Word: chatters
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Dates: during 1950-1959
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WHEREVER the President went, with his leathery grin, his vigorous talk, he was met by friendly people. "Well hi ... Why, hello there . . . Yes thanks, I'm feeling fine." He kept up a constant chatter as he waved to big crowds in city streets and small crowds at country crossroads, changing pace to drop his upraised hands and bow gently from the waist to a group of nuns, or stopping solemnly to salute the colors of a high-school band. Nowhere was there a hail-the-conquering-hero quality to the welcome; everywhere the setting was warm, relaxed, assured, befitting...
...carried to such an extreme that it becomes ridiculous. Yet, every so often Ionesco shows us a glimmering of reality that other writers seldom uncover. InThe Bald Soprano the characters seem to say whatever comes to their minds--momentary antagonisms, sexual impulses, errant thoughts, and every-day chatter. There are dull stretches, but such devices as mixed verb tenses when speaking of death give an interesting timelessness to the play. Ionesco is often incomprehensible, but seldom meaningless, and he seems to be saying "Look how strange and funny mankind...
...rocklike immobility. The only way to achieve success, Maggie sees, is to do it on her own and, with the men away in World War II, she does. She leaps ever higher up the dizzy crags of Madison Avenue, until she reaches the pinnacle-her own radio chatter program...
...Kefauver handshake has deservedly become a national monument. It is not bone-crushing, or even firm. It is limp but not clammy. An inward turn of the wrist prevents pressure that would later cause aches and pains. Unlike Adlai Stevenson, Kefauver does not chatter as he shakes; he utters one friendly sentence and reaches for the next hand. As he shakes with his right hand, he applies a light pressure with his left on his well-wisher's right elbow, thus keeping the line moving. When someone launches an extended conversation, Kefauver seems to give undivided attention...
Grace After Grandeur. The music goes into an arietta by Lully (Louis XIV's favorite composer), sung in a sweetly plaintive soprano voice. From the 17 great windows of the Hall of Mirrors, lights blaze as courtiers chatter and fawn. In the distance a voice proclaims, "Gentlemen, the King!" The monarch's cane clumps louder and louder on the floor as he approaches, and a burst of triumphal music rings out as "the greatest King" enters...