Otterbein University Digital Commons @ Otterbein The Otterbein Miscellany Otterbein Journals & Magazines 5-1968 The Otterbein Miscellany - May 1968 Jo Mielziner Otterbein College James V. Miller Otterbein College B. R. Hanby Otterbein College B. C. Glover Otterbein College Cleora C. Fuller Otterbein College See next page for additional authors Follow this and additional works at: https://digitalcommons.otterbein.edu/miscellany Part of the Fiction Commons, Nonfiction Commons, and the Poetry Commons Recommended Citation Mielziner, Jo; Miller, James V.; Hanby, B. R.; Glover, B. C.; Fuller, Cleora C.; Hassenpflug, Earl; Price, Robert; Carr, James E.; Neff, Roger; Zeiss, Todd Rolf; and Hanby, B. R., "The Otterbein Miscellany - May 1968" (1968). The Otterbein Miscellany. 2. https://digitalcommons.otterbein.edu/miscellany/2 This Book is brought to you for free and open access by the Otterbein Journals & Magazines at Digital Commons @ Otterbein. It has been accepted for inclusion in The Otterbein Miscellany by an authorized administrator of Digital Commons @ Otterbein. For more information, please contact [email protected]. Authors Jo Mielziner, James V. Miller, B. R. Hanby, B. C. Glover, Cleora C. Fuller, Earl Hassenpflug, Robert Price, James E. Carr, Roger Neff, Todd Rolf Zeiss, and B. R. Hanby This book is available at Digital Commons @ Otterbein: https://digitalcommons.otterbein.edu/miscellany/2 I THE :■ OTTERBEIN MISCELLANY THE POSTERE OF THE ARTIST TODAY Jo Mielziner SOME THOEGHTS ON THE LIBERAL ARTS AND TEACHING James V. Miller QEILL DRIVERS B. R. Hanby VOL. IV MAY, 1%8 NO. 1 FOREWORD The Otterbein Miscellany is published twice yearly as an outlet for faculty writing on a wide variety of topics. The college underwrites this publication in the belief that it will help main­ tain a genuine community of scholars. Papers are accepted, therefore, on the basis of their interest to the whole academic community rather than to members of a particular discipline. Editorial responsibility rests with a committee of the faculty. Editorial Board — 1%7-1968 Robert Price Editor: Assistant Editor: Todd R. Zeiss Editorial Advisers: Harold B. Hancock John K. Coulter Donald C. Bullhaup Lillian S. Frank James V. Miller W illiam H. B. Skaates Ex Officio: Lynn W. Turner A Publication of the Otterbein College Faculty Westerville, Ohio The Otterbein Miscellany May, 1%8 “MISCELLANY” - A POINT OF STRESS Not the double-accented “MIS-cel-LAY-ny” that one hears from the average American who happens upon the word. Nor the single-stressed MIS-cellany ’ to which Dr. Samuel Johnson gave his blessing in 1755 and which has continued to be the authorized Oxford preference for two hundred and thirteen years. And certainly not the clipped “MlS’l’ny” commonly heard from certain present-day Britishers who have an amaz­ ing facility for pronouncing long words on the first syllable and swal- “Mis-CELL-any” with a clear, firm reverberating Middle Western emphasis on the second syllable - that is the wav to sound out the surname of the OTTERBEIN MISCELLANY. ^ As for the meaning of the term - and thereby doubtless hangs a more Vital issue Dr. Johnson defined a miscellany” as a medley, citing Sir Francis Bacon for using it in this sense ^ 1617. Of course, the word is much older. In ShakesDeare’*^^^^ ^ female dealer in trinkets could be referred to as a “misc^llan - a quaint usage now unhappily obsolete. But by the earlv "l miscellany” had become established in the young orintina^ ^ ^ u’ lishing trade to designate a collection of diverse lite^rarv ni ^ together to form a single volume. A century later, certainlv^b^^fK ^ of The Monthly Miscellany: or, Memories for the Curious (In / the term with this connotation had been taken ovTmto th nomenclature of the periodical publishing world And OTTERBEIN MISCELLANY has affirmed since 1965 AT’ though usually rather quiet and dignified, and always VerfoTA^'"^' relatiyely important and scholarly role. ^ ^ rming a So, in this fourth annual yolume, the OTTFRRFTIV t once more brings its pleasant mixture or medley Aeain .^^^^.^^^ANY Foreword’s hopeful announcement, the volume has had phshed m a single number. Therein is contained, however a s^^ and well-balanced assortment of educational philosonhv a criticism, original short story and French translation esthetic and art. tion, poetry, music For the enthusiastic support of the fifteen writers art:«. a posers who submitted a total of twenty-four items for no a year, the editors express deep appreciation. To the editSh “°a helped judge and select, to assistant editor Todd R 7 • printing advisor William Ff.B. Skaates with the skilled '"fr^ T Otterbein printshop, the Editor herewith records his vilor^ personal Thank-you\ vigorously stressed The Editor CONTENTS Some Thoughts on the Liberal Arts and Teaching ................... 