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...hero's fate. To ask for love is to ask for life in another worid. Troilus and Cressida -a bitter, earlier, centrifugal labor-examined whether a man can act honorably in the name of love. Antony and Cleopatra explores how the soldier in love is liable to betray himself as a soldier and how the hero in love is at war with himself. The reconciliation of will and heart, passion and reputation, is the strong told of grace of Cleopatra's love. And this is only a particle of the play's substance...

Author: By Chris Rochester, | Title: The Theatregoer Antony and Cleopatra at the Loeb through May 9 | 5/2/1970 | See Source »

...subpoena last year that summoned him to give a deposition in San Francisco, Psychiatrist Joseph Lifschutz did not hesitate to comply. But when he was asked to testify about his treatment of Joseph Housek, a former patient, Lifschutz demurred. The law, he declared, should not force him to betray even the existence of a patient-therapist relationship, much less what it involved. As a result, Lifschutz was ultimately found in contempt of court and sentenced to jail until he agreed to answer...

Author: /time Magazine | Title: The Law: Privacy and the Psychiatrist | 4/27/1970 | See Source »

...American people more than political indignation and blind zeal. We owe them thought, competence and knowledge. If we permit the destruction of the university, we would betray our own direct responsibility...

Author: NO WRITER ATTRIBUTED | Title: The Mail CFIA DISRUPTION | 4/14/1970 | See Source »

...glances really annoyed me because I knew she wanted me to feel guilty, and I knew I didn't want to feel guilty. But somehow I ignored her, and at the same time formulated Beach's First Law of Subway Riding: never betray emotion of any kind. I was glad to get off that train, but I was unhappy that I didn't see another...

Author: By Bennett H. Beach, | Title: Red, Blue, Green, Orange-A Subway Odyssey | 4/11/1970 | See Source »

...integrated as to make their significance more immediate. The hero is Chabrol's destructive romantic, but his dialogue hardly reveals profound love or the insane determination to preserve close personal relationships. It is his facial expressions that detail his momentary emotional states and reactions to other characters' words that betray his character. He is the most completely motivated character I have even seen in a film, for Chabrol has chosen to use dialogue obliquely, turning rather to acting and camerawork to describe his characters...

Author: NO WRITER ATTRIBUTED | Title: The Moviegoer La Femme Infidele | 3/12/1970 | See Source »

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