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Part of The Mosaic: 1961
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Literary
Quarterly
Marist
.
College
VO
.
0
1961
The
L
i
terary
Quarterly,
as the official or
g
an of
stu-
dent
literary
endeavor at Marist College,
has as its two-
fold aim
th
e
fostering of wholesome
creativity
and
the
e
ncoura
g
in
g
of sound, personal
critical thou
g
ht.
Editor-in-Chief
..........
.
....
Bro. William C. Lambert
Associate
Editors
. . . . . . . . . . . . . . . . . . . . . William
Moran
Bro. Timothy
0.
Lafferty
Secretary
.......
....
. . . . . . . . . . . . . . .
Charles
Cassidy
Business
Manager
Thomas
McAndrew
Editorial Board
. . . . . . . . . . . . . . . . . . . . . . James Maloney
Bro.
Vincent
J.
Poise lla
Bro.
John R.
Wilcox
Faculty
Adviser
. . . . . . . . . . . . . . . .
George
Sommer, M.A.
CONTENTS
What is a Catholic?
Bro. William
C.
Lambert
5
Consecration . . . . . . . . . . . . . . . . . . Bro. John J. McDonnell
7
The Liberal Arts: Two Views .......... James Callahan
8
Bro. Timothy 0. Lafferty 11
Wisdom Speaks . . . . . . . . . . . . . . . . . . . . . . . . Toni
L.
Knapp 15
The Chorus . . . . . . . . . . . . . . . . . . . . Bro. Eugene P. Zanni 16
What Is Your Heel Quotient? .......... Joseph Robillard 17
Silent
Stained Shadows . . . . . . . . . . . . . Bro. James R. Gara
20
Soliloquy of the
Entertainer,
.... Bro. Edmund
L.
Sheehan 21
A Prologue to
a
Musical Play
The Nth Ars Poetica . . . . . . . . . . . . . . . . Michael A. Turco 23
WHAT IS A CATHOLIC?
What is the
essence
or nature of a
Catholic?
What
properties
does
the
Catholic
possess which
distinguishes
him from his non-Catholic fellows?
While one might offer a
variety of
theological and
philosophical
answers
to these
questions, our present
concern is
a
brief
study
of the
word
"Catholic" from
an
everyday, practical point of view.
From this
standpoint,
a "Catholic" may be descriptively defined
as one who
lives
a good and
hone
st
life,
one who
is tolerant in his
relations
and
contacts
with other persons, and observant
of the laws
of
justice
in
regard to them. More
specif-
ically
a Catholic
is
one who
has been "baptized and
pro-
fesses the true faith,
and who
has not been so unfortu-
nate
as
to
separate
himself from the unity
of
the Body, or
been
excluded
by legitimate
authority
for
grave faults
committed" (Pius
XII,
Mysticis Corporis,
para.
22).
Properly
speaking,
therefore, the common
expression
"he
was born a Catholic"
is
actually an anomaly. To
use
the image of
Christ,
the
Everlasting
Truth,
a Catholic
is
one
born
again of water and
the Holy
Spirit of God.
"Amen, Amen, I
say
to
you,
unless
a man be
born
again
of
water and
the
spirit,
he
cannot enter
into the kingdom
of
God;
and
that
which
is born of
Spirit
is
spirit"
(J
oho 3: 5- 7)
.
Water,
then, is the material
element
in
this new birch
and
the principle
of
fecundity is the Holy
Spirit. Plumbing
Christ's statement a
little more deeply,
the logical thinker conse1uently
sees
that, from
God's
point
of view, there
are
really only two types of men:
those born only once and those born twice--of man
and
woman in the first case, of
water and
the Holy Spirit in
the
second
birth. The former
are
only human, "children
of men;" the latter
are superhuman,
"children of God."
Thus, no
one
is "born
a Catholic." Although
its
essen-
tial meaning is largely lost
on people
today, the
expres-
sion
"christen" does
epitomize a
transcendent
element
in the life of
an
individual.
One
who is "christened,"
or
5
more accurately "Christ-ened," is endowed with Christ,
is incorporated into Christ. Christening, accordingly,
bestows a new vital principle upon an individual; in a
word,_ in its most complete sense, it makes him a "Cath-
olic."
Studied in this context, the awful significance of the
sacrament of Baptism stuns a man to his knees in an
attitude of humble gratitude. Having been endowed with
a new principle, a new sort of formal cause, a specific,
characteristic sign which raises him to a particular
class or species
to
which, of himself, he has no right to
aspire,
the baptized Catholic becomes a son of God. He
has been sanctified, divinized, deified --in an accidental
way, of course, proper to those who have been "born of
God" (John 1: 11). He is an adopted son, to be sure,
But a son nonetheless, and more, a brother of Christ, an
heir to the eternal glory of heaven.
"For
whoever are led
by the Spirit of God, they are the sons of God. Now you
have not received a spirit of bondage so as to be again
in fear, but you have received a spirit of adoption as
sons,
by virtue of which we cry 'Abba! Father' The
Spirit himself gives testimony to our spirit that we are
Sons of God, but if we are sons, we are heirs also, heirs
indeed of God and joint heirs with Christ provided, how-
ever, we suffer with him that
we
may also be
glorified
with him" (Rom 8: 14-17).
Indeed, "the world is charged with the grandeur of
God." What can a man say to Him Who has
given
him the
means and shown him the Way to be a son of God even
here on earth through the exercise of the infused theo-
logical virtues? When all is said and done, what man
says matters little. Of far more vital importance, what
will he do in return?
Bro. William C. Lambert
6
CONSECRATION
Bending low o'er altar linens,
Whispering this solemn phrase:
"Hoc est enim Corpus Meum,"
Lost in silent, deafening praise.
Kneeling slowly and serenely -
Deference for sacrifice;
In his fingers Corpus Christi,
Gestures cautious and concise.
Rising fast in exaltation,
Holding high for all to see
Wheaten Host, the same in aspect,
Changed from bread to Deity!
Bro. John J. Mc Donne 11
7
THE LIBERAL ARTS: TWO VIEWS*
When I
was
asked to
part1c1pate
in this forum, I
tried to clarify more
precisely
the
exact
topic that would
be under discussion,
with
those who had organized it.
In reply, I
was
told that the area covered would be as
large as possible, considering aspects of both a liberal
and a
liberal
arts
education, and that the
speakers
would
be
expected
to merely
give
their opinions on the broad
general
topic.
I was first
exposed
to the discussion of this gen-
eral topic--that
of liberal ed ucation--in my first year of
college, here, in the freshman English compos1t1on
course,
and
it is from considerations that were presented
in this course that I presume that we are to work from
tonight. However, although we were presented with a
great variety of views
on the subject, my own experi-
e
nce,
and
to
some
extent, I believe that of the rest of
the panel, is largely associated with the college edu-
cation we have been receiving here at Marist. And so,
with
perhaps less than a minimum of knowledge of the
controversy
surrounding
the subject as it
pertains
to,
say,
education in America, I would like to restrict my
present
remarks--opinions that
are
by no means indel-
ibly
established
in my own mind--to that
segment
of the
educational
sphere
with which
I am most familiar--
Marist College.
In the discussions by students of the nature,
pur-
poses, and
failings of this school that I have overheard
or participated in,
several points
have been made which
can be summarily dismissed as being concerned with
only the temporary nature of things, for the school is
*
Editor's Note: The following articles by James Callahan
and Bro. Timothy 0. Lafferty were delivered at a forum,
the topic of which was the Liberal Arts.
8
not yet a miniature of what it is someday to be. There
are absolute deficiencies in some areas, criticism of
which is, and will be, unjustified until these fields are
even minimally covered.
