Word: partings
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Dates: during 1930-1939
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...Government is thinking all the time of the interests of British capital." When Attlee tired, Sir Archibald Sinclair took up the attack for the Liberal forces. Said he: "Unlike this Government, Franco will remain faithful to his own principles and own friends. . . . Don't forget that a part of the policy of Franco's supporters is the recovery of Gibraltar from Britain." The British Government's epitaph, asserted scornful Sir Archibald, should be "We have eaten dirt in vain...
...John Bellinger, that he was 35 years old, that he was a cafe dishwasher, that he had always followed his nose until a few days before. Then he found it impossible to walk forward and, driven by an irresistible urge to walk backward, he began to follow another part of his body. Since hospital physicians found Bellinger in excellent physical health, they called in two psychiatrists...
...knows if Hearst will live that long, and so the trusteeship is a race against death, when the Government may demand up to 20% in inheritance taxes and creditors can no longer be stalled. Even more, it is a race against dwindling confidence. Judge Shearn has abandoned a large part of the Hearst empire, and well he knows how ephemeral is the faith that holds the rest of it together. To restore confidence in a name that for half a century has stood for the exploitation of human gullibility to gratify one man's caprice...
Five Kings, Part I (adapted by Orson Welles from Shakespeare's King Richard II, Henry IV, Parts I & II, Henry V; produced by the Theatre Guild Inc.). When Richard Bentley, the greatest English classical scholar of his age, read Alexander Pope's famed translation of the Iliad, he remarked: "A very pretty poem, Mr. Pope, but you must not call it Homer." In Boston last week, when Orson Welles presented the first half of his much-touted, much-trimmed version of Shakespeare's chronicle plays, certain it was that-pretty or otherwise-Welles should not call...
...result, Part I of Five Kings is a chaotic Shakespearean vaudeville in which the sense of history is conveyed chiefly by having all the characters grow older, and some of them die. The production lacks all style and almost all significance. What might have been a tour de force jumps so fast from one thing to another as to be a non sequitur de force. Often good theatre, it is never good drama, just as Welles's portrayal of the fat knight is often good fun but seldom good Falstaff. Played on a twelve-part revolving stage that keeps...