Word: expect
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Dates: during 1950-1959
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...that we hadn't been "stripped of ... empire, economically and physically sapped . . ." by wars - in which, may I remind you, you first bled us white with "cash-and-carry" and then joined in largely to protect your investment in our future -are we to understand that you would expect us to be as anxious as the Gadarene swine to plunge to perdition...
...word tirade, Clare Luce's 22-word wisecrack was a pebble slingshot against a ton of brickbats. But it stung Wayne Morse. As soon as the Senate wound up its close REA vote (see The Congress), Morse stood up. Not so soon, said Morse, "did I expect that those of us who voted against the nomination of Clare Boothe Luce would be proved so right." He read off her horse-kick comment, argued that it showed he was right all along about the "emotional instability on the part of this slanderer." Three Democratic Senators who had voted...
...will of her reasons for resigning, her statement of them was forthright and plausible enough. Over and above the fact that Morse's ugly words had smeared her. she noted that Morse is chairman of the subcommittee on Latin American affairs, and that in the embassy she could expect no support from the chairman. It seems she has set the Senator from Oregon a splendid example. He should resign as chairman of the subcommittee...
Perhaps less can be said for John Cazale and Mary Weed, who played the lovers George Gibbs and Emily Webb. Mr. Cazale's hair is somewhat thinner than one would expect in a sixteen-year-old, and at times he mumbled more like a troubled suburbanite than a New Hampshire swain. Certainly nothing could be said against Miss Weed's interpretation of Emily, which became truly moving in the final scene of the play. But she looked "dressed down" to meet the sixteen-year-old requirement, and was simply not the willowy schoolgirl expected...
...wealthy Londoners who allowed themselves to suffer the atrocious libretto so that they might enjoy the Italianate charm of the music and an awesome display of vocal pyrotechnics. Since the Harvard Opera Guild's singers (though competent) are incapable of coloratura acrobatics, and since audiences nowadays expect more from an operatic plot, considerable attention was focused on the opera's "dramatic" element at yesterday afternoon's performance. Besides, card-playing and the consumption of ices between arias are impractical in Agassiz; therefore it was imperative that something transpire on the stage...