Word: tates
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Faced with the Labor government's plan to take over the sugar industry, Great Britain's biggest sugar company, Tate & Lyle, decided to fight back. On the 2,000,000 cartons of sugar it sells daily, Tate &. Lyle printed: "Keep S Out of State"; "Tate, Not State"; "Untouched by Hand-Hands Off Sugar." Last week, after two months of campaigning, Tate & Lyle's Lord Lyle charged that the Ministry of Food had tried to throttle his propaganda. Not so, said the Ministry: "Lord Lyle's statement mystifies us. The ministry has no powers, to intervene...
With that assurance, Tate &. Lyle went ahead with a new slogan to bedevil the Labor government. Beginning this week, its packages will carry a cartoon showing "Mr. Cube" pointing to sugar pouring from a gaping hole in a sugar box. The caption: "Nationalization will make a hole in your pocket and a hole in my packet...
From 1681 to 1840-while Shakespeare spun in his grave-London theatergoers saw, and enjoyed, King Lear with a happy ending. In a version by Poet Laureate Nahum Tate, which used most of Shakespeare's plot and many of his lines, it was played by such theatrical greats as David Garrick and Edmund Kean, and applauded by Dr. Samuel Johnson. Even Charles Lamb, who disliked the happy-ending version, conceded that it had a certain stageworthiness when he wrote: "Tate has put his hook in ... this Leviathan, for Garrick and his followers ... to draw it about more easily...
Theater, the old hook was sharpened for the first time in a century. With an apologetic epilogue to appease a generation of Bardolators, the Oxford University Players took a chance on Tate's happy Lear. Instead of a cruel death by hanging, Heroine Cordelia eventually got her man (Edgar) and a fatherly blessing from a mentally restored Lear. Risking all, the Oxford undergraduates even wore the ruffled costumes of Garrick's day, which gave their stage movements a look of mincing foppishness...
...opening-night reviews had a happy ending too. Said the News Chronicle: "The production is by no means a travesty. It is elegantly done . . ." The sober Times went even further with its approval: "Tate's version affords an interesting peep into the Age of Reason, and the long, leisurely, sensible century that followed . . . The additions are in authentic baroque, as curled and complacent and conventional as the peruke...