Word: garret
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Dates: during 1920-1929
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...that Dean Briggs is gone, "Copey" is the last of a vanished style in Harvard professors, in professors anywhere, for that matter. He himself is Dickensian, with his piercing glance to identify a caller or passery, his two bachelor rooms in the garret of old Hollis, his quick replies which from a less amiable nature might be crabhed but from him seem way and sprightly, and his remark in the introduction to his anthology: "As for Christmas Eve, it won't seem like itself if Mrs. Lowell stops allowing me to bring my book...." Time...
...also quite necessary. Now that Dean Briggs is gone, "Copey" is the last of a vanished style in Harvard professors, in professors anywhere, for that matter. He himself is Dickensian, with his piercing glance to identify a caller or passerby, his two bachelor rooms in the garret of old Hollis, his quick replies which from a less amiable nature might be crabbed but from him seem wry and sprightly, and his remark in the introduction to his anthology: "As for Christmas Eve, it won't seem like itself if Mrs. Lowell stops allowing me to bring my book...
There are those, on the other hand, who look with bitter envy on the Nizam. Imagine the feelings of a starving poet in his Greenwich Village garret, when he reads of this princely exploit. What books could he shower upon the world, had he only the power! He can comfort himself with the thought that the Nizam's works, at their present price at least, will probably not sell widely outside of Hyderabad...
...second act is in the garret room in which live Mr. Kerr and Miss Bainter. It is certainly the best part of the play, though the author takes too much pain to convince his indifferent audience that Mr. Kerr and Miss Bainter are most irretrievably in love through the introduction of 266 amatory forms of address, 33 kisses, and 18 embraces. At the end of the act Mr. Kerr has gone off to marry his Father's choice in a plot to obtain the 500,000 franc bribe and then desert her, while Miss Bainter has gone...
John Gabriel Borkman is a trag-edy of a Napoleon of finance who waited vainly for the world to come to his Elba in a garret, who finally stamped forth rashly to regain love and the world when it was too late. The little pauses between lines, the way an actor paces the room, the tempo of dialogue and movement, make all the difference in play production. To this work of Playwright Ibsen's old age, Miss Le Gallienne has given more careful direction than she has to previous offerings of her Civic Repertory Theatre. Egon Brecher...