One topic of conversation which is valid, however,
even if it is, as I will presently try to demonstrate, un-
tenable; is the general complaint of too much work, es-
pecially in fields other than the major. This point is
symptomatic of any liberal arts college's principal ed-
ucational dilemma--the dual problem of specialization
and academic regimentation.
I think I will stand in open agreement with most
of my fellow panelists when I say that, if anything,
there is too much specialization and concomitant lack
of academic direction. The freshman composition course
should be continued, in a progressing and expanding
form, for all four years. The courses in philosophy and
theology should be intensified, and much more thoroughly
integrated as to subject matter. As an example, students
taking third year theology are almost totally unprepared
to cope with the subject matter of the course, not be-
cause it is unjustly thrust upon them, or because the
philosophy department has failed to do its job in pre-
paration, but because there is no coordination of effort
or JOlnt planning on the part of the two departments,
and the result is either a duplication or a total omis-
sion of relevant subject matter. Also, logic should be
tied in more with the modern mathematics which have
greatly enriched it. This would mean of course that
the mathematics must necessarily be taught also. Sci-
ence should not be spoon-fed to those who feel their
special interests lie in history, languages, and English.
Economics and political science should not be left in
right field to be swatted at by a handful of the "history
majors" .
.
Course work should be integrated over a wider
area, and pre-requisites set up, that jump the bound-
aries of major fields. I feel there are good reasons, for
example, for considering the Lyric Poetry course nee-
9
essary for entrance into the course in the Old Testament,
and chat the Old Testament course should definitely re-
main as a requirement.
Introduction to and Fundamentals
of
courses should be entirely replaced by a larger number
of courses on specific points of the various subject
matters. The latter half of chis is, of course, being done
right now, but these go under the title of major courses,
and the
Introduction to courses remain co justify the
fact that students are supposed to be molded and deep-
ened, into fuller human beings. Modern languages should
be
given
the emphasis that
graduate
schools place upon
chem, and I do not believe chat it is unrealistic co con-
sider the main function of a liberal arts education to be
the preparation for graduate school.
Specifically, I
would prefer a reading comprehension of at least two
languages--some combination of the usual four: French_,
Spanish, German, and Russian; rather than the "almost"
grasp
of perhaps one.
All these considerations are of course only half
truths, and the important fact to draw out of them is
that they exclude much thought of individual freedom
of choice and specialization, and also, incidentally,
sound like they are going to involve more, and not less,
work
for the student, especially in fields in which he
has little interest. But is not anything else a debase-
ment of the institution? Should it bend to the expedi-
encies of the times, and return to the people only what
they ask of it, or should it actively mold the people?
This, I chink, is the essence of academic freedom; not
whether an agnostic or an atheist should be allowed to
fill a class of gullible engineers or budding philosoph-
ical "free-thinkers" with the "real thoughts" of Western
man in their one and only Humanities course.
It would be unfortunate if my preceeding remarks
were to be misconstrued as an indictment of Marist
College, because, as I tried to present
at
the outset,
such a criticism must be invalid, until the school is
physically able to sustain a permanent policy. An in-
tensification of program can only come as a later step
in the school's development, at a time when it has a
physical plant, library, and faculty necessary to handle
this intensification.
Also, what I have said is inapplicable, and I would
be presumptous to think otherwise, to the schooi as a
suggestion of the policy it should follow in the future ....
It
is merely the education I would want for myself--a
choice that I would make freely, but once chosen, would
feel bound to attain.
James Callahan
If
there is one question that every college student
should ask himself at some time or other during his
ninth to twelfth years of schooling, without a doubt, it is
the "Cur venisti?" of St. Bernard. "Why have I come?"
Unless the student grapples seriously with this problem
at some time or other, he has not only failed to come to
grips with the very
raison
d'etre
of education in general,
but, moreover, the years which he has spent on intellec-
tual development have been pitiably wasted.
Frank Freshman enters an arts college. Why? Oh,
he wants to get a good job, he guesses; perhaps he or
his parents are afraid of what others will say if he does
not go to college. On the other hand, he might have a
special aim -- he may want to become a teacher, or sci-
entist, or vetinarian.
If
he has the title "Brother" in
front of his name, he is fired up with zeal to save souls
in the schools conducted by his congregation. In any
case, Frank -- no matter what his aims are -- thinks that
an arts college will help him achieve them. Of what
other possible use could the arts be?
11
He begins college with gusto, and finds himself
taking courses in religion, mathematics, English, a sci-
ence, philosophy, history, a foreign language. In Soph-
omore year he chooses a major and begins to "special-
ize." Even if he majors in a science, he still takes
religion and philosophy, for example. Of course, by now
Frank is tumbling head over heels into college activ-
ities, and his original aim may become somewhat sub-
conscious, not to say unconscious. And this at the
precise time when he should be recalling the "Why?"
Depending on such factors as time, interest, and
ability, to mention a few, Frank may start making con-
nections among his various courses in Junior Year. He
may realize that the Aristotle he now hears about in a
m
a
.
jor En
g
lish course as author of the Poetics is the
same man upon whom Saint Thomas built so much of his
metaphysics.
Similarly, if, during a modern history
course, someone refers to the
Lettres Provenciales or
Pensees of Blaise Pascal, he may remember that this
same Pascal so distinguished himself in the science
of physics as to have his name applied to the law of
pressure which he formulated. Moreover, his philosophy
and religion courses may coincide, too, and from here
on in, he consciously tries to integrate all his courses
and extracurricular studies into one body of knowledge.
But what about his original aims? How does all
this knowledge, compounded in varying amounts of spec-
ulative and practical ingredients, contribute to the goals
which Frank set for himself at the outset of his college
career. To be honest, I do not see how the arts --
per
se -- can help Frank to get a better job or save souls
or any other concrete, secondary goal in life. Have the
arts failed in their purpose? Has the college failed to
accomplish what it originally set out to do? I say no,
but before I can make my answer completely compre-
hensible, I must set down what I consider to be the goal
of the arts.
Returning to Frank, I think that his original aims
12
in going to college were somewhat shortsighted. I am
not blaming him in the least, but I hope that by the time
he reaches Junior Year, he will have outgrown his blink-
ers and will have become a little more universal in his
outlook. Only then will he see that the function of the
arts is not utilitarian; rather their purpose is to make
men. Needless to say, this notion provides a vast field
of inquiry and can be approached from many different
perspectives. For my part, I am taking as my point of
departure the scholastic conception of the virtue of art,
namely, that which perfects right reason in the making of
things. Thus the arts will make a man of Frank, if only
he has the prudence to act as generously toward them
as they do towards him.
In consciously unifying the corpus of his intellec-
tual acquisitions, he has taken the first step. Now he
must go on and set up his own philosophy of life.
O
nce
he has found that knowledge is one, he will soon dis-
cover that reality is one, and that he is one particular
instance of that one all-embracing reality. Accordingly,
he will establish himself in a certain metaphysical
unity of order, which is itself directed to its proper
end -- God. Frank, like everyone else, has heard such
expressions as the "riddle of life," "the complexity of
life," "the mystery of life!" but he will now be able to
smile at these superficialities. He will realize that
reality in general, and life
in
particular, are actually
quite simple, because their ultimate Principle is simple.
While he is cognizant of the fact that he is using the
word "simple" analogously here, nevertheless, he will
delight in the revelation which this analogy exemplifies.
Thus, the mere integration of intellectual knowledge
is not en'ough. To sin
g
le out a particular case in point, I
might refer to a certain nuclear physicist, a portion of
whose work I have read recently, who is so well-rounded
as to see that what men seek today is wisdom, a wisdom
which adds order to knowledge, without which knowledge
is dry. For him neither the humanities nor the sciences
13
suffice
in themselves -- the two
must be synthesized.
