IT IS NOT NEWS that Nathan Milstein is a wizard of the violin . Certainly not in Orchestra hall where he has played countless recitals , and where Thursday night he celebrated his 20th season with the Chicago Symphony orchestra , playing the Brahms Concerto with his own slashing , demon-ridden cadenza melting into the high , pale , pure and lovely song with which a violinist unlocks the heart of the music , or forever finds it closed . 
There was about that song something incandescent , for this Brahms was Milstein at white heat . Not the noblest performance we have heard him play , or the most spacious , or even the most eloquent . Those would be reserved for the orchestra 's great nights when the soloist can surpass himself . This time the orchestra gave him some superb support fired by response to his own high mood . But he had in Walter Hendl a willing conductor able only up to a point . 
That is , when Mr. Milstein thrust straight to the core of the music , sparks flying , bow shredding , violin singing , glittering and sometimes spitting , Mr. Hendl could go along . But Mr. Hendl does not go straight to any point . He flounders and lets music sprawl . There was in the Brahms none of the mysterious and marvelous alchemy by which a great conductor can bring soloist , orchestra and music to ultimate fusion . So we had some dazzling and memorable Milstein , but not great Brahms . 
The concert opened with another big romantic score , Schumann 's Overture to " Manfred " , which suffered fate , this time with orchestral thrusts to the Byronic point to keep it afloat . Hindemith 's joust with Weber tunes was a considerably more serious misfortune , for it demands transluscent textures , buoyant rhythms , and astringent wit . It got the kind of scrambled , coarsened performance that can happen to best of orchestras when the man with the baton lacks technique and style .  BAYREUTH NEXT SUMMER  The Bayreuth Festival opens July 23 with a new production of " Tannhaeuser " staged by Wieland Wagner , who is doing all the operas this time , and conducted by Wolfgang Sawallisch . Sawalisch also conducts " The Flying Dutch " , opening July 24 . " Parsifal " follows July 25 , with Hans Knappertsbusch conducting , and he also conducts " Die Meistersinger " , to be presented Aug. 8 and 12 . The " Ring " cycles are July 26 , 27 , 28 and 30 , and Aug. 21 , 22 , 23 and 25 . Rudolf Kempe conducts . No casts are listed , but Lotte Lehmann sent word that the Negro soprano , Grace Bumbry , will sing Venus in " Tannhaeuser " . 
REMEMBER HOW BY a series of booking absurdities Chicago missed seeing the Bolshoi Ballet ? Remember how by lack of two big theaters Chicago missed the first visit of the Royal Danish Ballet ? Well , now we have two big theaters . But barring a miracle , and do n't hold your breath for it , Chicago will not see the Leningrad-Kirov Ballet , which stems from the ballet cradle of the Maryinsky and is one of the great companies of the world . 
Before you let loose a howl saying we announced its coming , not once but several times , indeed we did . The engagement was supposed to be all set for the big theater in McCormick Place , which Sol Hurok , ballet booker extraordinary , considers the finest house of its kind in the country — and of course he does n't weep at the capacity , either .    It was all set . Allied Arts corporation first listed the Chicago dates as Dec. 4 thru 10 . Later the Hurok office made it Dec. 8 thru 17 , a nice , long booking for the full repertory . But if you keep a calendar of events , as we do , you noticed a conflict . Allied Arts had booked Marlene Dietrich into McCormick Place Dec. 8 and 9 . Something had to give . Not La Dietrich . Allied Arts then notified us that the Kirov would cut short its Los Angeles booking , fly here to open Nov. 28 , and close Dec. 2 . Shorter booking , but still a booking . We printed it . 
A couple of days later a balletomane told me he had telephoned Allied Arts for ticket information and was told " the newspapers had made a mistake " . So I started making some calls of my own . These are the results .    The Kirov Ballet is firmly booked into the Shrine Auditorium , Los Angeles , Nov. 21 thru Dec. 4 . Not a chance of opening here Nov. 28 — barring that miracle . Then why not the juicy booking Hurok had held for us ? Well , Dietrich wo n't budge from McCormick Place . Then how about the Civic Opera house ? Well , Allied Arts has booked Lena Horne there for a week starting Dec. 4 . 
Queried about the impasse , Allied Arts said : " Better cancel the Kirov for the time being . It 's all up in the air again " . 
So the Kirov will fly back to Russia , minus a Chicago engagement , a serious loss for dance fans — and for the frustrated bookers , cancellation of one of the richest bookings in the country . 
Will somebody please reopen the Auditorium ? 
Paintings and drawings by Marie Moore of St. Thomas , Virgin Islands , are shown thru Nov. 5 at the Meadows gallery , 3211 Ellis av. , week days , 3 p. m. to 8 p. m. , Sundays 3 p. m. to 6 p. m. , closed Mondays .     An exhibition of Evelyn Cibula 's paintings will open with a reception Nov. 5 at the Evanston Community center , 828 Davis st . It will continue all month .    Abstractions and semi-abstractions by Everett McNear are being exhibited by the University gallery of Notre Dame until Nov. 5 . 
In the line of operatic trades to cushion the budget , the Dallas Civic Opera will use San Francisco 's new Leni Bauer-Ecsy production of " Lucia di Lammermoor " this season , returning the favor next season when San Francisco uses the Dallas " Don Giovanni " , designed by Franco Zeffirelli . 
H E. BATES has scribbled a farce called " Hark , Hark , the Lark " ! It is one of the most entertaining and irresponsible novels of the season . 
If there is a moral lurking among the shenanigans , it is hard to find . Perhaps the lesson we should take from these pages is that the welfare state in England still allows wild scope for all kinds of rugged eccentrics . 
Anyway , a number of them meet here in devastating collisions . One is an imperial London stockbroker called Jerebohm . Another is a wily countryman called Larkin , whose blandly boisterous progress has been chronicled , I believe , in earlier volumes of Mr. Bates ' comedie humaine . 
What 's up now ? Well , Jerebohm and his wife Pinkie have reached the stage of affluence that stirs a longing for the more atrociously expensive rustic simplicities . 
They want to own a junior-grade castle , or a manor house , or some modest little place where Shakespeare might once have staged a pageant for Great Elizabeth and all her bearded courtiers . 
They are willing to settle , however , in anything that offers pheasants to shoot at and peasants to work at . And of course Larkin has just the thing they want .  SPLENDOR BY SORCERY  It 's a horror . The name of it is Gore Court , and it is surrounded by a wasteland that would impress T. S. Eliot . That 's not precisely the way Larkin urges them to look at it , though . He conjures herds of deer , and wild birds crowding the air . 
He suggests that Gore Court embodies all the glories of Tudor splendor . The stained-glass windows may have developed unpremeditated patinas , the paneling may be no more durable than the planks in a political platform . The vast , dungeon kitchens may seem hardly worth using except on occasions when one is faced with a thousand unexpected guests for lunch . 
Larkin has an answer to all that . The spaciousness of the Tudor cooking areas , for example , will provide needed space for the extra television sets required by modern butlers , cooks and maids . Also , perhaps , table-tennis and other indoor sports to keep them fit and contented . 
It 's a wonder , really , to how much mendacious trouble Larkin puts himself to sell the Jerebohms that preposterous manse . He does n't really need the immense sum of money ( probably converted from American gold on the London Exchange ) he makes them pay . 
For Larkin is already wonderfully contented with his lot . He has a glorious wife and many children . When he needs money to buy something like , say , the Rolls-Royce he keeps near his vegetable patch , he takes a flyer in the sale of surplus army supplies . One of those capital-gains ventures , in fact , has saddled him with Gore Court . He is willing to sell it just to get it off his hands . 
And the Jerebohms are more than willing to buy it . They plan to become county people who know the proper way to terminate a fox 's life on earth .  FIRST ONE , THEN THE OTHER  If , in Larkin 's eyes , they are nothing but Piccadilly farmers , he has as much to learn about them as they have to learn about the ways of truly rural living . 
Mr. Bates shows us how this mutual education spreads its inevitable havoc . Oneupmanship is practiced by both sides in a total war . 
First the Larkins are ahead , then the Jerebohms . After Larkin has been persuaded to restock his tangled acres with pheasants , he poaches only what he needs for the nourishment of his family and local callers . One of the local callers , a retired brigadier apparently left over from Kipling 's tales of India , does not approve of the way Larkin gets his birds . 
He does n't think that potting them from a deck chair on the south side of the house with a quart glass of beer for sustenance is entirely sporting . But the brigadier dines on the birds with relish . 
IT is truly odd and ironic that the most handsome and impressive film yet made from Miguel de Cervantes ' " Don Quixote " is the brilliant Russian spectacle , done in wide screen and color , which opened yesterday at the Fifty-fifth Street and Sixty-eighth Street Playhouses . 
More than a beautiful visualization of the illustrious adventures and escapades of the tragi-comic knight-errant and his squire , Sancho Panza , in seventeenth-century Spain , this inevitably abbreviated rendering of the classic satire on chivalry is an affectingly warm and human exposition of character .    Nikolai Cherkasov , the Russian actor who has played such heroic roles as Alexander Nevsky and Ivan the Terrible , performs the lanky Don Quixote , and does so with a simple dignity that bridges the inner nobility and the surface absurdity of this poignant man . 
His addle-brained knight-errant , self-appointed to the ridiculous position in an age when armor had already been relegated to museums and the chivalrous code of knight-errantry had become a joke , is , as Cervantes no doubt intended , a gaunt but gracious symbol of good , moving soberly and sincerely in a world of cynics , hypocrites and rogues . 
Cherkasov does not caricature him , as some actors have been inclined to do . He treats this deep-eyed , bearded , bony crackpot with tangible affection and respect . Directed by Grigory Kozintsev in a tempo that is studiously slow , he develops a sense of a high tradition shining brightly and passing gravely through an impious world . 
The complexities of communication have been considerably abetted in this case by appropriately stilted English language that has been excellently dubbed in place of the Russian dialogue . The voices of all the characters , including that of Cherkasov , have richness , roughness or color to conform with the personalities . And the subtleties of the dialogue are most helpfully conveyed . Since Russian was being spoken instead of Spanish , there is no violation of artistry or logic here . 
