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MAISTERS were ther also, nyne or tin Who knew the clerkes ech as single men, And on the knyght they turned al ful sore To aske hadde he been listing by the dore. But from afar the worthy knyght was wys And knew he well what oft hadde scape his eyes...

Author: NO WRITER ATTRIBUTED | Title: Cantabridgian Tayles | 10/12/1963 | See Source »

Something seemed to be different. Last year, in the name of protecting the nation's economic interests, President Kennedy leaped headlong into a success ful effort to keep Big Steel from raising its prices. But in 1963, with Big Labor threatening a devastating national railway strike for this week, Kennedy clearly wants no part of the dispute...

Author: /time Magazine | Title: Labor: An Unhappy Precedent | 8/30/1963 | See Source »

Last June, after all sorts of boast ful promises to "stand in the school-house door" to prevent integration at the University of Alabama, Governor George Wallace conducted a charade of defiance, then backed away in the face of superior federal power. But last week Wallace was back at the business of defiance, and this time he was confident that he had a much less sticky wicket to stand on - after all, he could now seem to side with God Himself...

Author: /time Magazine | Title: The Law: Another Kind of Defiance | 8/16/1963 | See Source »

...worked through the logistical gambits of mounting the U.S. premiere of Alban Berg's atonal, macabre, erotic opera Lulu, Crosby collected a power ful king and queen: Conductor Robert Craft, a devotee of Berg, and brilliant and beautiful Coloratura Soprano Joan Carroll, who had sung the leading role 39 times before, yet never in English. But the chess game only began with the big names. Scene shifters had to be taught to handle six sets ranging from a wealthy home to a brothel; dressers had to learn how to zip Joan Carroll in and out of ten costume changes...

Author: /time Magazine | Title: Opera: The Hellish Drive | 8/16/1963 | See Source »

Lulu is indeed a spellbinder, a power ful, unrelenting tragedy of sex. Berg wrote the opera in the early '30s and shaped his libretto from two plays by the great German Dramatist Frank Wedekind (1864-1918), who was obsessed by the fury, the brevity and the desolation of the pursuit of sexual pleasure. As Wedekind's translator put it, "he dealt in 'the hellish drive out of which no joy remains alive.' " In both of his plays, Erdgeist (Earth-Spirit) and Die Büchse der Pandora (Pandora's Box), Wedekind centered this hell...

Author: /time Magazine | Title: Opera: The Hellish Drive | 8/16/1963 | See Source »

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