And yet, as far as
he is
concerned,
"man's freedom
is
only symbolic." Or again,
I
might allude
to
a teacher
who
has recently
written a book on
higher
education in
which
he
missed entirely
the
spiritual
nature
of man.
No, an
integrated
comprehension of all natural
learning
does
not
suffice to satisfy
the
goal of
the
arts. The in-
dividual Frank
himself must
act, must
take the
bull by
the horns,
must roll
up
his sleeves
-- use
any metaphor
you
like
-- but
the
individual Frank must !)lace
himself
in the context of
the
whole of reality, both sensible and
supra-sensible, and make his contribution.
Contribution
to
what? What is
the function
of con-
tingent reality?
This
is no
problem
now
for Frank who
is in his fourth year
in
an arts college. No,
he
glibly
answers
that the
purpose of all created things
is
to con-
tribute to
the
extrinsic glory of God. Since
he
is a ra-
tional
being,
however,
Frank knows
that he
must do
this
consciously, intelligently, and voluntarily, in a word,
formally. Whether he could
have
arrived at
this height
of
wisdom, be
it
supernatural or
natural, by
any other means
is not
at issue here.
The
fact
is that he
did achieve
it
through the "arts,"
--
all
the
arts,
not merely the "liberal
arts"
in the restricted
sense of
trivium
and quadrivium.
Herein
lies the
importance of
the
arts
in
a demo-
cracy such as ours. In
Plato's Republic the
arts student
would have been
"guardian"
of
the
state, but
in
our
society every man must,
in
a
real
sense, be
his
own
guardian. Perhaps
this is the reason
why Soviet
Russia
has
proscribed the works of Plato and still
frowns
on
Dostoievsky.
If
the
arts fail
to
achieve
this
desired syn-
thesis,
if
a student graduates without
having "found
him-
self," so
to
speak,
in
all
•honesty, the
student has fail<
~
d
to develop what we may charitably
call
an "attitude of
order." The
truth
is
that
some obtain
the necessary in-
sight, and others do
not, though
all have
"gone through"
college
together.
Beauty,
truth,
and
unity -- in
a word,
order
-- can
be found in all
the
arts, be
they
aesthetic or
14
scientific, and Order, no matter where it reveals itself,
leads to the one great Reality for Whom, by Whom and in
Whom I
exist
-- the
very dynamic principle
of my
exist-
ence
-- God!
Bro. Timothy 0. Lafferty
WISDOM SPEAKS
"Counsel and equity
are
mine,"
Thus speaks Wisdom, for all time.
"Prudence,
and
strength, I
give
To everyone who will live
In fear of the Lord: loving kin,
Hating arrogance, pride, all sin.
By me all kings
gain
Justice, riches,
glory,
reign.
Of
more value than silver,
gold
Or precious
stones, glittering
bold,
Am I, Wisdom, to thee;
To
all
who seek and treasure me.
Before
earth's
foundations were laid,
Before the depths were made,
Or the bulk of
great
mountains,
Or the mighty
seas and
fountains,
Before the heavens came to be,
I was set up from
eternity.
15
When He compassed the sky and seas,
With certain law, enclosed depths, with me,
I was delighted, and every day
I was content to stay before Him and play.
My delights,
to
the childr
e
n of men,
Were to be manifested time and again.
Blessed are children of men, who wait
Daily, willingly, at my gate.
Blessed are they who keep my ways.
He that finds me shall have life, all days.
From the Lord shall come salvation.
Fear of the Lord is Wisdom's formation."
Toni
L.
Knapp
THE CHORUS
You hollow wooden barrels
Afraid to think!
Herd-like talkers,
City-bred squawkers,
Community cows!
Public parlance your master!
Bro. Eugene P. Zanni
16
WHAT IS YOUR HEEL QUOTIENT?
If
you are lik
e
most white-collar workers in the
United States today, neither joining a health mission
'
in
Africa, nor startin
g
a small, self-sustaining farm where
you would hope to lead the "good, clean life," holds
much interest for you. More probably, you are completdy
engrossed in the
p
robl
e
m of how to gain more material
success for yourself than can Mr. Jones across the
street. What is mor
e
, you have decided that you can
best hope to achieve this in the employ of some lar
g
e
corporation wh
e
re li
e
s, as W. H. Whyte, Jr. put it, the
"center of
s
ociety." As
s
urnin
g
this to be the case, and
further assuming that you are not the boss's son, or
son-in-law, or even a third cousin by marria
g
e, your
heel quotient is of barely less importance to your
chances of success than is your intelligence quotient!
The forerunner of today's IQ tests was developed
by Mssrs. Binet and Simon around 1905 in order to deter-
mine which children were mentally unfit for school and
hence eliminate them from Paris's overcrowded class-
rooms. Today we have the problem of overcrowdin
g
in
the staff conferences of big business, and since Nec-
essity continues to give birth to Invention, an anonymous
"C" student from a night school Introductory Psycholo
g
y
course has at last developed an HQ Test that will en-
able top management to separate 1ts bureaucratic wheat
from chaff.
Years of careless study have indicated that the
letters H - E - E - L can represent four of the most im-
portant characteristics necessary to the man who wishes
to succeed in the overcrowded big corporation. First,
he must be in a fanatical Hurry to get ahead, willin
g
to
compromise any one of his principles to speed up the
process of succeeding. He must accept as dogma the
proposition that Effect on his superiors
.
should be the
deciding factor for or against anything he may intend to
17
do. He must be able to
Endure
the ill will that will be
poured
upon him by
equals and
subordinates
as
he trods
over
them on his way up._ Lastly, he must learn
all
facets
of
the fine art of
social
Lubrication; for
once
he is
ac-
complished this he
will
know how to "grease the
skids"
for the man holding the job he is
after, and
he
will
know
how to "slide"
into
the right circles
where
he can best
display his own talents.
If
you are
interested in knowing
your
own HQ,
you
can
get
a rough idea by
answering
the
questions
listed
here
as
truthfully
as you
possibly can.
Sample "HQ" Test
(answer
all questions)
1.
Would
you say
that 35 is not too
young
for a man
to be
president
of the company you work for?
YES _ _ NO _ _
2.
Do
you
believe that large
salary
increases are the
quickest
way to
develop
young
executives'
capa-
bilities?
YES _ _ NO _ _
3.
Do
you
feel that potential
exposure
to top mana
g
e-
ment is of prime consideration in
selecting a posi-
tion?
YES _ _ NO _ _
4.
Is it true that a
single good showing
at
a
top-level
meeting is better than months
of
conscientious
effort on the job?
YES _ _ NO _ _
5.
Does the fellow who outlines the new method to
management deserve more credit than the one who
dreamed it up and ironed the bugs out so that it
works?
YES _ _ NO _ _
18
6.
Do you believe that most people you work with do
not trust each other and that the few who do are
fools?
YES _ _ NO _ _
7.
When you are promoted, isn't it perfectly natural for
others to resent you at first, but then
"come a-
round" later on becaus
e
you are in a position to
help them?
YES _ _ NO
8.
Is it clearly in the best interests of your company
for you to advis
e
your superior of character flaws
you have (or think you have) detected in your co-
workers?
YES_-_ NO _ _
HOW TO GRADE YOUR HQ TEST
Be
g
innin
g
with score of 100, add 10 points for each
YES answer and deduct 10 points for each NO.
If your score was:
20 to 60:
Even if you becam
e
an organ-grinder, the
mookey could probably out-hustle you!
70 to 100
:
Better be satisfied with what you have
g
ot!
llO to 140
:
With luck
,
you ma
y b
ecome supervisor of
t
he
typin
g
poo
l!
