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Word: woes (lookup in dictionary) (lookup stats)
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With frilly feminism she has no truck. "Millions of women make themselves miserable because their husbands never make love to them," she has said. "These suffering sisters could save themselves nearly all their woe if they would just throw their rosy dreams of how a husband should treat a wife into the discard. . . . A man marries to end romance...

Author: /time Magazine | Title: Press: Decades of Dix | 4/20/1936 | See Source »

...either one may distort one's personal standard of values and produce disillusionment. But although individual sorrows are unfortunate, I feel that they offer the only true subject for tragedy. The tragedy of the 'forgotten man,' of economic misfortune, can never reach great heights. The drama of deep personal woe, which is nobody's fault, but which comes from an inevitable accumulation of adversities, is the only legitimate subject for real tragedy...

Author: NO WRITER ATTRIBUTED | Title: Frost Describes Jobs of College Days; Deplores Modern Bitterness in Writing | 3/9/1936 | See Source »

...poor little fellow on probation came in the other day and told us a pathetic tale of woe. He suggested that we write an editorial about it. Therefore we air his griefs on the editorial page...

Author: NO WRITER ATTRIBUTED | Title: The Crime | 11/29/1935 | See Source »

...Japanese Naval headquarters. At this news in utter panic rich & poor Chinese alike fled from Chapei in the native quarter of Shanghai to the International Settlement which proved safe in 1932 when the Japanese blew Chapei to bloody smithereens. If the Araki Brothers were at it again, then woe to China, no matter who murdered the Japanese Marine. As a matter of course, Admiral Araki assumed the killer to be Chinese, posted some 2,000 Japanese bluejackets with fixed bayonets "defending the scene of the crime" and blustered at the Mayor of Greater Shanghai, Quaking General Wu Teh-chen...

Author: /time Magazine | Title: CHINA-JAPAN: Araki Brothers & Murder | 11/18/1935 | See Source »

...Paris has been generally recognized abroad as one of the authentic masterpieces of the contemporary cinema. Superficially, it is the story of Rose, the school housemaid (Madeleine Renaud) whose intuitive sympathy for the inmates brings her to the favorable attention of the government doctor, and of Marie (Paulette Elambert), woe-begone little daughter of a Montmartre prostitute, who chooses Rose as her protector when her mother runs away. Essentially, it is not a story at all but a series of small panels depicting the daily life of the moppets and their guardians...

Author: /time Magazine | Title: Cinema: The New Pictures: Oct. 28, 1935 | 10/28/1935 | See Source »

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