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...their hands on the originals. The Dickinson family, perhaps in Emily's own reticent spirit, put the scholars off for more than 50 years. The family's main concession: doling out heavily edited volumes of Emily's verse, with many omissions and with arbitrary changes in diction and punctuation designed to make her revolutionary prosody and bold use of words more acceptable to conventional taste. Biographers wanted to know why good-looking Emily ("My hair is bold, like the chestnut burr; and my eyes, like the sherry in the glass that the guest leaves") immured herself...

Author: /time Magazine | Title: Education: Out of the Top Drawer | 6/12/1950 | See Source »

Very evident was his great respect for the word, the actual lyric. He had excellent diction, and used none of the familiar winks, grimaces, and gestures. Depending solely on the songs for effect throughout the performances. He translated as many of the foreign songs as he could, because, as he explained, "original lyric is rot"--the song is ineffective unless the audience understands it. This disregard for accent extended to his singing Negro songs "straight...

Author: NO WRITER ATTRIBUTED | Title: FROM THE PIT | 5/24/1950 | See Source »

Cyril Ritchard, an import from England, who plays Sparkish the fop, achieves a success of a different kind. Sparkish could turn out no more than a fop, an elaborately dressed, self-conscious waver of lace handkerchiefs, but Mr. Ritchard manages by his impressive diction and equally impressive frame to give real color to Wycherley's essentially colorless character. His Sparkish is an excellent example of how a really fine actor can make something out of almost nothing...

Author: By John R. W. smail, | Title: THE PLAYGOER | 5/16/1950 | See Source »

...outdoor concert demands a program of fairly robust music, as well as precise diction. The Glee Club met both these tests. They were best in "Gaudeamus," a college medley in a very clever arrangement by William Russell; Harvard Hymn, Glorious Appollo, Bacchanal, and Marching to Pretoria were also well suited to outdoor singing. "Magdelein im Walde," a Czech folk song, was the only muggy spot on the program, and it got the loudest response from the birds. After the concert, a large part of the audience joined the Glee Club in gusty renditions of football songs...

Author: By Jerome Goodman, | Title: THE MUSIC BOX | 5/11/1950 | See Source »

...court intrigue. She has scooped up material which is sentimental at best and sometimes downright boring. The shallowness of the characters severely limits the actors to the technical perfection of their declamatory and gushing speeches. For this the actors are well-equipped: they all have rich voices and good diction...

Author: By Edmond A. Levy, | Title: THE PLAYGOER | 4/27/1950 | See Source »

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