Splendid , too , is the performance of Yuri Tolubeyev , one of Russia 's leading comedians , as Sancho Panza , the fat , grotesque " squire " . Though his character is broader and more comically rounded than the don , he gives it a firmness and toughness — a sort of peasant dignity — too . It is really as though the Russians have seen in this character the oftentimes underlying vitality and courage of supposed buffoons . 
The episode in which Sancho Panza concludes the joke that is played on him when he is facetiously put in command of an " island " is one of the best in the film .    True , the pattern and flow of the drama have strong literary qualities that are a bit wearisome in the first half , before Don Quixote goes to the duke 's court . But strength and poignancy develop thenceforth , and the windmill and deathbed episodes gather the threads of realization of the wonderfulness of the old boy . 
There are other good representations of peasants and people of the court by actors who are finely costumed and magnificently photographed in this last of the Russian films to reach this country in the program of joint cultural exchange . 
Also on the bill at the Fifty-fifth Street is a nice ten-minute color film called " Sunday in Greenwich Village " , a tour of the haunts and joints .  
Television has yet to work out a living arrangement with jazz , which comes to the medium more as an uneasy guest than as a relaxed member of the family . 
There seems to be an unfortunate assumption that an hour of Chicago-style jazz in prime evening time , for example , could not be justified without the trimmings of a portentous documentary . At least this seemed to be the working hypothesis for " Chicago and All That Jazz " , presented on NBC-TV Nov. 26 . 
The program came out of the NBC Special Projects department , and was slotted in the Du Pont Show of the Week series . Perhaps Special Projects necessarily thinks along documentary lines . If so , it might be worth while to assign a future jazz show to a different department — one with enough confidence in the musical material to cut down on the number of performers and give them a little room to display their talents . 
As a matter of fact , this latter approach has already been tried , and with pleasing results . A few years ago a " Timex All-Star zz Show " offered a broad range of styles , ranging from Lionel Hampton 's big band to the free-wheeling Dukes of Dixieland . An enthusiastic audience confirmed the " live " character of the hour , and provided the interaction between musician and hearer which almost always seems to improve the quality of performance . 
About that same time John Crosby 's TV series on the popular arts proved again that giving jazz ample breathing space is one of the most sensible things a producer can do . In an hour remembered for its almost rudderless movement , a score of jazz luminaries went before the cameras for lengthy periods . The program had been arranged to permit the establishment of a mood of intense concentration on the music . Cameras stared at soloists ' faces in extreme closeups , then considerately pulled back for full views of ensemble work . 
" Chicago and All That Jazz " could not be faulted on the choice of artists . Some of the in-person performers were Jack Teagarden , Gene Krupa , Bud Freeman , Pee Wee Russell , Johnny St. Cyr , Joe Sullivan , Red Allen , Lil Armstrong , Blossom Seeley . The jazz buff could hardly ask for more . 
Furthermore , Garry Moore makes an ideal master of ceremonies . ( He played host at the Timex show already mentioned . ) 
One of the script 's big problems was how to blend pictures and music of the past with live performances by musicians of today . NBC had gathered a lot of historical material which it was eager to share . For example , there was sheet music with the word " jazz " in the title , to illustrate how a word of uncertain origin took hold . Samples soomed into closeup range in regular succession , like telephone poles passing on the highway , while representative music reinforced the mood of the late teens and 1920 's . 
However well chosen and cleverly arranged , such memorabilia unfortunately amounted to more of an interruption than an auxiliary to the evening 's main business , which ( considering the talent at hand ) should probably have been the gathering of fresh samples of the Chicago style . 
Another source of NBC pride was its rare film clip of Bix Beiderbecke , but this view of the great trumpeter flew by so fast that a prolonged wink would have blotted out the entire glimpse . Similarly , in presenting still photographs of early jazz groups , the program allowed no time for a close perusal . 
" Chicago and All That Jazz " may have wound up satisfying neither the confirmed fan nor the inquisitive newcomer . By trying to be both a serious survey of a bygone era and a showcase for today 's artists , the program turned out to be a not-quite-perfect example of either . Still , the network 's willingness to experiment in this musical field is to be commended , and future essays happily anticipated . 
Even Joan Sutherland may not have anticipated the tremendous reception she received from the Metropolitan Opera audience attending her debut as Lucia in Donizetti 's " Lucia di Lammermoor " Sunday night . 
The crowd staged its own mad scene in salvos of cheers and applause and finally a standing ovation as Miss Sutherland took curtain call after curtain call following a fantastic " Mad Scene " created on her own and with the help of the composer and the other performers . 
Her entrance in Scene 2 , Act 1 , brought some disconcerting applause even before she had sung a note . Thereafter the audience waxed applause-happy , but discriminating operagoers reserved judgment as her singing showed signs of strain , her musicianship some questionable procedure and her acting uncomfortable stylization . As she gained composure during the second act , her technical resourcefulness emerged stronger , though she had already revealed a trill almost unprecedented in years of performances of " Lucia " . She topped the sextet brilliantly . 
Each high note had the crowd in ecstasy so that it stopped the show midway in the " Mad Scene " , but the real reason was a realization of the extraordinary performance unfolding at the moment . Miss Sutherland appeared almost as another person in this scene : A much more girlish Lucia , a sensational coloratura who ran across stage while singing , and an actress immersed in her role . What followed the outburst brought almost breathless silence as Miss Sutherland revealed her mastery of a voice probably unique among sopranos today . 
This big , flexible voice with uncommon range has been superbly disciplined . Nervousness at the start must have caused the blemishes of her first scene , or she may warm up slowly . In the fullness of her vocal splendor , however , she could sing the famous scene magnificently . 
Technically it was fascinating , aurally spell-binding , and dramatically quite realistic . Many years have passed since a Metropolitan audience heard anything comparable . Her debut over , perhaps the earlier scenes will emerge equally fine . 
The performance also marked the debut of a most promising young conductor , Silvio Varviso . He injected more vitality into the score than it has revealed in many years . He may respect too much the Italian tradition of letting singers hold on to their notes , but to restrain them in a singers ' opera may be quite difficult . 
Richard Tucker sang Edgardo in glorious voice . His bel canto style gave the performance a special distinction . The remainder of the cast fulfilled its assignments no more than satisfactorily just as the old production and limited stage direction proved only serviceable . 
Miss Sutherland first sang Lucia at Covent Garden in 1959 . ( The first Metropolitan Opera broadcast on Dec. 9 will introduce her as Lucia . ) She has since turned to Bellini , whose opera " Beatrice di Tenda " in a concert version with the American Opera Society introduced her to New York last season . She will sing " La Sonambula " with it here next week . 
Anyone for musical Ping-pong ? 
It 's really quite fun — as long as you like games . You will need a stereo music system , with speakers preferably placed at least seven or eight feet apart , and one or more of the new London " Phase 4 " records . There are 12 of these to choose from , all of them of popular music except for the star release , Pass in Review ( SP-44001 ) . This features the marching songs of several nations , recorded as though the various national bands were marching by your reviewing stand . Complete with crowd effects , interruptions by jet planes , and sundry other touches of realism , this disc displays London 's new technique to the best effect . 
All of the jackets carry a fairly technical and detailed explanation of this new recording program . No reference is made to the possibility of recording other than popular music in this manner , and it would not seem to lend itself well to serious music . Directionality is greatly exaggerated most of the time ; but when the sounds of the two speakers are allowed to mix , there is excellent depth and dimension to the music . You definitely hear some of the instruments close up and others farther back , with the difference in placement apparently more distinct than would result from the nearer instruments merely being louder than the ones farther back . This is a characteristic of good stereo recording and one of its tremendous advantages over monaural sound . 
London explains that the very distinct directional effect in the Phase 4 series is due in large part to their novel methods of microphoning and recording the music on a number of separate tape channels . These are then mixed by their sound engineers with the active co-operation of the musical staff and combined into the final two channels which are impressed on the record . In some of the numbers the instrumental parts have even been recorded at different times and then later combined on the master tape to produce special effects . 
Some clue to the character of London 's approach in these discs may be gained immediately from the fact that ten of the 12 titles include the word " percussion " or " percussive " . Drums , xylophones , castanets , and other percussive instruments are reproduced remarkably well . Only too often , however , you have the feeling that you are sitting in a room with some of the instruments lined up on one wall to your left and others facing them on the wall to your right . They are definitely in the same room with you , but your head starts to swing as though you were sitting on the very edge of a tennis court watching a spirited volley . 
The Percussive Twenties ( SP-44006 ) stirs pleasant memories with well-known songs of that day , and Johnny Keating 's Kombo gives forth with tingling jazz in Percussive Moods ( SP-44005 ) . Big Band Percussion ( SP-44002 ) seemed one of the least attractive discs — the arrangements just did n't have so much character as the others . 
There is an extraordinary sense of presence in all of these recordings , apparently obtained at least in part by emphasizing the middle and high frequencies . The penalty for this is noticeable in the big , bold , brilliant , but brassy piano sounds in Melody and Percussion for Two Pianos ( SP-44007 ) . All of the releases , however , are recorded at a gratifyingly high level , with resultant masking of any surface noise . Pass in Review practically guarantees enjoyment , and is a dramatic demonstration of the potentialities of any stereo music system . 
Many Hollywood films manage somehow to be authentic , but not realistic . 
Strange , but true — authenticity and realism often are n't related at all . 
Almost every film bearing the imprimatur of Hollywood is physically authentic — in fact , impeccably so . In any given period piece the costumes , bric-a-brac , vehicles , and decor , bear the stamp of unimpeachable authenticity . 
The major studios maintain a cadre of film librarians and research specialists who look to this matter . During the making recently of an important Biblical film , some 40 volumes of research material and sketches not only of costumes and interiors , but of architectural developments , sports arenas , vehicles , and other paraphernalia were compiled , consulted , and complied with . 
But , alas , the authenticity seems to stop at the set 's edge . The drama itself — and this seems to be lavishly true of Biblical drama — often has hardly any relationship with authenticity at all . The storyline , in sort , is wildly unrealistic . 