150 to 180: The sk
y
'
s
th
e
limi
t!
Incidentally,
h
ave
y
ou
ever thou
gh
t o
f g
oin
g
into politics
?
Josep
h
Robillard
19
SILENT STAINED SHADOWS
Cones of light pillar the crush of night.
Walls of black frame six cubes of yellow:
The homes of humanity's haggard might:
Depths of light scattered on a surface shadow.
A battered garbage can halfed by an arc of darkness,
A stoop: four worn steps of red cement --
All is silent with a soft summer stillness.
Two lovers: face by fac~ in an anguished embrace
Twist in a passion that longs to race
And a fear of Time's insistent pace
That separates them to their common place.
The
Daily
News
suddenly circles and scrapes the street.
SOVIET SPUTNIK CIRCLES SOLAR SYSTEM
YANKEES WIN. Fair and Warmer Tomorrow.
Stars sparkle soon to smoother in the sun;
Dreams delight now, but drown in the day
When gossips the sills, and kids scream in fun,
And runofthemill men flow the runofthemill way.
Bro. James R. Gara
20
SOLILOQUY OF THE ENTERTAINER,
A PROLOGUE TO A MUSICAL PLAY
I hope
my appearance
is not too
disappointing,
but I
will not
allow
this
curtain
to
be opened
until I have
wel-
comed you, made you feel
relaxed,
and warned you
not to
expect
too much from my little production. (Lord, is the
producer going
to
die!)
I think it unforgivably rude if
a
host neglects his
guests, especially
on
such an
im-
DC-rtant
occasion for
the host.
Fine, and you?
. . . It's been
a
long time
since
the Palace, Joe . . . . Yeah, I
wondered
how long it
would take you to
throw
out
that monkey
act.
You don't say!
The Palladium,
ummh.
Command performance?
That old bag couldn't sing a
note~ I
always
said
there's no
accounting for some people's
tastes.
O
:
m't tell
me,
. . .
don't tell
me. The
Majestic,
but I thought
you
two
were
. . .
well,
never mind.
You'll
have to
excuse
me; I'm ignoring
some of
my
guests over
here.
Permit an introduction.
I
am
the
entertainer,
here to
present my entertainment;
I
am
the bistro portrait
sketch-
er
here to
scribble over a piece of canvas,
not
for your
ecJucation,
though
by
no means
do
I
wish
to
curtail
that,
but for your enjoyment
. . .
and for
my
paycheck.
True,
the
patchwork which
I
am presenting
has
found
its
ori
g
in in
a tumor of corru
()
tion;
it
has found
its
con-
clusion,
I
trust,
in the nobility
of
man
(things
being the
way they are, you can
never really tell these
days). But
between vice and virtue,
the re
waves
the
daisy s pee
kled
field of entertainment, of
humor
and of pathos. Drawing
from both
dignity and de
g
radation, relying on
neither
virtue
nor
vice,
I have
construed
this
1uilt of dilemma.
Fully
aware of your
keen
sensibilities and
your
acute perceptiveness,
I, the
entertainer, like a
ca(e da
Vinci, have taken
very
little trouble in richly
ornament-
ing my
vehicle.
Broad
outlines are
traced,
significant
21
movements are accounted for. Don't become
engrossed
with a
flow
of
people, but
with a
march of life,
a
trud
ge
of
adve
r
s
ity,
a
fanfare of
r
eso
luti
on.
Let
a
white and
black road
sign
bring you to your de
s
tination
and
not
mer
e
ly
along a
for
es
t-guard
e
d highway.
No
t that th
e
scenery
isn't pl
eas
ant; it's ju
s
t that th
e goa
l
is
so
much
sweeter.
With this,
I
invite ev
e
ry critic in th
e
audience
to
leave. I
ask
eve
ry
sea
rcher for
a
mom
e
nt
of diversion
to
stick around
.
I
seek
only to
entertain
yo
u, to
pry
a
r
e
-
luctant
s
mile, to bounce
a
s
li
g
htly itchin
g
foot.
I
onc
e
h
ea
rd th
e s
tory
of
a town
whose
futur
e was
in
perilous
thr
ea
t. A doctor, I
seem
to recall,
was beset
by
.
.
.
t1morous
conscience, a
man amon
g
m
e
n,
a sa
int
a
mon
g
s
inn
e
r
s
.
But now
who's
kiddin
g
whom?
And
w
h
e
re'
s
th
e
fun in
sca
lin
g
up, if
the
r
e's
no
w
h
e
r
e
to climb up to?
Well
a
n
yway,
our
man
among
m
e
n
was
a
se
r
va
nt
to all,
but
a
re
spec
t
e
r of non
e
(perhap
s
that'
s w
her
e
th
e
fun
comes
in).
As the
s
tory
went, ou
r
hero h
ad
his
eye on
th
e
futur
e
, his
back
to the
past
. I
g
ues
s
thi
s
mad
e
him
a
d
i
sc
i
p
l
e of progress, but
I'm not her
e
to
canonize
that.
Thi
s
tal
e
told to m
e
b
y
a
N
orwe
g
i
a
n,
w
ho
se
nam
e
m
y
wallet
for
ge
ts,
stuck
in my
mind.
Th
e doc
tor,
a
para-
g
on
of
innoc
e
nce, b
ese
t b
y
the cunning of
se
lf-
see
kin
g
hum
a
nit
y
,
strugg
l
ed
throu
g
h hi
s
plight,
n
eve
r
certain of
th
e
outcome, but
s
ure
of
every step
. I tol
d yo
u
that I
was
n't
adve
r
se
to
yo
ur
ed
uc
a
tion;
af
t
e
r
all,
lif
e fo
r
eve
r
teach
es
.
Yet,
I'
ve
tak
e
n th
e sto
r
y a
n
d
twisted
it
aro
un
d
in hop
e
th
a
t it mi
g
ht r
e
li
eve
a
frown.
So come aloni;
to
a
r
e
mot
e
r
eg
ion
of
a
hi
i;
hly
civ
-
ili
zed
country
.
All right,
observe
th
e
burni
s
h
ed
ve
-
ne
e
r
of
a
prop
e
r
s
ociety;
s
niff the rottin
g wood
of
a
worn
out
sys
t
e
m; catch th
e
foib
l
es of
m
y
im
pe
rf
ec
t marion-
ettes;
notice their l
ac
k of for
es
i
g
ht;
tak
e a g
limp
se
at
their fickl
e
gyrations;
it
can't
be help
ed
.
1
3
ut
d
on't let
t:1at c
e
ment
yo
ur lips or
ancho
r
yo
ur foot.
Mr. Longshore, take it
away!
Bro
.
Edmund
L.
S
h
eehan
22
THE
NTH
ARS POETICA
Alliteration, Assonance,
alike yet
not alike,
Repeated vowels, consonants, of these the sounds they strike.
Metonomy is Metaphor
as
Simile is not.
The Tone's the thing, so's Imagery,
sans
these
what
have
you
got?
Take but the Meter, Rhyme it
well,
aJd not the "Speech of Figure"
Each empty word,
though
spoke with
verve, soon loses all its vigor.
A Poem's
a
tale
of
joy or
sorrow,
'sperience profound
Search not for moral beauty, hark closely to the Sound
Lest Irony's Allusion
escape
your mental
grasp
And toss the
world
in turmoil like Pandora's box unhasped.
Read
slow and
loud, mind's heart impress
With
love's large hate brute's tenderness.
Hear murmur of
torrential stream
Feel damp
dank
rain
seep
through
each seam.
Perceive the light of poets'
suns
So pure as
lives of
sheltered
nuns
Nor
least nor last,
do
not forget
All life's
a
Poem to music
set.
