Word: version
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Dates: during 1950-1959
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...Prioresse's Tale Geoffrey Chaucer ended his version of one of the best-known stories of the Middle Ages. "In 1255," according to contemporary Chronicler Matthew Paris, "the Jews of Lincoln stole a boy called Hugh, who was about eight years old." After fattening him up, they were said to have staged a mock re-enactment of the Crucifixion, killing little Hugh to the accompaniment of fiendish tortures. "When the boy was dead," Paris concludes, "they took the body down from the cross, and for some reason disemboweled it; it is said for the purpose of their magic arts...
...three feet, three inches long." For years, on a plaque above the tomb, visitors to Lincoln Cathedral could read a full account of the story, softened only by a small postscript casting doubt on its authenticity. Last week the plaque disappeared. To replace it, a new version was being lettered: "Trumped up stories of 'ritual murders' of Christian boys by Jewish communities were common throughout Europe during the Middle Ages and even much later. These fictions cost many innocent Jews their lives. [They] do not redound to the credit of Christendom, and we pray, 'Remember not, Lord...
...strangely with the thick boffola of the comic scenes, it produces a sense of dislocation, a sort of emotional lacuna. Not that there is anything wrong with emotional lacunae: such an effect was doubtless what the producers of the original film were after. But the dislocation in the present version acts to no purpose and fails to convey the desired jarring effect...
Changed Scene. Outstanding among the young realists is 31-year-old John Bratby (TIME, March 12, 1956), who was called in to paint Gulley Jimson's big-footed canvases in the film version of Joyce Gary's The Horse's Mouth. "It's illogical and mad," Bratby confessed afterwards, "and springs from God knows where, but when the spotlight's on me, I feel enormously encouraged." Last week the spotlight was on Bratby again, with a show in London's Zwemmer Gallery of 28 new oils, turned out at a stupendous clip...
...meantime, De Groot is filling out his concert season with old standbys, e.g., the Brahms version of Bach's Violin Chaconne, which he played last week to critical huzzahs on the Dutch radio. He is also rearranging pieces by Debussy, Grieg, Liszt, Rachmaninoff. And if the day should ever come when he exhausts both the old and the new repertories, he sees an almost endless future in recording. Under the name "Guy Sherwood," for instance, he appears in a radio series on which he plays numbers such as Kitten on the Keys, for which he has deftly recorded first...