Abstract
The appearance of the artist as a regular resident on the campus of the American college is often subject to the suspicions of the older members of the academic community. What can the presence of this animal of passion portend? Is the pursuit of the mental disciplines to be replaced by wanton indulgence in emotional expression? Can the growing invasion indicate a surrender of more of the curriculum to its “recreational” areas? Does this choice of consort mean a relaxation of institutional morals to permit at least a vicarious sampling of another's irrational experience?
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