Michael A.
Turco
23
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Quarterly
Marist
.
College
VO
.
0
1961
The
L
i
terary
Quarterly,
as the official or
g
an of
stu-
dent
literary
endeavor at Marist College,
has as its two-
fold aim
th
e
fostering of wholesome
creativity
and
the
e
ncoura
g
in
g
of sound, personal
critical thou
g
ht.
Editor-in-Chief
..........
.
....
Bro. William C. Lambert
Associate
Editors
. . . . . . . . . . . . . . . . . . . . . William
Moran
Bro. Timothy
0.
Lafferty
Secretary
.......
....
. . . . . . . . . . . . . . .
Charles
Cassidy
Business
Manager
Thomas
McAndrew
Editorial Board
. . . . . . . . . . . . . . . . . . . . . . James Maloney
Bro.
Vincent
J.
Poise lla
Bro.
John R.
Wilcox
Faculty
Adviser
. . . . . . . . . . . . . . . .
George
Sommer, M.A.
CONTENTS
What is a Catholic?
Bro. William
C.
Lambert
5
Consecration . . . . . . . . . . . . . . . . . . Bro. John J. McDonnell
7
The Liberal Arts: Two Views .......... James Callahan
8
Bro. Timothy 0. Lafferty 11
Wisdom Speaks . . . . . . . . . . . . . . . . . . . . . . . . Toni
L.
Knapp 15
The Chorus . . . . . . . . . . . . . . . . . . . . Bro. Eugene P. Zanni 16
What Is Your Heel Quotient? .......... Joseph Robillard 17
Silent
Stained Shadows . . . . . . . . . . . . . Bro. James R. Gara
20
Soliloquy of the
Entertainer,
.... Bro. Edmund
L.
Sheehan 21
A Prologue to
a
Musical Play
The Nth Ars Poetica . . . . . . . . . . . . . . . . Michael A. Turco 23
WHAT IS A CATHOLIC?
What is the
essence
or nature of a
Catholic?
What
properties
does
the
Catholic
possess which
distinguishes
him from his non-Catholic fellows?
While one might offer a
variety of
theological and
philosophical
answers
to these
questions, our present
concern is
a
brief
study
of the
word
"Catholic" from
an
everyday, practical point of view.
From this
standpoint,
a "Catholic" may be descriptively defined
as one who
lives
a good and
hone
st
life,
one who
is tolerant in his
relations
and
contacts
with other persons, and observant
of the laws
of
justice
in
regard to them. More
specif-
ically
a Catholic
is
one who
has been "baptized and
pro-
fesses the true faith,
and who
has not been so unfortu-
nate
as
to
separate
himself from the unity
of
the Body, or
been
excluded
by legitimate
authority
for
grave faults
committed" (Pius
XII,
Mysticis Corporis,
para.
22).
Properly
speaking,
therefore, the common
expression
"he
was born a Catholic"
is
actually an anomaly. To
use
the image of
Christ,
the
Everlasting
Truth,
a Catholic
is
one
born
again of water and
the Holy
Spirit of God.
"Amen, Amen, I
say
to
you,
unless
a man be
born
again
of
water and
the
spirit,
he
cannot enter
into the kingdom
of
God;
and
that
which
is born of
Spirit
is
spirit"
(J
oho 3: 5- 7)
.
Water,
then, is the material
element
in
this new birch
and
the principle
of
fecundity is the Holy
Spirit. Plumbing
Christ's statement a
little more deeply,
the logical thinker conse1uently
sees
that, from
God's
point
of view, there
are
really only two types of men:
those born only once and those born twice--of man
and
woman in the first case, of
water and
the Holy Spirit in
the
second
birth. The former
are
only human, "children
of men;" the latter
are superhuman,
"children of God."
Thus, no
one
is "born
a Catholic." Although
its
essen-
tial meaning is largely lost
on people
today, the
expres-
sion
"christen" does
epitomize a
transcendent
element
in the life of
an
individual.
One
who is "christened,"
or
5
more accurately "Christ-ened," is endowed with Christ,
is incorporated into Christ. Christening, accordingly,
bestows a new vital principle upon an individual; in a
word,_ in its most complete sense, it makes him a "Cath-
olic."
Studied in this context, the awful significance of the
sacrament of Baptism stuns a man to his knees in an
attitude of humble gratitude. Having been endowed with
a new principle, a new sort of formal cause, a specific,
characteristic sign which raises him to a particular
class or species
to
which, of himself, he has no right to
aspire,
the baptized Catholic becomes a son of God. He
has been sanctified, divinized, deified --in an accidental
way, of course, proper to those who have been "born of
God" (John 1: 11). He is an adopted son, to be sure,
But a son nonetheless, and more, a brother of Christ, an
heir to the eternal glory of heaven.
"For
whoever are led
by the Spirit of God, they are the sons of God. Now you
have not received a spirit of bondage so as to be again
in fear, but you have received a spirit of adoption as
sons,
by virtue of which we cry 'Abba! Father' The
Spirit himself gives testimony to our spirit that we are
Sons of God, but if we are sons, we are heirs also, heirs
indeed of God and joint heirs with Christ provided, how-
ever, we suffer with him that
we
may also be
glorified
with him" (Rom 8: 14-17).
Indeed, "the world is charged with the grandeur of
God." What can a man say to Him Who has
given
him the
means and shown him the Way to be a son of God even
here on earth through the exercise of the infused theo-
logical virtues? When all is said and done, what man
says matters little. Of far more vital importance, what
will he do in return?
Bro. William C. Lambert
6
CONSECRATION
Bending low o'er altar linens,
Whispering this solemn phrase:
"Hoc est enim Corpus Meum,"
Lost in silent, deafening praise.
Kneeling slowly and serenely -
Deference for sacrifice;
In his fingers Corpus Christi,
Gestures cautious and concise.
Rising fast in exaltation,
Holding high for all to see
Wheaten Host, the same in aspect,
Changed from bread to Deity!
Bro. John J. Mc Donne 11
7
THE LIBERAL ARTS: TWO VIEWS*
When I
was
asked to
part1c1pate
in this forum, I
tried to clarify more
precisely
the
exact
topic that would
be under discussion,
with
those who had organized it.
In reply, I
was
told that the area covered would be as
large as possible, considering aspects of both a liberal
and a
liberal
arts
education, and that the
speakers
would
be
expected
to merely
give
their opinions on the broad
general
topic.
I was first
exposed
to the discussion of this gen-
eral topic--that
of liberal ed ucation--in my first year of
college, here, in the freshman English compos1t1on
course,
and
it is from considerations that were presented
in this course that I presume that we are to work from
tonight. However, although we were presented with a
great variety of views
on the subject, my own experi-
e
nce,
and
to
some
extent, I believe that of the rest of
the panel, is largely associated with the college edu-
cation we have been receiving here at Marist. And so,
with
perhaps less than a minimum of knowledge of the
controversy
surrounding
the subject as it
pertains
to,
say,
education in America, I would like to restrict my
present
remarks--opinions that
are
by no means indel-
ibly
established
in my own mind--to that
segment
of the
educational
sphere
with which
I am most familiar--
Marist College.
In the discussions by students of the nature,
pur-
poses, and
failings of this school that I have overheard
or participated in,
several points
have been made which
can be summarily dismissed as being concerned with
only the temporary nature of things, for the school is
*
Editor's Note: The following articles by James Callahan
and Bro. Timothy 0. Lafferty were delivered at a forum,
the topic of which was the Liberal Arts.
8
not yet a miniature of what it is someday to be. There
are absolute deficiencies in some areas, criticism of
which is, and will be, unjustified until these fields are
even minimally covered.
