Word: aladar
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...Aladar, the man in the story, comes as reluctantly to love as the girl. Nearing 40, insulated in the creature comforts of habit, he has reached that safe harbor where the winds of memory can no longer wound. He can think without wincing of his failure as a painter, of his wife's deserting him for another man. Now Aladar is a successful businessman who does not seek adventures. On meeting Lalla, he methodically notes that she is a peroxide blonde, pretty, somewhat common, a compulsive liar, but all the same, rather appealing...
...treatment and embarks on projects to prepare her for the outside world she must face when she is cured. He teaches her French because her only knack seems to be a gift for languages, brings her albums of great paintings, tries to broaden her knowledge of the world. But Aladar is the pupil, not Lalla. He meets two of her fellow patients-strangely charming Franciska, gently maternal Kati. He dotes on the three girls like a fond parent, becomes absorbed in the hothouse flush of the sanatorium where almost everyone seems young and beautiful because so few live long enough...
...cannot last. Kati dies; Franciska goes away. Aladar throws the whole weight of his personality on Lalla, heaps her with presents and promises. In the end she blurts out a tortured "Leave me alone," and escapes to Germany and the real world. Aladar grimly sees that he had "adored her, bossed her and sentimentalized her, until she could bear it no longer...
Then, last year, Otto Klemperer went to Budapest. He appeared with the State Opera and with the Philharmonic, and the music he made was some of the best Budapest had heard in years. This year Opera Director Aladar Toth decided to risk hiring him for the full 1948 season of 40 operas and symphony concerts. When the season opened, Otto Klemperer had his first steady job since 1941. But this week Budapest was wondering how long he would be able to hold...
...this show offered stiff competition to the city parks, it was partly? because Landscaper Aladar Mulhoffer took full advantage of the primaveral weather. The sculpture was set in or against evergreen shrubs or flowering trees and a dozen leafing birches screened a high brick wall in the background. Contemplative visitors could sun themselves on benches. Some of the exhibitors dropped around with their chisels and took final, finicking chips. Despite some absurdities and a monotonous tendency among neo-archaic stone sculptors to leave their forms looking only partly chewed, able and varied work was on hand from Sculptors William Zorach...