Thus , in " The Story of Ruth " we have Ruth , Naomi , and Boaz and sets that are meticulously authentic . But except for a vague adherence to the basic storyline — i.e. , that Ruth remained with Naomi and finally wound up with Boaz — the film version has little to do with the Bible . 
And in the new " King of Kings " the plot involves intrigues and twists and turns that can not be traced to the Gospels . 
Earlier this month Edward R. Murrow , director of the United States Information Agency , came to Hollywood and had dinner with more than 100 leaders of the motion picture industry . 
He talked about unauthentic storylines too . He intimated that they were n't doing the country much good in the Cold War . And to an industry that prides itself on authenticity , he urged greater realism . 
" in many corners of the globe " , he said , " the major source of impressions about this country are in the movies they meet . Would we want a future-day Gibbon or Macaulay recounting the saga of America with movies as his prime source of knowledge ? Yet for much of the globe , Hollywood is just that — prime , if not sole , source of knowledge . If a man totally ignorant of America were to judge our land and its civilization based on Hollywood alone , what conclusions do you think he might come to ?  
Francois D'Albert , Hungarian-born violinist who made his New York debut three years ago , played a return engagement last night in Judson Hall . He is now president of the Chicago Conservatory College . His pianist was Donald Jenni , a faculty member at DePaul University . 
The acoustics of the small hall had been misgauged by the artists , so that for the first half of the program , when the piano was partially open , Mr. Jenni 's playing was too loud . In vying with him , Mr. D'Albert also seemed to be overdriving his tone . 
This was not an overriding drawback to enjoyment of the performances , however , except in the case of the opening work , Mozart 's Sonata in A ( K. 526 ) , which clattered along noisily in an unrelieved fashion . 
Brahm 's Sonata in A , although also vigorous , stood up well under the two artists ' strong , large-scale treatment . Mr. D'Albert has a firm , attractive tone , which eschews an overly sweet vibrato . He made the most of the long Brahmsian phrases , and by the directness and drive of his playing gave the work a handsome performance . 
A Sonata for Violin and Piano , called " Bella Bella " , by Robert Fleming , was given its first United States performance . The title refers to the nickname given his wife by the composer , who is also a member of the National Film Board of Canada . The work 's two movements , one melodically sentimental , the other brightly capricious , are clever enough in a Ravel-like style , but they rehash a wornout idiom . They might well indicate conjugal felicity , but in musical terms that smack of Hollywood . 
Works by Dohnanyi , Hubay , Mr. D'Albert himself and Paganini , indicated that the violinist had some virtuoso fireworks up his sleeve as well as a reserved attitude toward a lyric phrase . Standard items by Sarasate and Saint-Saens completed the program .  
IN recent years Anna Xydis has played with the New York Philharmonic and at Lewisohn Stadium , but her program last night at Town Hall was the Greek-born pianist 's first New York recital since 1948 . 
Miss Xydis has a natural affinity for the keyboard , and in the twenty years since her debut here she has gained the authority and inner assurance that lead to audience control . And the tone she commands is always beautiful in sound . 
Since she also has considerable technical virtuosity and a feeling for music in the romantic tradition , Miss Xydis gave her listeners a good deal of pleasure . She played with style and a touch of the grand manner , and every piece she performed was especially effective in its closing measures . 
The second half of her program was devoted to Russian composers of this century . It was in them that Miss Xydis was at her best . The Rachmaninoff Prelude No. 12 , Op. 32 , for instance , gave her an opportunity to exploit one of her special facilities — the ability to produce fine deep-sounding bass tones while contrasting them simultaneously with fine silver filagree in the treble . 
The four Kabalevsky Preludes were also assured , rich in color and songful . And the Prokofieff Seventh Sonata had the combination of romanticism and modern bravura that Prokofieff needs . 
Miss Xydis ' earlier selections were Mendelssohn 's Variations Serieuses , in which each variation was nicely set off from the others ; Haydn 's Sonata in E minor , which was unfailingly pleasant in sound , and Chopin 's Sonata in B flat minor . A memory lapse in the last somewhat marred the pianist 's performance . So what was the deepest music on her program had the poorest showing . Miss Xydis was best when she did not need to be too probing . 
ALL the generals who held important commands in World War /2 , did not write books . It only seems as if they did . And the best books by generals were not necessarily the first ones written . One of the very best is only now published in this country , five years after its first publication in England . It is " Defeat Into Victory " , by Field Marshal Viscount Slim . 
A long book heavily weighted with military technicalities , in this edition it is neither so long nor so technical as it was originally . Field Marshal Slim has abridged it for the benefit of " those who , finding not so great an attraction in accounts of military moves and counter-moves , are more interested in men and their reactions to stress , hardship and danger " . The man whose reactions and conclusions get the most space is , of course , the Field Marshal himself . 
William Joseph Slim , First Viscount Slim , former Governor General of Australia , was the principal British commander in the field during the Burma War . He had been a corps commander during the disastrous defeat and retreat of 1942 when the ill-prepared , ill-equipped British forces " were outmaneuvered , outfought and outgeneraled " . He returned in command of an international army of Gurkhas , Indians , Africans , Chinese and British . And in a series of bitterly fought battles in the jungles and hills and along the great rivers of Burma he waged one of the most brilliant campaigns of the war . " The Forgotten War " his soldiers called the Burma fighting because the war in Africa and Europe enjoyed priorities in equipment and in headlines . 
Parts of " Defeat Into Victory " are a tangle of Burmese place names and military units , but a little application makes everything clear enough . On the whole this is an interesting and exceptionally well-written book . Field Marshal Slim is striking in description , amusing in many anecdotes . He has a pleasant sense of humor and is modest enough to admit mistakes and even " a cardinal error " . He praises many individuals generously . He himself seems to be tough , tireless , able and intelligent , more intellectual and self-critical than most soldiers .  REMAKING AN ARMY TO WIN  " Defeat Into Victory " is a dramatic and lively military narrative . But it is most interesting in its account of the unending problems of high command , of decisions and their reasons , of the myriad matters that demand attention in addition to battle action . 
Before he could return to Burma , Field Marshal Slim had to rally the defeated remnants of a discouraged army and unite them with fresh recruits . His remarks about training , discipline , morale , leadership and command are enlightening . He believed in making inspiring speeches and he made a great many . He believed in being seen near the front lines and he was there . For general morale reasons and to encourage the efforts of his supply officers , when food was short for combat troops he cut the rations of his headquarters staff accordingly . 
Other crucial matters required constant supervision : labor and all noncombatant troops , whose morale was vital , too ; administrative organization and delicate diplomatic relations with Top Brass — British , American and Chinese ; health , hygiene , medical aid and preventive medicine ; hospitals ( inadequate ) and nurses ( scanty ) ; food and military supplies ; logistics and transport ; airdrops and airstrips ; roads and river barges to be built .  EXPECTED OF A COMMANDER  Commenting on these and other matters , Field Marshal Slim makes many frank and provocative remarks : 
" When in doubt as to two courses of action , a general should choose the bolder " . 
" The commander has failed in his duty if he has not won victory — for that is his duty " . 
" It only does harm to talk to troops about new and desirable equipment which others may have but which you can not give them . It depresses them . So I made no mention of air transport until we could get at least some of it " . 
Field Marshal Slim is more impressed by the courage of Japanese soldiers than he is by the ability of their commanders . Of the Japanese private he says : " He fought and marched till he died . If 500 Japanese were ordered to hold a position , we had to kill 495 before it was ours — and then the last five killed themselves " . 
Brooding about future wars , the Field Marshal has this to say : " The Asian fighting man is at least equally brave [ as the white ] , usually more careless of death , less encumbered by mental doubts , less troubled by humanitarian sentiment , and not so moved by slaughter and mutilation around him . He is , by background and living standards , better fitted to endure hardship uncomplainingly , to demand less in the way of subsistence or comfort , and to look after himself when thrown on his own resources " . 
A bunch of young buckaroos from out West , who go by the name of Texas Boys Choir , loped into Town Hall last night and succeeded in corralling the hearts of a sizable audience . 
Actually , the program they sang was at least two-thirds serious and high-minded , and they sang it beautifully . Under the capable direction of the choir 's founder , Geroge Bragg , the twenty-six boys made some lovely sounds in an opening group of Renaissance and baroque madrigals and motets , excerpts from Pergolesi 's " Stabat Mater " and all of the Britten " Ceremonial of Carols " . 
Their singing was well-balanced , clear and , within obvious limitations , extremely pleasing . The limitations are those one expects from untrained and unsettled voices — an occasional shrillness of almost earsplitting intensity , an occasional waver and now and then a bleat . 
But Mr. Bragg is a remarkably gifted conductor , and the results he has produced with his boys are generally superior . Most surprising of all , he has accomplished some prodigies in training for the production of words . The Latin , for example , was not only clear ; it was even beautiful . 
Furthermore , there were solid musical virtues in the interpretation of the music . Lines came out neatly and in good balance . Tempos were lively . The piano accompaniments by Istvan Szelenyi were stylish . 
A boy soprano named Dixon Boyd sang a Durante solo motet and a few other passages enchantingly . Other capable soloists included David Clifton , Joseph Schockler and Pat Thompson . 
The final group included folk songs from back home , stomped out , shouted and chanted with irresistible spirit and in cowboy costume . Boys will be boys , and Texans will be Texans . The combination proved quite irresistible last night .  
THE Polish song and dance company called Mazowsze , after the region of Poland , where it has its headquarters , opened a three-week engagement at the City Center last night . A thoroughly ingratiating company it is , and when the final curtain falls you may suddenly realize that you have been sitting with a broad grin on your face all evening . 
Not that it is all funny , by any means , though some of it is definitely so , but simply that the dancers are young and handsome , high-spirited and communicative , and the program itself is as vivacious as it is varied . There is no use at all in trying to follow it dance by dance and title by title , for it has a kind of nonstop format , and moves along in an admirable continuity that demands no pauses for identification . 