One topic of conversation which is valid, however,
even if it is, as I will presently try to demonstrate, un-
tenable; is the general complaint of too much work, es-
pecially in fields other than the major. This point is
symptomatic of any liberal arts college's principal ed-
ucational dilemma--the dual problem of specialization
and academic regimentation.
I think I will stand in open agreement with most
of my fellow panelists when I say that, if anything,
there is too much specialization and concomitant lack
of academic direction. The freshman composition course
should be continued, in a progressing and expanding
form, for all four years. The courses in philosophy and
theology should be intensified, and much more thoroughly
integrated as to subject matter. As an example, students
taking third year theology are almost totally unprepared
to cope with the subject matter of the course, not be-
cause it is unjustly thrust upon them, or because the
philosophy department has failed to do its job in pre-
paration, but because there is no coordination of effort
or JOlnt planning on the part of the two departments,
and the result is either a duplication or a total omis-
sion of relevant subject matter. Also, logic should be
tied in more with the modern mathematics which have
greatly enriched it. This would mean of course that
the mathematics must necessarily be taught also. Sci-
ence should not be spoon-fed to those who feel their
special interests lie in history, languages, and English.
Economics and political science should not be left in
right field to be swatted at by a handful of the "history
majors" .
.
Course work should be integrated over a wider
area, and pre-requisites set up, that jump the bound-
aries of major fields. I feel there are good reasons, for
example, for considering the Lyric Poetry course nee-
9
essary for entrance into the course in the Old Testament,
and chat the Old Testament course should definitely re-
main as a requirement.
Introduction to and Fundamentals
of
courses should be entirely replaced by a larger number
of courses on specific points of the various subject
matters. The latter half of chis is, of course, being done
right now, but these go under the title of major courses,
and the
Introduction to courses remain co justify the
fact that students are supposed to be molded and deep-
ened, into fuller human beings. Modern languages should
be
given
the emphasis that
graduate
schools place upon
chem, and I do not believe chat it is unrealistic co con-
sider the main function of a liberal arts education to be
the preparation for graduate school.
Specifically, I
would prefer a reading comprehension of at least two
languages--some combination of the usual four: French_,
Spanish, German, and Russian; rather than the "almost"
grasp
of perhaps one.
All these considerations are of course only half
truths, and the important fact to draw out of them is
that they exclude much thought of individual freedom
of choice and specialization, and also, incidentally,
sound like they are going to involve more, and not less,
work
for the student, especially in fields in which he
has little interest. But is not anything else a debase-
ment of the institution? Should it bend to the expedi-
encies of the times, and return to the people only what
they ask of it, or should it actively mold the people?
This, I chink, is the essence of academic freedom; not
whether an agnostic or an atheist should be allowed to
fill a class of gullible engineers or budding philosoph-
ical "free-thinkers" with the "real thoughts" of Western
man in their one and only Humanities course.
It would be unfortunate if my preceeding remarks
were to be misconstrued as an indictment of Marist
College, because, as I tried to present
at
the outset,
such a criticism must be invalid, until the school is
physically able to sustain a permanent policy. An in-
tensification of program can only come as a later step
in the school's development, at a time when it has a
physical plant, library, and faculty necessary to handle
this intensification.
Also, what I have said is inapplicable, and I would
be presumptous to think otherwise, to the schooi as a
suggestion of the policy it should follow in the future ....
It
is merely the education I would want for myself--a
choice that I would make freely, but once chosen, would
feel bound to attain.
James Callahan
If
there is one question that every college student
should ask himself at some time or other during his
ninth to twelfth years of schooling, without a doubt, it is
the "Cur venisti?" of St. Bernard. "Why have I come?"
Unless the student grapples seriously with this problem
at some time or other, he has not only failed to come to
grips with the very
raison
d'etre
of education in general,
but, moreover, the years which he has spent on intellec-
tual development have been pitiably wasted.
Frank Freshman enters an arts college. Why? Oh,
he wants to get a good job, he guesses; perhaps he or
his parents are afraid of what others will say if he does
not go to college. On the other hand, he might have a
special aim -- he may want to become a teacher, or sci-
entist, or vetinarian.
If
he has the title "Brother" in
front of his name, he is fired up with zeal to save souls
in the schools conducted by his congregation. In any
case, Frank -- no matter what his aims are -- thinks that
an arts college will help him achieve them. Of what
other possible use could the arts be?
11
He begins college with gusto, and finds himself
taking courses in religion, mathematics, English, a sci-
ence, philosophy, history, a foreign language. In Soph-
omore year he chooses a major and begins to "special-
ize." Even if he majors in a science, he still takes
religion and philosophy, for example. Of course, by now
Frank is tumbling head over heels into college activ-
ities, and his original aim may become somewhat sub-
conscious, not to say unconscious. And this at the
precise time when he should be recalling the "Why?"
Depending on such factors as time, interest, and
ability, to mention a few, Frank may start making con-
nections among his various courses in Junior Year. He
may realize that the Aristotle he now hears about in a
m
a
.
jor En
g
lish course as author of the Poetics is the
same man upon whom Saint Thomas built so much of his
metaphysics.
Similarly, if, during a modern history
course, someone refers to the
Lettres Provenciales or
Pensees of Blaise Pascal, he may remember that this
same Pascal so distinguished himself in the science
of physics as to have his name applied to the law of
pressure which he formulated. Moreover, his philosophy
and religion courses may coincide, too, and from here
on in, he consciously tries to integrate all his courses
and extracurricular studies into one body of knowledge.
But what about his original aims? How does all
this knowledge, compounded in varying amounts of spec-
ulative and practical ingredients, contribute to the goals
which Frank set for himself at the outset of his college
career. To be honest, I do not see how the arts --
per
se -- can help Frank to get a better job or save souls
or any other concrete, secondary goal in life. Have the
arts failed in their purpose? Has the college failed to
accomplish what it originally set out to do? I say no,
but before I can make my answer completely compre-
hensible, I must set down what I consider to be the goal
of the arts.
Returning to Frank, I think that his original aims
12
in going to college were somewhat shortsighted. I am
not blaming him in the least, but I hope that by the time
he reaches Junior Year, he will have outgrown his blink-
ers and will have become a little more universal in his
outlook. Only then will he see that the function of the
arts is not utilitarian; rather their purpose is to make
men. Needless to say, this notion provides a vast field
of inquiry and can be approached from many different
perspectives. For my part, I am taking as my point of
departure the scholastic conception of the virtue of art,
namely, that which perfects right reason in the making of
things. Thus the arts will make a man of Frank, if only
he has the prudence to act as generously toward them
as they do towards him.
In consciously unifying the corpus of his intellec-
tual acquisitions, he has taken the first step. Now he
must go on and set up his own philosophy of life.
O
nce
he has found that knowledge is one, he will soon dis-
cover that reality is one, and that he is one particular
instance of that one all-embracing reality. Accordingly,
he will establish himself in a certain metaphysical
unity of order, which is itself directed to its proper
end -- God. Frank, like everyone else, has heard such
expressions as the "riddle of life," "the complexity of
life," "the mystery of life!" but he will now be able to
smile at these superficialities. He will realize that
reality in general, and life
in
particular, are actually
quite simple, because their ultimate Principle is simple.
While he is cognizant of the fact that he is using the
word "simple" analogously here, nevertheless, he will
delight in the revelation which this analogy exemplifies.
Thus, the mere integration of intellectual knowledge
is not en'ough. To sin
g
le out a particular case in point, I
might refer to a certain nuclear physicist, a portion of
whose work I have read recently, who is so well-rounded
as to see that what men seek today is wisdom, a wisdom
which adds order to knowledge, without which knowledge
is dry. For him neither the humanities nor the sciences
13
suffice
in themselves -- the two
must be synthesized.
