Word: christly
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Dates: during 1950-1959
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...resignation to their far-from-ideal human loves, while Celia, who was more gifted, saved her life by losing it. In finding saints at cocktail parties Eliot is perfectly in line with primitive Christianity which teaches that the truly good man will not be recognized by any visible piety. Christ's own unorthodoxy made him as unlikely a Messiah as Harcourt-Reilly is an angel...
...Maccoby's review of the American production of The Confidential Clerk is the most interesting to have appeared thus far. His contention that the play has a symbolic connection to the story of Christ seems to me to be valid. I should like to press the contention a little further, to suggest just how elaborately Mr. Eliot, abetted by his favorite director, Mr. E. Martin Browne, has worked out the Christian parallels...
...golden hue as Mary Magdalene's was supposed to have, but which also symbolizes the money which the gluttonous Lucasta is demanding. In the second act, the red motif has disappeared from Lucasta's clothes and the gold spotlight is used only intermittently. Confronted by the love of the Christ-figure, Colby Simpkins, Lucasta breaks down and confesses the story of her past. Like Mary Magdalene, Lucasta has a noble father, but has lived a loose, selfish life which she now regrets. The fact that for much of this scene Lucasta is seated at Colby's feet and that...
...Claude Mulhammer, who thinks he has a male heir, but finds instead that his son has been born of the Virgin Mary, is quite clearly related to the figure of Joseph in the Christ story. There is, once again, the matter of the name. Claude Mulhammer: claw hammer. This basic tool of the carpenter suggests, of course, Joseph's trade, as well as Sir Claude's own dream of the craftsman's life. But Sir Claude is not a craftsman, he is a City financier, a fact which is reflected in the other meaning of claw hammer--a swallowtail dress...
...Fresh Standout. In two rooms alone there were 19 Rembrandts. including a masterfully calm and triumphant self-portrait and the reverent, mystical Head of Christ. In other rooms, there was a breath-taking assemblage of masterpieces by Velasquez, Goya and El Greco (including his stark, disturbing View of Toledo*) that could not be equaled in any museum outside of Spain. Pieter Bruegel's ecstatically tranquil Harvesters dominated one room. Caravaggio's Musicians another. In the galleries devoted to modern painters. Pablo Picasso's peaceful Woman in White, recently acquired from the Museum of Modern Art, and Edouard...