The material is all basically of folk origin , gleaned from every section of Poland . But under the direction of Mira Ziminska-Sygietynska , who with her late husband founded the organization in 1948 , it has all been put into theatrical form , treated selectively , choreographed specifically for presentation to spectators , and performed altogether professionally . Under the surface of the wide range of folk movements is apparent a sound technical ballet training , and an equally professional sense of performing .    Since the organization was created thirteen years ago , it is obvious that this is not the original company ; it is more likely the sons and daughters of that company . The girls are charming children and the men are wonderfully vital and engaging youngsters . The stage is constantly full of them ; indeed , there are never fewer than eight of them on stage , and that is only for the more intimate numbers . They can be exuberant or sentimental , flirtatious or funny , but the only thing they seem unable to be is dull . 
To pick out particular numbers is something of a problem , but one or two identifiable items are too conspicuously excellent to be missed . There is for example , a stunning Krakowiak that closes the first act ; the mazurka choreographed by Witold Zapala to music from Moniuszko 's opera , " Strasny Dwor' , may be the most beautiful mazurka you are likely ever to see ; there is an enchanting polonaise ; and the dances and songs from the Tatras contain a magnificent dance for the men . 
Everywhere there are little touches of humor , and the leader of the on-stage band of musicians is an ebullient comedian who plays all sorts of odd instruments with winning warmth .  
The THEATRE-BY-THE-SEA , Matunuck , presents " King of Hearts " by Jean Kerr and Eleanor Brooke . Directed by Michael Murray ; settings by William David Roberts . The cast :  
Producer John Holmes has chosen a delightful comedy for his season 's opener at Matunuck in Jean Kerr 's " King of Hearts " . 
The dialogue is sharp , witty and candid — typical " do n't eat the daisies " material — which has stamped the author throughout her books and plays , and it was obvious that the Theatre-by-the-Sea audience liked it . 
The story is of a famous strip cartoonist , an arty individual , whose specialty is the American boy and who adopts a 10-year-old to provide him with fresh idea material . 
This is when his troubles begin , not to mention a fiedgling artist who he hires , and who turns out to have ideas of his own , with particular respect to the hero 's sweetheart-secretary . 
John Heffernan , playing Larry Larkin , the cartoonist , carries the show in marvelous fashion . His portrayal of an edgy head-in-the-clouds artist is virtually flawless . 
This may be unfortunate , perhaps , from the standpoint of David Hedison , Providence 's contribution to Hollywood , who is appearing by special arrangement with 20th Century-Fox . Not that Mr. Hedison does not make the most of his role . He does , and more . But the book is written around a somewhat dizzy cartoonist , and it has to be that way . 
A word should be said for Gary Morgan , a Broadway youngsters who , as the adopted son , makes life miserable for nearly everybody and Larkin in particular . And for his playmate , Francis Coletta of West Warwick , who has a bit part , Billy . 
On the whole , audiences will like this performance . It is a tremendous book , lively , constantly moving , and the Matunuck cast does well by it . 
The NEWPORT PLAYHOUSE presents " EPITAPH FOR GEORGE DILLON " by John Osborne and Anthony Creighton , directed by Wallace Gray . 
The cast :  
The angriest young man in Newport last night was at the Playhouse , where " Epitaph for George Dillon " opened as the jazz festival closed . 
For the hero of this work by John Osborne and Anthony Creighton is a chap embittered by more than the lack of beer during a jam session . He 's mad at a world he did not make . 
Furthermore , he 's something of a scoundrel , an artist whose mind and feelings are all finger-tips . This is in contrast to the family with whom he boards . They not only think and feel cliches but live cliches as well . 
It is into this household , one eroded by irritations that have tortured the souls out of its people , that George Dillon enters at the beginning of the play . 
An unsuccessful playwright and actor , he has faith only in himself and in a talent he is not sure exists . By the end of the third act , the artist is dead but the body lingers on , a shell among other shells . 
Not altogether a successful play , " Epitaph for George Dillon " overcomes through sheer vitality and power what in a lesser work might be crippling . It is awfully talky , for instance , and not all of the talk is terribly impressive . But it strikes sparks on occasion and their light causes all else to be forgotten . 
There is a fine second act , as an example , one in which Samuel Groom , as Dillon , has an opportunity to blaze away in one impassioned passage after another . This is an exciting young actor to watch . 
Just as exciting but in a more technically proficient way is Laura Stuart , whose complete control of her every movement is lovely to watch . Miss Stuart is as intensely vibrant as one could wish , almost an icy shriek threatening to explode at any moment . 
Also fine are Sue Lawless , as a mother more protective and belligerent than a female spider and just as destructive , Harold Cherry , as her scratchy spouse , and Hildy Weissman , as a vegetable in human form . 
Wallace Gray has directed a difficult play here , usually well , but with just a bit too much physical movement in the first act for my taste . Still , his finale is put together with taste and a most sensitive projection of that pale sustenance , despair . 
The WARWICK MUSICAL THEATER presents " Where 's Charley ? " with music and lyrics by Frank Loesser , directed by Christopher Hewett , choreography by Peter Conlow , musical direction by Samuel Matlowsky . The cast :  
Everybody fell in love with Amy again last night at the Warwick Musical Theater , and Shelley Berman was to blame . 
One of the finest soft shoe tunes ever invented , " Once in Love with Amy " is also , of course , one of the most tantalizingly persistent of light love lyrics to come out of American musical comedy in our era . So the audience last night was all ears and eyes just after Act /2 , got a rousing opening chorus , " Where 's Charley ? " , and Berman sifted out all alone on the stage with the ambling chords and beat of the song just whispering into being . 
It is greatly to Berman 's credit that he made no attempt to outdo Ray Bolger . He dropped his earlier and delightful hamming , which is about the only way to handle the old war horse called " Charley 's Aunt " , and let himself go with as an appealing an " Amy " as anybody could ask . 
In brief , Berman played himself and not Bolger . The big audience started applauding even before he had finished . 
The whole production this week is fresh and lively . The costumes are stunning evocations of the voluminous gowns and picture hats of the Gibson Girl days . The ballet work is on the nose , especially in the opening number by " The New Ashmolean Marching Society and Students ' Conservatory Band " , along with a fiery and sultry Brazilian fantasia later . 
Berman , whose fame has rested in recent years on his skills as a night club monologist , proved himself very much at home in musical comedy . 
Sparrow-size Virginia Gibson , with sparkling blue eyes and a cheerful smile , made a suitably perky Amy , while Melisande Congdon , as the real aunt , was positively monumental in the very best Gibson Girl manner . 
All told , " Where 's Charley ? " ought not to be missed . It has a fast pace , excellent music , expert direction , and not only a good comedian , but an appealing person in his own right , Mr. Berman . 
The Broadway Theater League of Rhode Island presents C. Edwin Knill 's and Martin Tahse 's production of " FIORELLO ! " at Veterans Memorial Auditorium . The book is by Jerome Weidman and George Abbott , music by Jerry Bock , lyrics by Sheldon Harnick , choreography by Peter Gennaro , scenery , costumes and lighting by William and Jean Eckart , musical direction by Jack Elliott , and the production was directed by Mr. Abbott . The cast :  
This is one of the happier events of the season . 
The company which performed the Pulitzer Prize musical here last night and will repeat it twice today is full of bounce , the politicians are in fine voice , the chorines evoke happy memories , and the Little Flower rides to break a lance again . 
I saw " Fiorello ! " performed in New York by the original cast and I think this company is every bit as good , and perhaps better . 
Certainly in the matter of principals there is nothing lacking . Bob Carroll may not bear quite as close a physical resemblance to LaGuardia as Tom Bosley does , but I was amazed at the way he became more and more Fiorello as the evening progressed , until one had to catch one 's self up and remember that this was n't really LaGuardia come back among us again . 
Then Rudy Bond was simply grand as Ben , the distraught Republican Party district chieftain . And Paul Lipson , as Morris , the faithful one who never gets home to his Shirley 's dinner , was fine , too . 
As for the ladies , they were full of charm , and sincerity , and deep and abiding affection for this hurrying driving , honest , little man . Charlotte Fairchild was excellent as the loyal Marie , who became the second Mrs. LaGuardia , singing and acting with remarkable conviction . Jen Nelson , as Thea , his first wife , managed to make that short role impressive . And little Zeme North , a Dora with real spirit and verve , was fascinating whether she was singing of her love for Floyd , the cop who becomes sewer commissioner and then is promoted into garbage , or just dancing to display her exuberant feelings . 
Such fascinating novelties in the score as the fugual treatment of " On the Side of the Angels " and " Politics and Poker " were handled splendidly , and I thought Rudy Bond and his band of tuneful ward-heelers made " Little Tin Box " even better than it was done by the New York cast ; all the words of its clever lyrics came through with perfect clarity . 
The party at Floyd 's penthouse gave the " chorines " a chance for a nostalgic frolic through all those hackneyed routines which have become a classic choreographic statement of the era 's nonsense . 
LaGuardia 's multi-lingual rallies , when he is running for Congress , are well staged , and wind up in a wild Jewish folk-dance that is really great musical theater . 
Martin Tahse has established quite a reputation for himself as a successful stager of touring productions . Not a corner has been visibly cut in this one . The sets are remarkably elaborate for a road-show that does n't pause long in any one place , and they are devised so that they shift with a minimum of interruption or obtrusiveness . ( Several times recently I have wondered whether shows were being staged for the sake of the script or just to entertain the audience with the spectacle of scenery being shifted right in front of their eyes . I 'm glad to say there 's none of that distraction in this " Fiorello ! " ) 
It has all been done in superb style , and the result is a show which deserves the support of every person hereabouts who enjoys good musical theater . 
LOEW 'S THEATER presents " Where the Boys are " , an MGM picture produced by Joe Pasternak and directed by Henry Levin from a screenplay by George Wells . The cast :  
Since the hero , a sterling and upright fellow , is a rich Brown senior , while two Yalies are cast as virtual rapists , I suppose I should disqualify myself from sitting in judgment on " Where the Boys are " , but I shall do nothing of the sort . 
Instead — and not just to prove my objectivity — I hasten to report that it 's a highly amusing film which probably does a fairly accurate job of reporting on the Easter vacation shenanigans of collegians down in Fort Lauderdale , and that it seems to come to grips quite honestly with the moral problem that most commonly vexes youngsters in this age group — that is to say , sex . 
