The Vagabond really doesn't quite know what to make of the recent succession of foreign movies that have appeared at the Repertory theatre. He was brought up and nurtured on the theory that all educated men could understand French, and that German was only a slightly more conspicuous accomplishment. He didn't actually try his German on the ticket-girl at the Repertory box-office, but when he went in to see "Zwei Herzen im 3/4 Takt" well, he was supremely confident of his linguistic ability. The music was beautiful, the camera work nearly perfect, but just why did the girl go into dinner alone and what was the point of the scene anyway, and do all German movies have so many unintelligible jokes in them? The Vagabond kept up with the struggle for about two reels, then lapsed into a blase indifference to the importance of the dialogue. For is not all true dramatic art acting, and not a mere mouthing of words? At least Mr. Chaplin says so, and the Vagabond felt dimly grateful to him for the idea.
Perhaps the groundwork that the Vagabond got in German A wasn't quite so thorough as he had thought it, but surely French, the common property of polite peoples of all nations, was not beyond his ken. He fairly exuded French colloquialisms when he went to see "La Grande Mare". In this linguistic workout he had a lead on his immediate neighbors at the theatre, a portly matron from Melrose (she came to be enraptured of M. Chevalier) and the student from Boston Latin (he, to see la belle Mlle. Colbert), since he had seen the English version first. And thank the good Lord he had. At least he knew where and when to laugh, and just how hard. Melrose and the Boston Latin School were obviously impressed; the Vagabond had regained some of his lost prestige, though some sceptics may call his victory a hollow one. Now the Vagabond refuses to be called insular and provincial. He is willing to hold forth at great length on the cultural stimulus received from a closer liaison with the cinematic art of Europe, an art free from the sullying trends of Hollywood commercialism so the critics say, but before he goes to see "La Colliere de la Reine" he is going to get his set of Dumas down from the top shelf and polish up a bit on the "Queen's Necklace" in the mother tongue.
"Medieval Florentine Painting," Professor Edgell, Fogg Large Room.
"Milton's Sonnets," Professor Rollins, Emerson A.
"Transformation of the Republican Party, 1865-1876," Professor Schlesinger, New Lecture Hall.
"Bermejo," Professor Post, Fogg Small Room.
"Development of Power Machinery." Associate Professor Usher, Widener U.
"Modern Response to Shelley," Professor Richards, Sever 11.
"W. B. Yeats," Professor Richards, Sever 36.
"Poe's Life and Times," Dr. Carpenter, Harvard 2.
"Franco-Prussian War," Professor Fay, Germanic Museum.
"Pope and His Followers," Professor Eiton, Sever 11.