Word: victorians
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Dates: during 1930-1939
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...theatrical reforms of Madame Vestris, by Leo Waitzkin '33. The following theses have appeared in previous years: "Poetical Intoxication," by W. N. Bates '30; "Shakspere and the Ireland Forgeries," by Derk Bodde '30; "The Respectability of Mr. Bernard Shaw," by Ayers Brinser '31; "The Creed of a Victorian Pagan," by Robert Peel '31; and "Shilling Shockers of the Gothic School," by W. W. Watt '32. Publication of honors theses is made possible by a grant from the Visiting Committee of the Board of Overseers...
...midst of a number of characters and characterizations which are about as lifelike as Victorian porcelain under glass, hitherto frail Miss Gish stands out full-blooded and alive. Gone is her pastel shy- ness, gone are her girlish gasps as she takes the part of the murderess who gave up a pallid suitor to stalk Electra-like after her vicious father and his paramour through the gloom of their New England parlor, killing one with a walking stick, another with a flat iron. Actress Gish still has a strong hold on her part in the otherwise flabby final scene when...
...persuades Sheriff Brown to hang his good friend Captain Macheath because the erring captain has won the heart of Jonathan's daughter Polly. Robert Chisholm (Sweet Adeline) plays Macheath with grace, not in the costume of an 18th Century highwayman but with the spats and swordcane of a Victorian confidence man. Polly is Steffi Duna, who in Hungary was called "Steffi, the Wonder Child." Pert Miss Duna, whose elfin face looks not unlike Sylvia Sidney's, played in Noel Coward's Words & Music in London earlier this season, is now making...
From some references to her Memories in Lorenzo in Taos, readers might have supposed that Authoress Luhan's autobiographical purpose was to rip off the veils and drawers of Victorian hypocrisy. But very little is removed in this first...
...Victorian Sunset" is not wholly successful as intellectual history. Despite the brilliance of the chapters on the first transition from the seventies, on aristocracy and society, on "The New Machiavellianism" and "The New Bourgeoisie," it often resolves itself into summary, and nothing more. The biographical vignettes, of Disraeli, Wilde and others are striking and original, but in several instances questionable; and there is occasionally a suspicious naivete in the point of view. This may well be a defect of the stylist and not the historian. The writing of the book certainly is marred by a sort of false urbanity...