The answers the girls give struck me as reasonably varied and healthily individual . If most of them were n't exactly specific — well , that 's the way it is in life , I guess . But at least it 's reassuring to see some teenagers who do n't profess to know all the answers and are thinking about their problems instead . 
" Where the Boys Are " also has a juvenile bounce that makes for a refreshing venture in comedy . There are some sharp and whipping lines and some hilariously funny situations — the best of the latter being a mass impromptu plunge into a nightclub tank where a " mermaid " is performing . 
Most of the female faces are new , or at least not too familiar . Dolores Hart , is charming in a leading role , and quite believable . I was delighted with Paula Prentiss ' comedy performance , which was as fresh and unstilted as one 's highest hopes might ask . A couple of the males made good comedy , too — Jim Hutton and Frank Gorshin . 
The only performance which was too soft for me was that of Yvette Mimieux , but since someone had to become the victim of despoilers , just to emphasize that such things do happen at these fracases , I suppose this was the attitude the part called for . I must say , however , that I preferred the acting that had something of a biting edge to it . 
To anyone who remembers Newport at its less than maximum violence , this view of what the boys and girls do in the springtime before they wing north for the Jazz Festival ought to prove entertaining . 
The second feature , " The Price of Silence " , is a British detective story that will talk your head off .  
The superb intellectual and spiritual vitality of William James was never more evident than in his letters . Here was a man with an enormous gift for living as well as thinking . To both persons and ideas he brought the same delighted interest , the same open-minded relish for what was unique in each , the same discriminating sensibility and quicksilver intelligence , the same gallantry of judgment . 
For this latest addition to the Great Letters Series , under the general editorship of Louis Kronenberger , Miss Hardwick has made a selection which admirably displays the variety of James 's genius , not to mention the felicities of his style . And how he could write ! His famous criticism of brother Henry 's " third style " is surely as subtly , even elegantly , worded an analysis of the latter 's intricate air castles as Henry himself could ever have produced . His letter to his daughter on the pains of growing up is surely as trenchant , forthright , and warmly understanding a piece of advice as ever a grown-up penned to a sensitive child , and with just the right tone of unpatronizing good humor .    Most of all , his letters to his philosophic colleagues show a magnanimity as well as an honesty which help to explain Whitehead 's reference to James as " that adorable genius " . Miss Hardwick speaks of his " superb gift for intellectual friendship " , and it is certainly a joy to see the intellectual life lived so free from either academic aridity or passionate dogmatism . 
This is a virtue of which we have great need in a society where there seems to be an increasing lack of communication — or even desire for communication — between differing schools of thought . It holds an equally valuable lesson for a society where the word " intellectual " has become a term of opprobrium to millions of well-meaning people who somehow imagine that it must be destructive of the simpler human virtues . 
To his Harvard colleague , Josiah Royce , whose philosophic position differed radically from his own , James could write , " Different as our minds are , yours has nourished mine , as no other social influence ever has , and in converse with you I have always felt that my life was being lived importantly " . 
Of another colleague , George Santayana , he could write : " The great event in my life recently has been the reading of Santayana 's book . Although I absolutely reject the Platonism of it , I have literally squealed with delight at the imperturbable perfection with which the position is laid down on page after page " .    Writing to his colleague George Herbert Palmer — " Glorious old Palmer " , as he addresses him — James says that if only the students at Harvard could really understand Royce , Santayana , Palmer , and himself and see that their varying systems are " so many religions , ways of fronting life , and worth fighting for " , then Harvard would have a genuine philosophic universe . " The best condition of it would be an open conflict and rivalry of the diverse systems … . The world might ring with the struggle , if we devoted ourselves exclusively to belaboring each other " . 
The " belaboring " is of course jocular , yet James was not lacking in fundamental seriousness — unless we measure him by that ultimate seriousness of the great religious leader or thinker who stakes all on his vision of God . To James this vision never quite came , despite his appreciation of it in others . 
But there is a dignity and even a hint of the inspired prophet in his words to one correspondent : " You ask what I am going to 'reply' to Bradley . But why need one reply to everything and everybody ? … I think that readers generally hate minute polemics and recriminations . All polemic of ours should , I believe , be either very broad statements of contrast , or fine points treated singly , and as far as possible impersonally … . As far as the rising generation goes , why not simply express ourselves positively , and trust that the truer view quietly will displace the other . Here again 'God will know his own' " . 
The collected works of James Thurber , now numbering 25 volumes ( including the present exhibit ) represent a high standard of literary excellence , as every schoolboy knows . The primitive-eclogue quality of his drawings , akin to that of graffiti scratched on a cave wall , is equally well known . About all that remains to be said is that the present selection , most of which appeared first in The New Yorker , comprises ( as usual ) a slightly unstrung necklace , held together by little more than a slender thread cunningly inserted in the spine of the book . 
The one unifying note , if any , is sounded in the initial article entitled : " How to Get Through the Day " . It is repeated at intervals in some rather sadly desperate word-games for insomniacs , the hospitalized , and others forced to rely on inner resources , including ( in the P 's alone ) " palindromes " , " paraphrases " , and " parodies " . 
" The Tyranny of Trivia " suggests arbitrary alphabetical associations to induce slumber . And new vistas of hairshirt asceticism are opened by scholarly monographs entitled : " Friends , Romans , Countrymen , Lend Me Your Ear-Muffs " , " Such a Phrase as Drifts Through Dream " , and " The New Vocabularianism " . Some of Thurber 's curative methods involve strong potions of mixed metaphor , malapropism , and gobbledygook and are recommended for use only in extreme cases .    A burlesque paean entitled : " Hark the Herald Tribune , Times , and All the Other Angels Sing " brilliantly succeeds in exaggerating even motion-picture ballyhooey . " How the Kooks Crumble " features an amusingly accurate take-off on sneaky announcers who attempt to homogenize radio-TV commercials , and " The Watchers of the Night " is a veritable waking nightmare . 
A semi-serious literary document entitled " The Wings of Henry James " is noteworthy , if only for a keenly trenchant though little-known comment on the master 's difficult later period by modest Owen Wister , author of " The Virginian " . James , he remarks in a letter to a friend , " is attempting the impossible … namely , to produce upon the reader , as a painting produces upon the gazer , a number of superimposed , simultaneous impressions . He would like to put several sentences on top of each other so that you could read them all at once , and get all at once , the various shadings and complexities " . 
Equally penetrating in its fashion is the following remark by a lady in the course of a literary conversation : " So much has already been written about everything that you ca n't find out anything about it " . Or the mildly epigrammatic utterance ( also a quotation ) : " Woman 's place is in the wrong " . Who but Thurber can be counted on to glean such nectareous essences ? 
A tribute to midsummer " bang-sashes " seems terribly funny , though it would be hard to explain why . " One of them banged the sash of the window nearest my bed around midnight in July and I leaped out of sleep and out of bed . 'It 's just a bat' said my wife reassuringly , and I sighed with relief . 'Thank God for that' I said ; 'I thought it was a human being' " .    In a sense , perhaps , Thurber is indebted artistically to the surrealist painter ( was it Salvador Dali ? ) who first conceived the startling fancy of a picture window in the abdomen . That is , it is literally a picture window : you do n't see into the viscera ; you see a picture — trees , or flowers . This is something like what Thurber 's best effects are like , if I am not mistaken . 
Though no longer able to turn out his protoplasmic pen-and-ink sketches ( several old favorites are scattered through the present volume ) Thurber has retained unimpaired his vision of humor as a thing of simple , unaffected humanness . In his concluding paragraph he writes : " The devoted writer of humor will continue to try to come as close to truth as he can " . For many readers Thurber comes closer than anyone else in sight . 
The latest Low is a puzzler . The master 's hand has lost none of its craft . He is at his usual best in exposing the shams and self-deceptions of political and diplomatic life in the fifties . The reader meets a few old friends like Blimp and the TUC horse , and becomes better acquainted with new members of the cast of characters like the bomb itself , and civilization in her classic robe watching the nuclear arms race , her hair standing straight out . 
But there is a difference between the present volume and the early Low . There is fear in the fifties as his title suggests and as his competent drawings show . But there was terror in the thirties when the Nazis were on the loose and in those days Low struck like lightning .    Anyone can draw his own conclusions from this difference . It might be argued that the Communists are less inhuman than the Nazis and furnish the artist with drama in a lower key . But this argument can not be pushed very far because the Communist system makes up for any shortcomings of its leaders in respect to corrosion . The Communists wield a power unknown to Hitler . And the leading issue , that of piecemeal aggression , remains the same . This is drama enough . 
Do we ourselves offer Mr. Low less of a crusade ? In the thirties we would not face our enemy ; that was a nightmarish situation and Low was in his element . Now we have stood up to the Communists ; we are stronger and more self-confident — and Low can not so easily put us to rights . 
Or does the reason for less Jovian drawings lie elsewhere ? It might be that Low has seen too many stupidities and that they do not outrage him now . He writes , " Confucius held that in times of stress one should take short views — only up to lunchtime " . 
Whatever the cause , his mood in the fifties rarely rises above the level of the capably sardonic . Dulles ? He does not seem to have caught the subtleties of the man . McCarthy ? The skies turn dark but the clouds do not loose their wrath . Suez ? Low seems to have supported Eden at first and then relented because things worked out differently , so there is no fire in his eye .    Stalin 's death , Churchill 's farewell to public life , Hillary and Tensing on Everest , Quemoy and Matsu — all subjects for a noble anger or an accolade . Instead the cartoons seem to deal with foibles . Their Eisenhower is insubstantial . Did Low decide to let well enough alone when he made his selections ? 
He often drew the bomb . He showed puny men attacked by splendidly tyrannical machines . And Khrushchev turned out to be prime copy for the most witty caricaturist of them all . But , but and but . 
Look in this book for weak mortals and only on occasion for virtues and vices on the heroic scale . Read the moderately brief text , not for captions , sometimes for tart epigrams , once in a while for an explosion in the middle of your fixed ideas . 
