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...wanted to lead his nation - and to which his words still point- was no easy one. He wanted no paternalistic government to arrange its citizens' lives, no hidebound society to order their thoughts and actions. To him, the perfect state had "a wise and frugal government which shall restrain men from injuring one another . . . [and] leave them otherwise free to regulate their own pursuits of industry and improvement" -to live their lives in as tumultuous, glorious, ambitious a disorder as they please...

Author: /time Magazine | Title: HEROES: Jefferson's 200th | 4/12/1943 | See Source »

Came the turn of Ohio's Senator Har old H. Burton. "If we restrain industry and finance, then you are willing to work on holding down the wages?" The Lewis jowls quivered and broke into a sly grin. "Will you telephone me?" Senator Burton retreated in haste...

Author: /time Magazine | Title: Performance | 4/5/1943 | See Source »

...hours after his guest had departed, old Muley Doughton magnanimously held his tongue. Then, unable to restrain himself any longer, he had his office issue a communique whose note of triumph was the louder for being restrained: "Mr. Morgenthau said that . . . he was anxious to cooperate with . . . Congress in the most helpful way possible in working out a satisfactory tax program. Secretary Morgenthau made it plain . . . that he was most anxious to continue to work in harmony with the committee in whatever manner it was deemed would produce the best results...

Author: /time Magazine | Title: U.S. At War: Mr. Morgenthau Pays a Call | 12/14/1942 | See Source »

...patent laws was told to the Senate Patents Committee last week. Thurman Arnold's men, as usual, played up the Nazi angle, since the case grew out of the relationships between Standard Oil Co. (N.J.) and I.G. Farbenindustrie. But their real point was that U.S. patent laws restrain U.S. trade...

Author: /time Magazine | Title: PATENTS: Paraflow and Paradox | 5/18/1942 | See Source »

...find occasionally in Mahler, who anticipated T. S. Eliot's patchwork technique in this respect. A conductor, however, has to "get inside" a Bach or Debussy, and to interpret a number of radically different styles in the spirit in which they were used. Stokowski, always the actor, can't restrain himself from making self-revealing comments in program notes and short speeches. Last winter he announced a Bach work about to be played as "an inspired inspiration." Toscanini wisely says and writes nothing at all, because his interpretative range is clearly limited. But after the magnificent Koussevitzky performances of this...

Author: By Robert W. Flint, | Title: THE MUSIC BOX | 5/6/1942 | See Source »

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