat ice-cream cones in the afternoon, is full of spontaneous jollity. Before the burning of College Hall, the custom had arisen of cleaning house on May Day, and six o'clock in the morning saw the seniors out with pails and mops, scrubbing and decorating the many statues which kept watch in the beloved old corridors.
One of these statutes had become in some sort the genius of College Hall. Of heroic size, a noble representation of womanly force and tranquillity, Anne Whitney's statue of Harriet Martineau had watched the stream of American girlhood flow through "the Center" and surge around the palms for twenty-eight years. The statue was originally made at the request of Mrs. Maria Weston Chapman, the well-known abolitionist and dear friend of Miss Martineau; but after Mrs. Chapman's death, it was Miss Whitney's to dispose of, and, representing as it did her ideal modern woman, she gave it in 1886 to Wellesley, where modern womanhood was in the making. In later years, irreverent youth took playful liberties with "Harriet", using her much as a beloved spinster aunt is used by fond but familiar young nieces. No freshman was considered properly matriculated until she had been dragged between the rungs of Miss Martineau's great marble chair; May Day always saw "Aunt Harriet" rise like Diana fresh from her bath, to be decked with more or less becoming furbelows; and as the presiding genius in the lighter columns of College News, her humor--an acquired characteristic-- was merrily appreciated. Of all the lost treasures of College Hall she is perhaps the most widely mourned.
The pretty little Society houses, dotted about the campus, also give the students opportunity to entertain their guests, both formally and informally, and during the months following the fire, when Wellesley was cramped for space,