A gray fox with a patch on one eye — confidence man , city slicker , lebensraum specialist — tries to take over Catfish Bend in this third relaxed allegory from Mr. Burman 's refreshing Louisiana animal community . 
The fox is all ingratiating smiles when he arrives from New Orleans , accompanied by one wharf rat . But like all despots , as he builds his following from among the gullible , he grows more threatening toward those who wo n't follow — such solid citizens as Doc Raccoon ; Judge Black , the vegetarian black snake ; and the eagle , who leads the bird community when he is not too busy in Washington posing for fifty-cent pieces . 
As soon as the fox has taken hold on most of the populace he imports more wharf rats , who , of course , say they are the aggrieved victims of an extermination campaign in the city . ( The followers of bullies invariably are aggrieved about the very things they plan to do to others . ) They train the mink and other animals to fight . And pretty soon gray fox is announcing that he wo n't have anyone around that 's against him , and setting out to break his second territorial treaty with the birds . 
Robert Hillyer , the poet , writes in his introduction to this brief animal fable that Mr. Burman ought to win a Nobel Prize for the Catfish Bend series . He may have a point in urging that decadent themes be given fewer prizes . But it 's hard to imagine Mr. Burman as a Nobel laureate on the basis of these charming but not really momentous fables . 
In substance they lie somewhere between the Southern dialect animal stories of Joel Chandler Harris ( Uncle Remus ) and the polished , witty fables of James Thurber .  
George Kennan 's account of relations between Russia and the West from the fall of Tsarism to the end of World War /2 , is the finest piece of diplomatic history that has appeared in many years . It combines qualities that are seldom found in one work : Scrupulous scholarship , a fund of personal experience , a sense of drama and characterization and a broad grasp of the era 's great historical issues . 
In short , the book , based largely on lectures delivered at Harvard University , is both reliable and readable ; the author possesses an uncommonly fine English style , and he is dealing with subjects of vast importance that are highly topical for our time . If Mr. Kennan is sometimes a little somber in his appraisals , if his analysis of how Western diplomacy met the challenge of an era of great wars and social revolutions is often critical and pessimistic — well , the record itself is not too encouraging . 
Mr. Kennan takes careful account of every mitigating circumstance in recalling the historical atmosphere in which mistaken decisions were taken . But he rejects , perhaps a little too sweepingly , the theory that disloyal and pro-Communist influences may have contributed to the policy of appeasing Stalin which persisted until after the end of the war and reached its high point at the Yalta Conference in February , 1945 . 
After all , Alger Hiss , subsequently convicted of perjury in denying that he gave secret State Department documents to Soviet agents , was at Yalta . And Harry Dexter White , implicated in F.B.I . reports in Communist associations , was one of the architects of the Morgenthau Plan , which had it ever been put into full operation , would have simply handed Germany to Stalin . One item in this unhappy scheme was to have Germany policed exclusively by its continental neighbors , among whom only the Soviet Union possessed real military strength . 
It is quite probable , however , that stupidity , inexperience and childish adherence to slogans like " unconditional surrender " had more to do with the unsatisfactory settlements at the end of the war than treason or sympathy with Communism . Mr. Kennan sums up his judgment of what went wrong this way :  DASHED HOPE  " You see , first of all and in a sense as the source of all other ills , the unshakeable American commitment to the principle of unconditional surrender : The tendency to view any war in which we might be involved not as a means of achieving limited objectives in the way of changes in a given status quo , but as a struggle to the death between total virtue and total evil , with the result that the war had absolutely to be fought to the complete destruction of the enemy 's power , no matter what disadvantages or complications this might involve for the more distant future " . 
Recognizing that there could have been no effective negotiated peace with Hitler , he points out the shocking failure to give support to the anti-Nazi underground , which very nearly eliminated Hitler in 1944 . A veteran diplomat with an extraordinary knowledge of Russian language , history and literature , Kennan recalls how , at the time of Hitler 's attack on the Soviet Union in 1941 , he penned a private note to a State Department official , expressing the hope that " never would we associate ourselves with Russian purposes in the areas of eastern Europe beyond her own boundaries " . 
The hope was vain . With justified bitterness the author speaks of " what seems to me to have been an inexcusable body of ignorance about the nature of the Russian Communist movement , about the history of its diplomacy , about what had happened in the purges , and about what had been going on in Poland and the Baltic States " . He also speaks of Franklin D. Roosevelt 's " puerile " assumption that " if only he ( Stalin ) could be exposed to the persuasive charm of someone like F.D.R. himself , ideological preconceptions would melt and Russia 's co-operation with the West could be easily arranged " . 
No wonder Khrushchev 's first message to President Kennedy was a wistful desire for the return of the " good old days " of Roosevelt . 
This fascinating story begins with a sketch , rich in personal detail , of the glancing mutual impact of World War /1 , and the two instalments of the Russian Revolution . The first of these involved the replacement of the Tsar by a liberal Provisional Government in March , 1917 ; the second , the seizure of power by the Bolsheviks ( who later called themselves Communists ) in November of the same year . 
As Kennan shows , the judgment of the Allied governments about what was happening in Russia was warped by the obsession of defeating Germany . They were blind to the evidence that nothing could keep the Russian people fighting . They attributed everything that went wrong in Russia to German influence and intrigue . This , more than any other factor , led to the fiasco of Allied intervention . As the author very justly says : 
" Had a world war not been in progress , there would never , under any conceivable stretch of the imagination , have been an Allied intervention in North Russia " . The scope and significance of this intervention have been grossly exaggerated by Communist propaganda ; here Kennan , operating with precise facts and figures , performs an excellent job of debunking .  PLEBIAN DICTATORS  Of many passages in the book that exemplify the author 's vivid style , the characterizations of the two plebeian dictators whose crimes make those of crowned autocrats pale by comparison may be selected . On Stalin : 
" This was a man of incredible criminality , of a criminality effectively without limits ; a man apparently foreign to the very experience of love , without mercy or pity ; a man in whose entourage none was ever safe ; a man whose hand was set against all that could not be useful to him at the moment ; a man who was most dangerous of all to those who were his closest collaborators in crime … " . 
And here is Kennan 's image of Hitler , Stalin 's temporary collaborator in the subjugation and oppression of weaker peoples , and his later enemy : 
" Behind that Charlie Chaplin moustache and that truant lock of hair that always covered his forehead , behind the tirades and the sulky silences , the passionate orations and the occasional dull evasive stare , behind the prejudices , the cynicism , the total amorality of behavior , behind even the tendency to great strategic mistakes , there lay a statesman of no mean qualities : Shrewd , calculating , in many ways realistic , endowed — like Stalin — with considerable powers of dissimulation , capable of playing his cards very close to his chest when he so desired , yet bold and resolute in his decisions , and possessing one gift Stalin did not possess : The ability to rouse men to fever pitch of personal devotion and enthusiasm by the power of the spoken word " . 
Two criticisms of this generally admirable and fascinating book involve the treatment of wartime diplomacy which is jagged at the edges — there is no mention of the Potsdam Conference or the Morgenthau Plan . And in a concluding chapter about America 's stance in the contemporary world , one senses certain misplacements of emphasis and a failure to come to grips with the baffling riddle of our time : How to deal with a wily and aggressive enemy without appeasement and without war . 
But one should not ask for everything . Mr. Kennan , who has recently abandoned authorship for a new round of diplomacy as the recently appointed American ambassador to Yugoslavia , is not the only man who finds it easier to portray the past than to prescribe for the future . The story of a quarter of a century of Soviet-Western relations is vitally important , and it is told with the fire of a first-rate historical narrator . The Ireland we usually hear about in the theater is a place of bitter political or domestic unrest , lightened occasionally with flashes of native wit and charm . In " Donnybrook " , there is quite a different Eire , a rural land where singing , dancing , fist-fighting and romancing are the thing . There is plenty of violence , to be sure , but it is a nice violence and no one gets killed . By and large , Robert McEnroe 's adaptation of Maurice Walsh 's film , " The Quiet Man " , provides the entertainment it set out to , and we have a lively musical show if not a superlative one .    
This is the tale of one John Enright , an American who has accidentally killed a man in the prize ring and is now trying to forget about it in a quiet place where he may become a quiet man . But Innesfree , where Ellen Roe Danaher and her bullying brother , Will , live , is no place for a man who will not use his fists . So Enright 's courting of the mettlesome Ellen is impeded considerably , thereby providing the tale which is told . You may be sure he marries her in the end and has a fine old knockdown fight with the brother , and that there are plenty of minor scraps along the way to ensure that you understand what the word Donnybrook means . 
Then there is a matchmaker , one Mikeen Flynn , a role for which Eddie Foy was happily selected . Now there is no reason in the world why a matchmaker in Ireland should happen also to be a talented soft-shoe dancer and gifted improviser of movements of the limbs , torso and neck , except that these talents add immensely to the enjoyment of the play . Mr. Foy is a joy , having learned his dancing by practicing it until he is practically perfect . His matchmaking is , naturally , incidental , and it only serves Flynn right when a determined widow takes him by the ear and leads him off to matrimony . 
Art Lund , a fine big actor with a great head of blond hair and a good voice , impersonates Enright . Although he is not graced with the subtleties of romantic technique , that 's not what an ex-prize fighter is supposed to have , anyway . Joan Fagan , a fiery redhead who can impress you that she has a temper whether she really has one or not , plays Ellen , and sings the role very well , too . If the mettle which Ellen exhibits has a bit of theatrical dross in it , never mind ; she fits into the general scheme well enough . 
Susan Johnson , as the widow , spends the first half of the play running a bar and singing about the unlamented death of her late husband and the second half trying to acquire a new one . She has a good , firm delivery of songs and adds to the solid virtues of the evening . 
Then there are a pair of old biddies played by Grace Carney and Sibly Bowan who may be right off the shelf of stock Irish characters , but they put such a combination of good will and malevolence into their parts that they 're quite entertaining . And in the role of Will Danaher , Philip Bosco roars and sneers sufficiently to intimidate not only one American but the whole British army , if he chose . 
