Word: passion
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Dates: during 1930-1939
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...Oberammergau, nestling among mountains and presenting every decade a Passion Play to commemorate its deliverance from pestilence.* But many a Roman Catholic parish offers some kind of play or pageant. Jesuits and Franciscans have given performances in San Francisco. Chicago has an annual and Milwaukee a biennial sacred play. A nine-act drama, The Passion, is given at St. Xavier College in Cincinnati. Last week as Lent opened, pious spectacles began to appear...
...married to the music of gunfire, who rallied his followers to the cause of Nicaraguan independence, was more than a more jungle bandit--he was the personification of revolt against American imperialism. Death to sandino was but a moment of discomfort, not to be taken seriously. His all-consuming passion was liberty...
...certain grim note is added to the picture by the knowledge that it is not a fictional account. The murderer is obviously a sexual pervert, a fact that is brought out beautifully and skillfully--who finds himself ruled by an insatiable desire to murder small children. In satisfying his passion he terrorizes the city: the police unable to find him, take to rounding up the underworld: whereupon gangland sets out to get the murderer in order to save themselves. They succeed and give him a mock trial, but before they can kill him the police rush in and the picture...
...studies the evolution of the novelist Galsworthy "through the interpretative medium of mood and mental attitude." The three chief figures in "The Man of Property" she takes as symbols of certain prime, moving ideas: "The Will to Property," "Beauty, impinging on a possessive world," and "the eternal force of Passion." The tragic clash of these three, in its grimness and covert intensity, is compared to Greek tragedy. How cleverly the authoress has argued her parallel may be seen by this sentence: "An instinctive dread, a premonition of danger, seizes the Chorus (the lesser Forsytes) even before the appearance of this...
Merry Mount started off with a promising overture, stanch and hymnal. After that the orchestra seemed capable of only the most commonplace description. The Hell scene was noisy but unexciting. Bradford's passion for Marigold was expressed by a theme startlingly like "Limehouse Blues." The Puritan chorus had the richest music but it sang so often, intoned so many ''Amens" that at times the opera seemed more like a cantata, more suitable for a concert performance such as it received last spring in Ann Arbor (TIME...