HIGH POINT REACHED BY HARVARD LAMPOON IN YALE GAME NUMBER

A high point seems to have been reached by the Harvard Lampoon in its recent Yale Game Number--a high point not only in the quality of writing and art, but in the pleasing effect of page arrangements that any professional magazine of the sort might well be proud of.

The editorials, which have failed to scintillate in preceding issues, are excellent criterions of the remainder of the contents, especially the one concerning a recent remark of Heywood Broun that Harvard had traded odists to Yale for touchdowns. Here we have a touch of literary genius. The second editorial is more characteristically flippant, and is a fairly clever bit of satire on Yale secret societies.

The prose writing on the whole stands out better than the poetry, in execution and humor. "The Poets in the Bowl" and "How the Spring Came to Hiawatha" are above the average in every respect. Here we have a true professional touch that makes up for the general poetic deficiency.

The "By the Way" page, patterned after "Life Lines" and similar pages in other magazines, is only mediocre in its remarks, with now and then a dash of brilliancy to relieve the monotony. The jokes, short articles, and longer sketches often exhibit a talent truly surprising in a college publication. Many are forced; many are timeworn; and many lack the truth of real humor, but these are soon forgotten in the keen enjoyment of the majority in which the friendly satire and irresponsible wit is truly delightful.

Not for a long time has the Harvard Lampoon had such an accomplished force of artists. The cover by F. W. Saunders shows an ability far beyond the ordinary, while his other pieces, such as "The Important Clogs in the Yale Machine", "Black to Mate in One", etc., are finished examples of caricature. Nat Choate is inimitable in his Prologue decoration and his page on "Personal Touches for the Arrow Man". The "By the Way" illustration in red and black and the page entitled "Annual Crackers" shows Charles Child at his best. His delicacy and control of line seem to indicate that he will go far. Other artists, of which there are a surprising number, exhibit some real ability and in only a few cases are the drawings frankly poor.

For the first time this year the Harvard Lampoon does not seem to be stuffed. There are various inexcusable bits that lower the quality, but the general effect is distinctly good. That much abused word, "professional", is really the only word capable of describing it, and yet with this professional touch, the publication has managed to adhere to the traditions that in some previous years have seemed to be its only asset. Careless perhaps, juvenile perhaps--but still a commendable peice of work that speaks well for its future.