1 J. V. Miller “The Basis of Wisdom” (Excerpt) ................................................... 6 B. C. Glover The Posture of the Artist Today ..................................................... 7 Jo Mielziner For Thomas Hardy ................................................................................... 12 Cleora C. Fuller Two Landscapes (Drawings) ............................................................ 13 Earl Hassenpflug A Memorial Sonnet (Verse) .................................................................. 16 Robert Price Les Tragiques of d’Aubigne'’ ........................................................... 17 James E. Carr Rondeau pour le XXe Siecle (Verse) ............................................... 32 Roger Neff Father, His Shotgun, and the 1812 Overture ................................ 33 Todd Rolf Zeiss Passacaglia in G Minor (Organ) ......................................................... 43 Lawrence S. Frank Ben Hanby — Student Satirist (1853) ............................................... 49 B. R. Hanby “An Important (Qualification” (Excerpt) ......................................... 57 B. C. Glover Contributors ................................................................................................ 58 iii -1 IV /. V. Miller SOME THOUGHTS ON THE LIBERAL ARTS AND TEACHING The goal of the liberal arts is to free, to liberate, to deliver human potential. The liberal arts are not pursued simply for pecuniary return. The means of the liberal arts are the various technologies — whether in physics or philosophy, English or chemistry, physical education or history. Charles Morgan put it well: He whom we love and remember. .will pull the cur­ tain away from the classroom window and let us see our own heaven with our own eyes. And this enable­ ment of mankind, I take to be the function of true education, for the very word means a leading-out, and to lead out the spirit of man, through the wise, liberating self-discipline of learning and wonder, has been the glory of great teachers and of great univei^ sides since civilization began to flower. Several years ago, I had the privilege of looking at one of the great ancient industries northeast of London, in Norfolk near the village of Weeting. This was a large flint mine. It is now known as Grimes Graves. The workers in the flint industries of that ancient site in Britain,^ as in other places around the world^ere technicians using a technology. They were flint chippers. These chippers were dedicated to producing implements practical to their day. Along with the East Anglican flint industry, there was, no doubt, a school for flint craftsmen. As I stood there, I ima­ gined a great flint chipping college on those thirty acres gathered about the pits and radial arms of the tunnels. But it would not have been a liberal arts college. It would have been a school of technology. So it is with atom chipping, logic chopping, hair splitting, all kinds of pedestrian teaching, and unimaginative bureaucracy — academic as well as governmental. All of these should be gathered under the rubric of “flint chipping.” They are techniques for achieving ends. They tell us little of the ends to be achieved. Perhaps they tell us nothing at all of those ends. Whenever the **chipping of flint” in our various disciplines rises above the legalistic and the routine into the realm of the creative imagination, art, or craftsmanship, the disciplines we 1 transmit are truly liberal arts. There is renewing knowledge, per­ haps even wisdom, in the creative leap involved in craftsman­ ship. In the momentary imaginative surge beyond the daily routine, we move toward a grasp of the essential elements of our special areas of learning and practice. In this process of transmitting and refining our cultural heri­ tage there is a kind of magic. By magic I am not indicating some hocus-pocus sleight of hand. I refer to the artistry of the genuine craftsman - whatsoever his craft. I refer to the maya, the illu­ sion, the world beyond the pedestrian world we try to grace with the terms “practical” or “real.” I refer to teachers and students who were isolated but become aflame with the eagerness to learn together. It is magic, craftsmanship, artistry when an instructor leads a student to see (perhaps I should say to smell rather than see) through and beyond hydrogen sulphide into the wide world of chemistry or any other area that suits our fancy. It is magic when a t^eacher lives with a student into the streets of ancient Rome Athens, or Babylon and makes those peoples “come alive.” This ma^c is evidenced only if there are magicians. Who are these craftsmen. Who are these magicians? They are our teachers who have not