Word: breathing
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Harvard students leaders said they have not yet decided on a specific course of action for the remainder of the school year. "After a major mobilization like the rally, I think it's god to stop and catch your breath and think out the next step," said Hagerman...
Iacocca talks nonstop, like the salesman he is. If not for the humor and the regular flashes of common sense, his declamations would be rants. When Iacocca gets going, which is usual, he pauses only when he runs out of breath. He is in such a rush to say so many things that he cannot always be bothered to find the mot juste: if guys is his trademark noun, helluva is Iacocca's favorite modifier...
Today Handel's 41 operas, once so fashionable, are infrequently performed. This is due to changing tastes and the disappearance of the singers for whom many of his major roles were written: the castrati, the surgically altered male sopranos whose vocal power, awesome breath control and dazzling technique stunned audiences from the Sistine Chapel to Covent Garden. Of his 24 oratorios in English, only the redoubtable Messiah is a concerthall staple, and his best-loved instrumental works are such occasional pieces as the Water Music. Oddly, for one who used to loom so large, Handel awaits popular rediscovery...
...Dauphin. This spectrally beautiful, thin, pale child speaks a bewildering mixture of French and "Ol' Kintuck," the hayseed dialect he absorbed during his brief exposure to Governor Davis' three strapping sons: "O, he jest being plain bad. O, il m'echappe toujours!" All the Sioux are holding their breath to see how George takes to Castleton. Armand reassures his brother-in-law: "The Dauphin has a truly terrifying sense of gratitude. You'll be annihilated by it, my poor Vince. Nothing can stand up against this terrible, slow gratitude of the Dauphin...
Ironically, or perhaps only to be expected, the questions of the interviewer, often appallingly inane, come to us as interruptions, unsolicited intrusions. We resent the seemingly gratuitous impetus, the impulse that prompts the question: we hold our breath as if for an expected blow. Barthes' voice moves ahead, seeks us out, and it is this trajectory that abort, itself, fails when the other voice, harse, discordant, "somewhat sadistic," breaks in. If there is place for the reader, the privileged spectator in this staging without a stage, it lies in the crying of the question, "how do you know when...