" Donnybrook " is no " Brigadoon " , but it does have some very nice romantic background touches and some excellent dancing . The ballads are sweet and sad , and the music generally competent . It sometimes threatens to linger in the memory after the final curtain , and some of it , such as the catchy " Sez I " , does . " A Toast To The Bride " , sung by Clarence Nordstrom , playing a character called Old Man Toomey , is quite simple , direct and touching . 
The men of Innesfree are got up authentically in cloth caps and sweaters , and their dancing and singing is fine . So is that of the limber company of lasses who whirl and glide and quickstep under Jack Cole 's expert choreographic direction . The male dancers sometimes wear kilts and their performance in them is spirited and stimulating . 
Rouben Ter-Arutunian , in his stage settings , often uses the scrim curtain behind which Mr. Cole has placed couples or groups who sing and set the mood for the scenes which are to follow . There is no reason why most theatergoers should not have a pretty good time at " Donnybrook " , unless they are permanently in the mood of Enright when he sings about how easily he could hate the lovable Irish . 
WE can all breathe more easily this morning — more easily and joyously , too — because Joshua Logan has turned the stage show , " Fanny " , into a delightful and heart-warming film . 
The task of taking the raw material of Marcel Pagnol 's original trio of French films about people of the waterfront in Marseilles and putting them again on the screen , after their passage through the Broadway musical idiom , was a delicate and perilous one , indeed . More than the fans of Pagnol 's old films and of their heroic star , the great Raimu , were looking askance at the project . The fans of the musical were , too . 
But now the task is completed and the uncertainty resolved with the opening of the English-dialogue picture at the Music Hall yesterday . Whether fan of the Pagnol films or stage show , whether partial to music or no , you ca n't help but derive joy from this picture if you have a sense of humor and a heart .  
SOME of the New York Philharmonic musicians who live in the suburbs spent yesterday morning digging themselves free from snow . A tiny handful never did make the concert . But , after a fifteen-minute delay , the substantially complete Philharmonic assembled on stage for the afternoon 's proceedings . They faced a rather small audience , as quite a few subscribers apparently had decided to forego the pleasures of the afternoon . 
It was an excellent concert . Paul Paray , rounding out his current stint with the orchestra , is a solid musician , and the Philharmonic plays for him . Their collaboration in the Beethoven Second Symphony was lucid , intelligent and natural sounding . It was not a heavy , ponderous Beethoven . The music sang nicely , sprinted evenly when necessary , was properly accented and balanced .    
The Franck symphonic poem , " Psyche " , is a lush , sweet-sounding affair that was pleasant to encounter once again . Fortunate for the music itself , it is not too frequent a visitor ; if it were , its heavily chromatic harmonies would soon become cloying . 
Mr. Paray resisted the temptation to over-emphasize the melodic elements of the score . He did not let the strings , for instance , weep , whine or get hysterical . His interpretation was a model of refinement and accuracy . 
And in the Prokofieff C major Piano Concerto , with Zadel Skolovsky as soloist , he was an admirable partner . Mr. Skolovsky 's approach to the concerto was bold , sweeping and tonally percussive . He swept through the music with ease , in a non-sentimental and ultra-efficient manner .    An impressive technician , Mr. Skolovsky has fine rhythm , to boot . His tone is the weakest part of his equipment ; it tends to be hard and colorless . A school of thought has it that those attributes are exactly what this concerto needs . It is , after all , a non-romantic work ( even with the big , juicy melody of the second movement ) ; and the composer himself was called the " age of steel pianist " . But granted all this , one still would have liked to have heard a little more tonal nuance than Mr. Skolovsky supplied . 
Taken as a whole , though , it was a strong performance from both pianist and orchestra . Mr. Skolovsky fully deserved the warm reception he received . 
A new work on the program was Nikolai Lopatnikoff 's " Festival Overture " , receiving its first New York hearing . This was composed last year as a salute to the automobile industry . It is not program music , though . It runs a little more than ten minutes , is workmanlike , busy , methodical and featureless . 
" La Gioconda " , like it or not , is a singer 's opera . And so , of course , it is a fan 's opera as well . Snow or no , the fans were present in force at the Metropolitan Opera last night for a performance of the Ponchielli work . 
So the plot creaks , the sets are decaying , the costumes are pre-historic , the orchestra was sloppy and not very well connected with what the singers were doing . After all , the opera has juicy music to sing and the goodies are well distributed , with no less than six leading parts . 
One of those parts is that of evil , evil Barnaba , the spy . His wicked deeds were carried on by Anselmo Colzani , who was taking the part for the first time with the company . 
He has the temperament and the stage presence for a rousing villain and he sang with character and strong tone . What was lacking was a real sense of phrase , the kind of legato singing that would have added a dimension of smoothness to what is , after all , a very oily character . 
Regina Resnik as Laura and Cesare Siepi as Alvise also were new to the cast , but only with respect to this season ; they have both sung these parts here before . Laura is a good role for Miss Resnik , and she gave it force , dramatic color and passion . 
Mr. Siepi was , as always , a consummate actor ; with a few telling strokes he characterized Alvise magnificently . Part of this characterization was , of course , accomplished with the vocal chords . His singing was strong and musical ; unfortunately his voice was out of focus and often spread in quality . 
Eileen Farrell in the title role , Mignon Dunn as La Cieca and Richard Tucker as Enzo were holdovers from earlier performances this season , and all contributed to a vigorous performance . If only they and Fausto Cleva in the pit had got together a bit more .  
" MELODIOUS birds sing madrigals " saith the poet and no better description of the madrigaling of the Deller Consort could be imagined . 
Their Vanguard album Madrigal Masterpieces ( BG 609 ; stereo BGS 5031 ) is a good sample of the special , elegant art of English madrigal singing . It also makes a fine introduction to the international art form with good examples of Italian and English madrigals plus several French " chansons " . 
The English have managed to hold onto their madrigal tradition better than anyone else . The original impulses came to England late ( in the sixteenth century ) and continue strong long after everyone else had gone on to the baroque basso continuo , sonatas , operas and the like . 
Even after Elizabethan traditions were weakened by the Cromwellian interregnum , the practice of singing together — choruses , catches and glees — always flourished . The English never again developed a strong native music that could obliterate the traces of an earlier great age the way , say , the opera in Italy blotted out the Italian madrigal .  EARLY INTEREST  Latter-day interest in Elizabethan singing dates well back into the nineteenth century in England , much ahead of similar revivals in other countries . As a result no comparable literature of the period is better known and better studied nor more often performed than the English madrigal . 
Naturally , Mr. Deller and the other singers in his troupe are most charming and elegant when they are squarely in their tradition and singing music by their countrymen : William Byrd , Thomas Morley and Thomas Tomkins . There is an almost instrumental quality to their singing , with a tendency to lift out important lines and make them lead the musical texture . Both techniques give the music purity and clarity . 
Claude Jannequin 's vocal description of a battle ( the French equivalents of tarantara , rum-tum-tum , and boom-boom-boom are very picturesque ) is lots of fun , and the singers get a sense of grace and shape into other chansons by Jannequin and Lassus . Only with the more sensual , intense and baroque expressions of Marenzio , Monteverdi and Gesualdo does the singing seem a little superficial . 
Nevertheless , the musicality , accuracy and infectious charm of these performances , excellently reproduced , make it an attractive look-see at the period . The works are presented chronologically . Texts and translations are provided .  ELEGANCE AND COLOR  The elements of elegance and color in Jannequin are strong French characteristics . Baroque instrumental music in Italy and Germany tends to be strong , lively , intense , controlled and quite abstract . In France , it remained always more picturesque , more dancelike , more full of flavor . 
Couperin and Rameau gave titles to nearly everything they wrote , not in the later sense of " program music " but as a kind of nonmusical reference for the close , clear musical forms filled with keen wit and precise utterance . 
Both composers turn up on new imports from France . BAM is the unlikely name of a French recording company whose full label is Editions de la boite a musique . They specialize in out-of-the-way items and old French music naturally occupies a good deal of their attention . Sonates et Concerts Royaux of Couperin le grand occupy two disks ( LD056 and LD060 ) and reveal the impeccable taste and workmanship of this master — delicate , flexible and gemlike . 
The Concerts — Nos. 2 , 6 , 9 , 10 and 14 are represented — are really closer to chamber suites than to concertos in the Italian sense . The sonatas , " La Francaise " , " La Sultane " , " L'Astree " and " L'Imperiale " , are often more elaborately worked out and , in fact , show a strong Italian influence . 
Couperin also turns up along with some lesser-known contemporaries on a disk called Musique Francaise du /18 , e Siecle ( BAM LD 060 ) . Jean-Marie LeClair still is remembered a bit , but Bodin de Beismortier , Corrette and Mondonville are hardly household words . What is interesting about these chamber works here is how they all reveal the aspect of French music that was moving toward the rococo . 
The Couperin " La Steinkerque " , with its battle music , brevity , wit and refined simplicity , already shakes off Corelli and points towards the mid-century elegances that ended the baroque era . If Couperin shows the fashionable trend , the others do so all the more . 
All these records have close , attractive sound and the performances by a variety of instrumentalists is characteristic . 
Rameau 's Six Concerts en Sextuor , recorded by L'orchestre de chambre Pierre Menet ( BAM LD 046 ) , turn out to be harpsichord pieces arranged for strings apparently by the composer himself . The strange , delightful little character pieces with their odd and sometimes inexplicable titles are still evocative and gracious . 
Maitres Allemands des /17 , e et /18 , e Siecles contains music by Pachelbel , Buxtehude , Rosenmueller and Telemann , well performed by the Ensemble Instrumental Sylvie Spycket ( BAM LD 035 ) . 
Rococo music — a lot of it — was played in Carnegie Recital Hall on Saturday night in the first of four concerts being sponsored this season by a new organization known as Globe Concert Arts . 
Works by J. C. Bach , Anton Craft , Joseph Haydn , Giuseppe Sammartini , Comenico Dragonetti and J. G. Janitsch were performed by seven instrumentalists including Anabel Brieff , flutist , Josef Marx , oboist , and Robert Conant , pianist and harpsichordist . 
Since rococo music tends to be pretty and elegant above all , it can seem rather vacuous to twentieth-century ears that have grown accustomed to the stress and dissonances of composers from Beethoven to Boulez . 
