Word: though
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Dates: during 1930-1939
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Modern cathedrals, dependent for their growth on donations from the pious, rise slowly-though nothing like as slowly as the cathedrals of the Middle Ages. Sometimes their upthrust is accelerated when a rich man dies, leaves a legacy. San Francisco's Grace Cathedral (Episcopal), building since 1910 on Nob Hill, has had a different course. For the past year its staff has watched, with anxious eyes, the state of health of a doddering, 85-year-old retired dentist named Dr. Nathaniel Coulson. To the Cathedral's building fund, pious Dr. Coulson has assigned the income of no less...
...cause of this wholesale bonanza is a single star: Gene Autry. Though most cinemaddicts in big cities have never seen him on the screen and never heard of him, Gene Autry is not only by far the most famed performer in modern "westerns" but quite possibly the most popular cinemactor in the world...
...Though no longer an infant prodigy, Virovai arrived in Manhattan wearing short pants, immediately changed them for more dignified trousers, of which he is proud as Punch. The thing that completely floored him in Manhattan was automats. He spent hours in one, stuffing slots with nickels and himself with the food that popped...
...recent years, having wrenched the J. from his name, Atkinson-though thoughtful as ever about good plays-has become a Katzenjammer Kid about bad ones. This season he has pulled leg after leg of flop after flop. Of Case History he wrote: "The stepmother goes off her chump." Of Come Across: "You see him in bed, which is no treat." Of The Devil Takes a Bride: "This is a sordid tale, my mates." Of the author of The Good: "An old Hudson (N. Y.) boy, Mr. Erskin . . . should hesitate about visiting back home." Of Thanks for Tomorrow: "Thanks for tomorrow...
Except for this last-minute affirmation, it might seem as though it was Danton's Death that Shakespeare had in mind when he wrote of "sound and fury, signifying nothing." For the play is a dark forest of conflicting themes, can be variously regarded as a study in revolutionary disillusionment, an attack on revolutionary fanaticism, a defense of revolutionary intransigence. Danton can be seen as victim or traitor, Robespierre as scourge or hero, or both as merely instruments in a historical process. But Danton's Death is just as undramatic as it is indecisive. Fatalistic, Hamletesque Danton, bogged...