And yet, as far as
he is
concerned,
"man's freedom
is
only symbolic." Or again,
I
might allude
to
a teacher
who
has recently
written a book on
higher
education in
which
he
missed entirely
the
spiritual
nature
of man.
No, an
integrated
comprehension of all natural
learning
does
not
suffice to satisfy
the
goal of
the
arts. The in-
dividual Frank
himself must
act, must
take the
bull by
the horns,
must roll
up
his sleeves
-- use
any metaphor
you
like
-- but
the
individual Frank must !)lace
himself
in the context of
the
whole of reality, both sensible and
supra-sensible, and make his contribution.
Contribution
to
what? What is
the function
of con-
tingent reality?
This
is no
problem
now
for Frank who
is in his fourth year
in
an arts college. No,
he
glibly
answers
that the
purpose of all created things
is
to con-
tribute to
the
extrinsic glory of God. Since
he
is a ra-
tional
being,
however,
Frank knows
that he
must do
this
consciously, intelligently, and voluntarily, in a word,
formally. Whether he could
have
arrived at
this height
of
wisdom, be
it
supernatural or
natural, by
any other means
is not
at issue here.
The
fact
is that he
did achieve
it
through the "arts,"
--
all
the
arts,
not merely the "liberal
arts"
in the restricted
sense of
trivium
and quadrivium.
Herein
lies the
importance of
the
arts
in
a demo-
cracy such as ours. In
Plato's Republic the
arts student
would have been
"guardian"
of
the
state, but
in
our
society every man must,
in
a
real
sense, be
his
own
guardian. Perhaps
this is the reason
why Soviet
Russia
has
proscribed the works of Plato and still
frowns
on
Dostoievsky.
If
the
arts fail
to
achieve
this
desired syn-
thesis,
if
a student graduates without
having "found
him-
self," so
to
speak,
in
all
•honesty, the
student has fail<
~
d
to develop what we may charitably
call
an "attitude of
order." The
truth
is
that
some obtain
the necessary in-
sight, and others do
not, though
all have
"gone through"
college
together.
Beauty,
truth,
and
unity -- in
a word,
order
-- can
be found in all
the
arts, be
they
aesthetic or
14
scientific, and Order, no matter where it reveals itself,
leads to the one great Reality for Whom, by Whom and in
Whom I
exist
-- the
very dynamic principle
of my
exist-
ence
-- God!
Bro. Timothy 0. Lafferty
WISDOM SPEAKS
"Counsel and equity
are
mine,"
Thus speaks Wisdom, for all time.
"Prudence,
and
strength, I
give
To everyone who will live
In fear of the Lord: loving kin,
Hating arrogance, pride, all sin.
By me all kings
gain
Justice, riches,
glory,
reign.
Of
more value than silver,
gold
Or precious
stones, glittering
bold,
Am I, Wisdom, to thee;
To
all
who seek and treasure me.
Before
earth's
foundations were laid,
Before the depths were made,
Or the bulk of
great
mountains,
Or the mighty
seas and
fountains,
Before the heavens came to be,
I was set up from
eternity.
15
When He compassed the sky and seas,
With certain law, enclosed depths, with me,
I was delighted, and every day
I was content to stay before Him and play.
My delights,
to
the childr
e
n of men,
Were to be manifested time and again.
Blessed are children of men, who wait
Daily, willingly, at my gate.
Blessed are they who keep my ways.
He that finds me shall have life, all days.
From the Lord shall come salvation.
Fear of the Lord is Wisdom's formation."
Toni
L.
Knapp
THE CHORUS
You hollow wooden barrels
Afraid to think!
Herd-like talkers,
City-bred squawkers,
Community cows!
Public parlance your master!
Bro. Eugene P. Zanni
16
WHAT IS YOUR HEEL QUOTIENT?
If
you are lik
e
most white-collar workers in the
United States today, neither joining a health mission
'
in
Africa, nor startin
g
a small, self-sustaining farm where
you would hope to lead the "good, clean life," holds
much interest for you. More probably, you are completdy
engrossed in the
p
robl
e
m of how to gain more material
success for yourself than can Mr. Jones across the
street. What is mor
e
, you have decided that you can
best hope to achieve this in the employ of some lar
g
e
corporation wh
e
re li
e
s, as W. H. Whyte, Jr. put it, the
"center of
s
ociety." As
s
urnin
g
this to be the case, and
further assuming that you are not the boss's son, or
son-in-law, or even a third cousin by marria
g
e, your
heel quotient is of barely less importance to your
chances of success than is your intelligence quotient!
The forerunner of today's IQ tests was developed
by Mssrs. Binet and Simon around 1905 in order to deter-
mine which children were mentally unfit for school and
hence eliminate them from Paris's overcrowded class-
rooms. Today we have the problem of overcrowdin
g
in
the staff conferences of big business, and since Nec-
essity continues to give birth to Invention, an anonymous
"C" student from a night school Introductory Psycholo
g
y
course has at last developed an HQ Test that will en-
able top management to separate 1ts bureaucratic wheat
from chaff.
Years of careless study have indicated that the
letters H - E - E - L can represent four of the most im-
portant characteristics necessary to the man who wishes
to succeed in the overcrowded big corporation. First,
he must be in a fanatical Hurry to get ahead, willin
g
to
compromise any one of his principles to speed up the
process of succeeding. He must accept as dogma the
proposition that Effect on his superiors
.
should be the
deciding factor for or against anything he may intend to
17
do. He must be able to
Endure
the ill will that will be
poured
upon him by
equals and
subordinates
as
he trods
over
them on his way up._ Lastly, he must learn
all
facets
of
the fine art of
social
Lubrication; for
once
he is
ac-
complished this he
will
know how to "grease the
skids"
for the man holding the job he is
after, and
he
will
know
how to "slide"
into
the right circles
where
he can best
display his own talents.
If
you are
interested in knowing
your
own HQ,
you
can
get
a rough idea by
answering
the
questions
listed
here
as
truthfully
as you
possibly can.
Sample "HQ" Test
(answer
all questions)
1.
Would
you say
that 35 is not too
young
for a man
to be
president
of the company you work for?
YES _ _ NO _ _
2.
Do
you
believe that large
salary
increases are the
quickest
way to
develop
young
executives'
capa-
bilities?
YES _ _ NO _ _
3.
Do
you
feel that potential
exposure
to top mana
g
e-
ment is of prime consideration in
selecting a posi-
tion?
YES _ _ NO _ _
4.
Is it true that a
single good showing
at
a
top-level
meeting is better than months
of
conscientious
effort on the job?
YES _ _ NO _ _
5.
Does the fellow who outlines the new method to
management deserve more credit than the one who
dreamed it up and ironed the bugs out so that it
works?
YES _ _ NO _ _
18
6.
Do you believe that most people you work with do
not trust each other and that the few who do are
fools?
YES _ _ NO _ _
7.
When you are promoted, isn't it perfectly natural for
others to resent you at first, but then
"come a-
round" later on becaus
e
you are in a position to
help them?
YES _ _ NO
8.
Is it clearly in the best interests of your company
for you to advis
e
your superior of character flaws
you have (or think you have) detected in your co-
workers?
YES_-_ NO _ _
HOW TO GRADE YOUR HQ TEST
Be
g
innin
g
with score of 100, add 10 points for each
YES answer and deduct 10 points for each NO.
If your score was:
20 to 60:
Even if you becam
e
an organ-grinder, the
mookey could probably out-hustle you!
70 to 100
:
Better be satisfied with what you have
g
ot!
llO to 140
:
With luck
,
you ma
y b
ecome supervisor of
t
he
typin
g
poo
l!
