Word: criticizes
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Dates: during 1920-1929
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From the editorial labyrinths of "The American Mercury" Mr. Charles Angoff satellite of the more notorious Mr. Mencken, advances to deevy the Boston of today. In his essay "Boston Twilight" he buries Boston beneath rather violent verbiage. Her stage is, to quote the critic. "A paradise of leg shows"; her literature "as dead at the Hittite empire," her press, "the garbage can of American journalism." Indeed, to read Mr. Angoff's essay is to listen for long pages to a booming, often banal barrage of rather heavy wit. He buries Boston and he does so with a bang...
...less resounding measures of another critic, this time anonymous--who writes on the same subject in the current "New Republic" are a welcome change. He too is a Bostonian, yet he does not betray his old place. Instead he tries to understand and to judge wisely. "Boston", he says, "is like Harvard College twenty years from now. It is living on a reputation that is gone." And though Harvard College in twenty years will without doubt be far from such decadence, the undergraduate who has studied Boston at all can catch his meaning. Boston is in a sense "put away...
...Chicago. It is rapidly becoming a convention for the critics of Chicago to hail every week as a great artist some singer hitherto ungraced by U.S. laurels. Two weeks ago it was Baritone Bonelli. Last week it was Luella Melms, coloratura singer, born in Appleton, Wis. She made her debut in Rigoletto. Staid people have been foolish enough to believe that a mod ern audience could not be more than politely moved by the graceful insipidities of the old score-that the days were past when a perfect trill was a signal for young men in evening clothes to unhitch...
Thus wrote Deems Taylor, critic-composer, of his symphonic poem, "Jurgen," which was given last week by the New York Symphony Society before an audience composed partly of admirers of Mr. Taylor, of modern music and of the Symphony Society, and partly of leering persons who, well knowing that the novel of James Branch Cabell is crisp with supposed "salaciousness," came in hope that the music would furnish sauce for the same salad. These last were disappointed. He has used the "Jurgen" legend merely as a pretext for the expression of certain emotions which might have been roused...
Walter Prichard Eaton '00, dramatic critic of the New York Sun and the New York Tribune, and a recent speaker at the Union, has taken the presentation of the Dramatic Club's "Mr. Paraclete" on Tuesday as the occasion for setting forth his views on the new movement in the drama, in particular as they apply to the universities and colleges of the country...