Word: nigh
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...Lady from Chungking reunited Wong with William Nigh, who had directed her in two silent films. She plays Kwan Mei, a rebel leader who is organizing guerrillas in the hills while wheedling strategic information from Kaimura, the Japanese officer in town. "There is a fragile but durable beauty in you, Madame," purrs the smitten swine, to which Kwan Mei says, "Perhaps I'm as aged-looking as the Great Wall." No, she is fetching in her improbable gear. Anthony Chan observes: "Even as the rebel leader in the rice fields, Kwan Mei wears a silk suit with handwoven buttons...
With enough common ground to start a border dispute, coming to the decision of which candidate to support was nigh impossible, so students chose personality and popularity instead as the deciding factor. K’idar J. Miller ’08, a Grays Hall resident and a Moore-Nichols supporter, agreed to display campaign signs for the ticket in his windows facing the Yard. Asked about his decision to support Moore-Nichols, Miller said that visibility was a key factor: “I heard more about them than about the other guys. They were more publicized...
...crises of history. Future generations will see its importance more clearly than we do. A certain measured peace has been obtained. Now we must attain spiritual peace in the world. The problems resulting from the war are so vast, so intricate as to well nigh stagger the civilization which has to cope with them...
...only hope this kind of critical dialogue is going on behind closed doors. Until then, solace can be had by realizing that Palmer’s departure from Harvard is nigh, and there’s little use raving against a person who’s on his way out thanks to a short-term lecturership contract. But students should nonetheless realize that despite the allure of idealism in measured tones, there should be no mistaking the syndrome which has made Palmer’s classes so acclaimed: Liberal students rush to Palmer’s class for an eloquent...
...principal kudos are due to the accomplished Scheib, whose ability to orchestrate multiple points of action and complicated shifts in blocking is well-nigh incredible. The play’s lengthy first scene, in which the duke and his comrades carouse and otherwise raise drunken hell, is absolutely enthralling, and Scheib’s consistent ability to maintain plenty of plausible onstage activity never flags. Not surprisingly, the play’s simplest scene—a dialogue which two characters conduct entirely on their knees on an otherwise empty stage—is the play’s weakest...