150 to 180: The sk
y
'
s
th
e
limi
t!
Incidentally,
h
ave
y
ou
ever thou
gh
t o
f g
oin
g
into politics
?
Josep
h
Robillard
19
SILENT STAINED SHADOWS
Cones of light pillar the crush of night.
Walls of black frame six cubes of yellow:
The homes of humanity's haggard might:
Depths of light scattered on a surface shadow.
A battered garbage can halfed by an arc of darkness,
A stoop: four worn steps of red cement --
All is silent with a soft summer stillness.
Two lovers: face by fac~ in an anguished embrace
Twist in a passion that longs to race
And a fear of Time's insistent pace
That separates them to their common place.
The
Daily
News
suddenly circles and scrapes the street.
SOVIET SPUTNIK CIRCLES SOLAR SYSTEM
YANKEES WIN. Fair and Warmer Tomorrow.
Stars sparkle soon to smoother in the sun;
Dreams delight now, but drown in the day
When gossips the sills, and kids scream in fun,
And runofthemill men flow the runofthemill way.
Bro. James R. Gara
20
SOLILOQUY OF THE ENTERTAINER,
A PROLOGUE TO A MUSICAL PLAY
I hope
my appearance
is not too
disappointing,
but I
will not
allow
this
curtain
to
be opened
until I have
wel-
comed you, made you feel
relaxed,
and warned you
not to
expect
too much from my little production. (Lord, is the
producer going
to
die!)
I think it unforgivably rude if
a
host neglects his
guests, especially
on
such an
im-
DC-rtant
occasion for
the host.
Fine, and you?
. . . It's been
a
long time
since
the Palace, Joe . . . . Yeah, I
wondered
how long it
would take you to
throw
out
that monkey
act.
You don't say!
The Palladium,
ummh.
Command performance?
That old bag couldn't sing a
note~ I
always
said
there's no
accounting for some people's
tastes.
O
:
m't tell
me,
. . .
don't tell
me. The
Majestic,
but I thought
you
two
were
. . .
well,
never mind.
You'll
have to
excuse
me; I'm ignoring
some of
my
guests over
here.
Permit an introduction.
I
am
the
entertainer,
here to
present my entertainment;
I
am
the bistro portrait
sketch-
er
here to
scribble over a piece of canvas,
not
for your
ecJucation,
though
by
no means
do
I
wish
to
curtail
that,
but for your enjoyment
. . .
and for
my
paycheck.
True,
the
patchwork which
I
am presenting
has
found
its
ori
g
in in
a tumor of corru
()
tion;
it
has found
its
con-
clusion,
I
trust,
in the nobility
of
man
(things
being the
way they are, you can
never really tell these
days). But
between vice and virtue,
the re
waves
the
daisy s pee
kled
field of entertainment, of
humor
and of pathos. Drawing
from both
dignity and de
g
radation, relying on
neither
virtue
nor
vice,
I have
construed
this
1uilt of dilemma.
Fully
aware of your
keen
sensibilities and
your
acute perceptiveness,
I, the
entertainer, like a
ca(e da
Vinci, have taken
very
little trouble in richly
ornament-
ing my
vehicle.
Broad
outlines are
traced,
significant
21
movements are accounted for. Don't become
engrossed
with a
flow
of
people, but
with a
march of life,
a
trud
ge
of
adve
r
s
ity,
a
fanfare of
r
eso
luti
on.
Let
a
white and
black road
sign
bring you to your de
s
tination
and
not
mer
e
ly
along a
for
es
t-guard
e
d highway.
No
t that th
e
scenery
isn't pl
eas
ant; it's ju
s
t that th
e goa
l
is
so
much
sweeter.
With this,
I
invite ev
e
ry critic in th
e
audience
to
leave. I
ask
eve
ry
sea
rcher for
a
mom
e
nt
of diversion
to
stick around
.
I
seek
only to
entertain
yo
u, to
pry
a
r
e
-
luctant
s
mile, to bounce
a
s
li
g
htly itchin
g
foot.
I
onc
e
h
ea
rd th
e s
tory
of
a town
whose
futur
e was
in
perilous
thr
ea
t. A doctor, I
seem
to recall,
was beset
by
.
.
.
t1morous
conscience, a
man amon
g
m
e
n,
a sa
int
a
mon
g
s
inn
e
r
s
.
But now
who's
kiddin
g
whom?
And
w
h
e
re'
s
th
e
fun in
sca
lin
g
up, if
the
r
e's
no
w
h
e
r
e
to climb up to?
Well
a
n
yway,
our
man
among
m
e
n
was
a
se
r
va
nt
to all,
but
a
re
spec
t
e
r of non
e
(perhap
s
that'
s w
her
e
th
e
fun
comes
in).
As the
s
tory
went, ou
r
hero h
ad
his
eye on
th
e
futur
e
, his
back
to the
past
. I
g
ues
s
thi
s
mad
e
him
a
d
i
sc
i
p
l
e of progress, but
I'm not her
e
to
canonize
that.
Thi
s
tal
e
told to m
e
b
y
a
N
orwe
g
i
a
n,
w
ho
se
nam
e
m
y
wallet
for
ge
ts,
stuck
in my
mind.
Th
e doc
tor,
a
para-
g
on
of
innoc
e
nce, b
ese
t b
y
the cunning of
se
lf-
see
kin
g
hum
a
nit
y
,
strugg
l
ed
throu
g
h hi
s
plight,
n
eve
r
certain of
th
e
outcome, but
s
ure
of
every step
. I tol
d yo
u
that I
was
n't
adve
r
se
to
yo
ur
ed
uc
a
tion;
af
t
e
r
all,
lif
e fo
r
eve
r
teach
es
.
Yet,
I'
ve
tak
e
n th
e sto
r
y a
n
d
twisted
it
aro
un
d
in hop
e
th
a
t it mi
g
ht r
e
li
eve
a
frown.
So come aloni;
to
a
r
e
mot
e
r
eg
ion
of
a
hi
i;
hly
civ
-
ili
zed
country
.
All right,
observe
th
e
burni
s
h
ed
ve
-
ne
e
r
of
a
prop
e
r
s
ociety;
s
niff the rottin
g wood
of
a
worn
out
sys
t
e
m; catch th
e
foib
l
es of
m
y
im
pe
rf
ec
t marion-
ettes;
notice their l
ac
k of for
es
i
g
ht;
tak
e a g
limp
se
at
their fickl
e
gyrations;
it
can't
be help
ed
.
1
3
ut
d
on't let
t:1at c
e
ment
yo
ur lips or
ancho
r
yo
ur foot.
Mr. Longshore, take it
away!
Bro
.
Edmund
L.
S
h
eehan
22
THE
NTH
ARS POETICA
Alliteration, Assonance,
alike yet
not alike,
Repeated vowels, consonants, of these the sounds they strike.
Metonomy is Metaphor
as
Simile is not.
The Tone's the thing, so's Imagery,
sans
these
what
have
you
got?
Take but the Meter, Rhyme it
well,
aJd not the "Speech of Figure"
Each empty word,
though
spoke with
verve, soon loses all its vigor.
A Poem's
a
tale
of
joy or
sorrow,
'sperience profound
Search not for moral beauty, hark closely to the Sound
Lest Irony's Allusion
escape
your mental
grasp
And toss the
world
in turmoil like Pandora's box unhasped.
Read
slow and
loud, mind's heart impress
With
love's large hate brute's tenderness.
Hear murmur of
torrential stream
Feel damp
dank
rain
seep
through
each seam.
Perceive the light of poets'
suns
So pure as
lives of
sheltered
nuns
Nor
least nor last,
do
not forget
All life's
a
Poem to music
set.
Michael A.
Turco
23
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