Word: jealous
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...Paris ("Say, that's the biggest TV tower I've ever seen"), Hope discovers that his room opens on the very same balcony as Anita's-a coincidence that could easily prove fatal, or even embarrassing. Hope is in love with Martha Hyer, a mighty jealous girl who works for the U.S. embassy when she is not repulsing his amorous advances ("This is the mating season for shellfish, you know"). Anyway, things get worse before they get better, and in the end, Hope makes a desperate attempt to get the comedy off the ground. He grabs...
...only fly in the ointment is 16-year-old Joss, senior daughter of the Greys. She and Eliot get the trembles whenever they brush shoulders-and Mlle. Zizi, a jealous old gentlewoman of at least 30, is beginning to brandish her falsies. Three-quarters of the way through her bee-loud glade, Author Godden starts dropping her surprises. Eliot, it seems, is no English gentleman after all: he is an international crook who, as a French paper prettily puts it, "collects precious stones, chiefly diamonds." As for Paul, he climbs up to Joss's bedroom and is about...
...ever confronted me with such embarrassment or provocation. Oh she's terribly bright-very shrewd, calculating. You notice how she fiddles at her skirt scratches, waves to the audience. That's her method of competing. I tell her not to and she says I'm jealous of her. I even have trouble keeping her mouth shut when...
Finally gaining access to the Nietzsche papers after the death of this jealous keeper in 1935, Professor Schlechta has worked ever since over the last writings. His definitive editing downgrades The Will to Power to what he found it to be, a series of notebook jottings in no way coordinated or assembled and never intended for publication in such schematic form or under such a title. Stripping the notes of Elisabeth's gratuitously added chapter headings and subtitles, he lists them as they were written, along with thousands of other jottings that Elisabeth saw fit to omit because they...
...singers a brisk pace, never permitted any sagging in the supple vocal line that Verdi skillfully stitched through Arrigo Boito's libretto. As Othello, Tenor Mario del Monaco sailed onstage in full joyous shout in his "Esultate," and from there on through his Act III explosion of jealous rage, never pausing to be subtle, kept the house ringing and the stage dark with passion. Baritone Leonard Warren as lago proved again his ability to soar dramatically or modulate to a mahogany pianissimo, invested his role with an air of sly innuendo that it often lacks. As Desdemona, velvet-voiced...