Word: sighings
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Dates: during 1950-1959
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...queens in reissues inspired by the current film about her life, Love Me or Leave Me (TIME, June 6). Ruth Etting is past mistress of the musical affectations of the jazz age-the faint hiccup, the tear in the larynx, the lilting dash into a phrase and the heartbroken sigh as it ends. Today, some of it sounds laughable, but Songstress Etting's languorous sweetness and warmth make most of it sound just fine. Songs range from the razzmatazz rhythms of Shaking the Blues Away and At Sundown to the seductive Mean to Me and I'll Never...
...visits with Lamb and turned her out, Harriette told herself, "This is what one gets by acting with principle." She never made the same mistake again. Having left Craven for Lamb, she left Lamb for the Duke of Argyll. Entertaining a likely buck at the opera, Harriette would sigh: "His legs were so beautiful, and his skin so clear and transparent . . . and 30,000 a year besides." The proudest titles of Britain vied for her favor; the heirs to great fortunes rushed from Oxford and Cambridge to throng her opera...
Ravel: Schéhérazade (Suzanne banco, soprano; Suisse-Romande Orchestra conducted by Ernest Ansermet; London). Three lovely songs with luxuriant orchestral accompaniment: Asie is an extended sigh for the exotic pleasures of the Orient; La Flute Enchantée is played with caressing delicacy by the beautiful slave-girl's lover; L'Indifférent subtly describes a handsome stranger who bypasses some unspecified hospitality...
Probably one of the few persons in Widener who has a sigh of regret when the library closes at ten each evening is Harry Austryn Wolfson, Harvard's Nathan Littauer Professor of Hebrew Literature and Philosophy. With an enthusiasm unabated today by forty years of research and teaching, Wolfson works as nearly around the clock as he can in Widener B-45--a study crammed to utter confusion with books, pamphlets, and papers that fill up the ceiling-high shelves on three sides of the room, overflow on the mammoth desk in the middle, and encumber every available chair with...
...these poems, Honig most often adopts a position of removal from the subject he is treating, so that even his description of a very personal incident in "Do You Love Me?" combines dispassion with its emotional impact: ". . . Her dying sigh denies/The quiet settling idly on/His polished shoe. One blunt toe/Gleams back a flawless eye at him/As he dangles from the sigh." The poet reports single acts or aspects of the circus: the morality or the moral are implicit in the way he sees them and transmits them to the reader. And it is at this point that Honig the poet...