Word: twentieths
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Perhaps the most moving story--and the most delightful--is the first one, "A Jew of Persia," where the folktale situation of a woodsman's encounter with the Devil is firmly set into twentieth-century Israel. When the situation is reversed and he is writing about everyday America, Helprin often feels compelled to use style and language to give his story an exotic strain. Helprin is not unique in his desire to blend the old and the new--he is following such writers as John Fowles and Isaac Bashevis Singer--but he has managed, through the juxtaposition of form...
Most of what is laudable in the Harvard-Yale rivalry occurs directly on the playing field. The final whistle leaves the losers dejected at best, but usually still able to congratulate their vanquishers. In the twentieth century most outings have involved little if any intentional violence. Cynics might argue that opponents want to leave this final game on good terms with one another because they will soon be meeting again in corporate board rooms and top-level government offices, but this does not demean the players' on-the-field composure...
...those from Harvard and Yale. Still, both bands find opportunities for genial sparring. Yale's marchers form a huge drum and carry a fifteen-foot-long drumstick across the field while bemoaning the pitiful size of much of Harvard's equipment. And the Harvard band takes advantage of twentieth century technology by flying a plane over the stadium with a banner reading, "Yale Band Eats Moose...
...romantic gem. Lelouch, also responsible for A Man and A Woman, is bold enough to film a love affair and yet leave his main characters separated until the last frames. As he develops the lives of his two lovers, Lelouch also traces the history of France in the twentieth century. While his character's political statements never rise above the level of glib Reaganisms, the film still manages to retain its charm. Also playing is another Lelouch feature, Happy New Year, a comic cops and robbers number...
...rest of the characters, is not an exclusively modern event (it is probably part of the romantic desire to see heroes in villains and vice versa, that made Satan the hero of Paradise Lost), though it has gained great impetus from the horrors of anti-semitism in the twentieth century. The basic font and origin of the trouble with The Merchant of Venice is something nearly unique in Shakespeare--an unresolved tension between an Elizabethan stage convention (the evil Jew) and Shakespeare's own meaning...