Word: lyricism
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Dates: during 1920-1929
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Both Bowdoin prizes, for the best translations, in Latin and in Greek, submitted to the Department of Classics, were won by John Primott Redcliffe Maud '29, of London, England. Each of these prizes was $50. The John Osborne Sargent prize of $100 for the best metrical translation of a lyric poem of Horace was awarded to Gerald Frank Else '29, of Kansas City, Missouri, and Honorable Mention went to David Demarest Lloyd '31, of Plainfield, New Jersey, and Ethelbert Talbot Donaldson '32, of Tuckahoe, New York...
...telephones the office for the key to the next room. The other tunes a violin, giving the excuse: "Not enough time to practice at home." Libby Holman, that singing girl who improves so tremendously on Helen Morgan, has a full-throated Harlem sonata, "Moanin' Low." Most of the lyrics were written by nimble-witted Howard Dietz, Metro-Goldwyn-Mayer's publicity man. His "theme" song: Hammacher-Schlemmer* (I Love You). The Grand Street Follies have always depended largely on protean Albert Carroll, impish imitator of the grimaces and posturings of famed actresses. In this latest edition...
Four U. S. singers will make their Metropolitan debuts: 1) Santa Biondo, lyric soprano, born in Palermo, brought to New Haven, Conn., as a child, lately a member of the San Carlo and American Opera Companies; 2) Eleanor La Mance, Jacksonville mezzo-soprano, well known in small Italian opera houses; 3) Gladys Swarthout, Kansas City mezzo-soprano, formerly of the Chicago Opera; 4) Edward Ransome, tenor, born in Canada, U. S. citizen, known in Italy as Edoardo di Renzo...
...French haute couture," Once upon a time-Wartime-the Journal conducted a campaign for U. S. styles by U. S. designers for U. S. women. Nothing came of it, however, and now the Journal publishes page upon page of lovely creatures tagged with French names, letterpressed in lyric strain. In the face of the Journal's scoop, its competitors professed to be unmoved. They would go on getting their patterns as before, they said, chiefly through style scouts, sketchers and copyists in Paris and other places where the famed fair exhibit. As everyone knows, there is a, giant pattern...
...great as well as the infamous have apologists. Baudelaire, who was a little of both, has had many. The greatest were Arthur Symons and James Huneker who adored him with exquisite words. The least lyric and most informative was Eugene Crépet. The latest is the sympathetic Francois Porché. He, the fashion of many easy-going raphers, did little more than rewrite in better prose and form the Crépet biography. But his dedication gracefully admits...