Thus there was really an excess of eighteenth-century charm as one of these light-weight pieces followed another on Saturday night . Each might find a useful place in a varied musical program , but taken together they grew quite tiresome . 
The performances were variable , those of the full ensemble being generally satisfying , some by soloists proving rather trying .  
Ellie Mao , soprano , and Frederick Fuller , baritone , presented a program of folksongs entitled " East Meets West " in Carnegie Recital Hall last night . They were accompanied by Anna Mi Lee , pianist . 
Selections from fifteen countries were sung as solos and duets in a broad range of languages . Songs from China and Japan were reserved exclusively for Miss Mao , who is a native of China , and those of the British Isles were sung by Mr. Fuller , who is English by birth . 
This was not a program intended to illustrate authentic folk styles . On the contrary , Miss Mao and Mr. Fuller chose many of their arrangements from the works of composers such as Mendelssohn , Dvorak , Canteloube , Copland and Britten . Thre was , therefore , more musical substance in the concert than might have been the case otherwise . The performances were assured , communicative and pleasingly informal .  
WHAT was omitted from " A Neglected Education " were those essentials known as " the facts of life " . 
Chabrier 's little one-act operetta , presented yesterday afternoon at Town Hall , is a fragile , precious little piece , very French , not without wit and charm . The poor uneducated newlywed , a certain Gontran de Boismassif , has his problems in getting the necessary information . The humor of the situation can be imagined . 
It all takes place in the eighteenth century . What a silly , artificial way of life , Chabrier and his librettists chuckle . But they wish they could bring it back .    Chabrier 's delightful music stands just at the point where the classical , rationalist tradition , ( handed down to Chabrier largely in the form of operetta and salon music ) becomes virtually neo-classicism . The musical cleverness and spirit plus a strong sense of taste and measure save a wry little joke from becoming either bawdy or mawkish . 
The simple , clever production was also able to tread the thin line between those extremes . Arlene Saunders was charming as poor Gontran . Yes , Arlene is her name ; the work uses the old eighteenth-century tradition of giving the part of a young inexperienced youth to a soprano . Benita Valente was delightful as the young wife and John Parella was amusing as the tutor who failed to do all his tutoring . 
The work was presented as the final event in the Town Hall Festival of Music . It was paired with a Darius Milhaud opera , " The Poor Sailor " , set to a libretto by Jean Cocteau , a kind of Grand Guignol by the sea , a sailor returns , unrecognized , and gets done in by his wife . 
With the exception of a few spots , Milhaud 's music mostly churns away with his usual collection of ditties , odd harmonies , and lumbering , satiric orchestration .  
Had a funny experience at Newport yesterday afternoon . Sat there and as a woman sang , she kept getting thinner and thinner , right before my eyes , and the eyes of some 5,500 other people . 
I make this observation about the lady , Miss Judy Garland , because she brought up the subject herself in telling a story about a British female reporter who flattered her terribly in London recently and then wrote in the paper the next day : 
" Judy Garland has arrived in London . She 's not chubby . She 's not plump . She 's fat " . 
But who cares , when the lady sings ? Certainly not the largest afternoon audience Newport has ever had at a jazz concert and the most attentive and quiet . They applauded every number , not only at its conclusion but also at the first statement of the theme — sometimes at the first chord . 
And Judy sang the lovely old familiar things which seemed , at times , a blessed relief from the way-out compositions of the progressive jazzmen who have dominated these proceedings . Things like " When You 're Smiling " , " Almost Like Being In Love " , " Do It Again " , " Born to Wander " , " Alone Together " , " Who Cares ? " , " Puttin' on the Ritz " , " How Long Has This Been Going On ? " and her own personal songs like " The Man That Got Away " , and the inevitable " Over the Rainbow " . 
Miss Garland is not only one of the great singers of our time but she is one of the superb showmen . At the start of her program there were evidences of pique . She had held to the letter of her contract and did n't come onto the stage until well after 4 p.m. , the appointed hour , although the Music at Newport people had tried to get the program underway at 3 . Then there was a bad delay in getting Mort Lindsey 's 30-piece orchestra wedged into its chairs . 
Along about 4:30 , just when it was getting to be about time to turn the audience over and toast them on the other side , Judy came on singing , in a short-skirted blue dress with a blue and white jacket that flapped in the wind . Her bouffant coiffure was fortunately combed on the left which happened to be the direction from which a brisk breeze was blowing . 
In her first song she waved away one encroaching photographer who dared approach the throne unbidden and thereafter the boys with the cameras had to unsheathe their 300 mm. lenses and shoot at extreme range . 
There also came a brief contretemps with the sound mixers who made the mistake of being overheard during a quiet moment near the conclusion of " Do It Again " , and she made the tart observation that " I never saw so much moving about in an audience " . 
But it did n't take Judy Garland , showman , long to realize that this sort of thing was par for the course at Newport and that you have to learn to live with it . Before her chore was finished she was rescuing wind-blown sheets of music , trundling microphones about the stage , helping to move the piano and otherwise joining in the informal atmosphere . 
And time after time she really belted out her songs . Sometimes they struck me as horribly over-arranged — which was the way I felt about her " Come Rain or Come Shine " — and sometimes they were just plain magnificent , like her shatteringly beautiful " Beautiful Weather " . 
To her partisan audience , such picayune haggling would have seemed nothing more than a critic striving to hold his franchise ; they just sat back on their haunches and cried for more , as though they could never get enough . 
They were rewarded with splendid , exciting , singing . Her " Rockabye Your Baby " was as good as it can be done , and her really personal songs , like " The Man That Got Away " were deeply moving . 
The audience would n't let her leave until it had heard " Over The Rainbow " — although the fellow that kept crying for " Get Happy " had to go home unhappy , about that item anyway . She was generous with her encores and the audience was equally so with its cheers and applause and flowers . 
All went home happy except the Newport police , who feared that the throng departing at 6:35 might meet head-on the night crowd drawing nigh , and those deprived of their happy hour at the cocktail bar . 
In Newport last night there were flashes of distant lightning in the northern skies . This was perhaps symbolic of the jazz of the evening — flashes in the distance , but no storm . 
Several times it came near breaking , and there were in fact some lovely peals of thunder from Jerry Mulligan 's big band , which is about as fine an aggregation as has come along in the jazz business since John Hammond found Count Basie working in a Kansas City trap . 
Mulligan 's band has been infected with his solid sense of swing , and what it does seems far more meaningful than most of the noise generated by the big concert aggregations . 
But what is equally impressive is the delicacy and wonderful lyric quality of both the band and Mulligan 's baritone sax in a fragile ballad like Bob Brookmeyer 's arrangement of " Django 's Castle " . 
For subtle swinging rhythms , I could admire intensely Mulligan 's version of " Weep " , and the fireworks went on display in " 18 Carrots for Robert " , a sax tribute to Johnny Hodges . 
There was considerable contrast between this Mulligan performance and that of Art Blakey and The Jazz Messengers , who are able to generate a tremendous sound for such a small group . Unfortunately , Blakey does n't choose to work much of the time in this vein . He prefers to have his soloist performing and thus we get only brief glimpses of what his ensemble work is like . 
What we did get , however , was impressive . 
A few drops of rain just before midnight , when Sarah Vaughan was in the midst of her first number , scattered the more timid members of the audience briefly , but at this hour and with Sarah on the stand , most of the listeners did n't care whether they got wet . 
Miss Vaughan was back in top form , somehow mellowed and improved with the passage of time — like a fine wine . After the spate of female vocalists we have been having , all of whom took Sarah as a point of departure and then tried to see what they could do that might make her seem old hat , it seemed that all that has happened is to make the real thing seem better than ever .  JAZZ THREE OPEN PROGRAM  The evening program was opened by the Jazz Three , a Newport group consisting of Steve Budieshein on bass , Jack Warner , drums , and Don Cook , piano . This was a continuation of a good idea which was first tried out Saturday night when the Eddie Stack group , also local talent , went on first . 
Putting on local musicians at this place in the program serves a triple purpose : it saves the top flight jazz men from being wasted in this unenviable spot , when the audience is cold , restless , and in flux ; it prevents late-comers from missing some of the people they have come a long way to hear , and it gives the resident musicians a chance to perform before the famous Newport audience . 
The Jazz Three displayed their sound musicianship , not only in their own chosen set , but as the emergency accompanists for Al Minns + Leon James , the superb jazz dancers who have now been Newport performers for three successive years , gradually moving up from a morning seminar on the evolution of the blues to a spot on the evening program .  JULIE WILSON SINGS  Julie Wilson , a vigorous vocalist without many wild twists , sang a set , a large part of which consisted of such seldom heard old oldies as " Hard-Hearted Hannah , the Vamp of Savannah " , and the delightful " Sunday " . She frosted the cake with the always reliable " Bill Bailey " . 
From this taste of the 1920s , we leaped way out to Stan Getz 's private brand of progressive jazz , which did lovely , subtle things for " Baubles , Bangles and Beads " , and a couple of ballards . 
Getz is a difficult musician to categorize . He plays his sax principally for beauty of tone , rather than for scintillating flights of meaningless improvisations , and he has a quiet way of getting back and restating the melody after the improvising is over . In this he is sticking with tradition , however far removed from it he may seem to be .  SHEARING TAKES OVER  George Shearing took over with his well disciplined group , a sextet consisting of vibes , guitar , bass , drums , Shearing 's piano and a bongo drummer . He met with enthusiastic audience approval , especially when he swung from jazz to Latin American things like the Mambo . Shearing , himself , seemed to me to be playing better piano than in his recent Newport appearances . 
A very casual , pleasant program — one of those easy-going things that make Newport 's afternoon programs such a relaxing delight — was held again under sunny skies , hot sun , and a fresh breeze for an audience of at least a couple of thousands who came to Newport to hear music rather than go to the beach . 
Divided almost equally into two parts , it consisted of " The Evolution of the Blues " , narrated by Jon Hendricks , who had presented it last year at the Monterey , Calif. , Jazz Festival , and an hour-long session of Maynard Ferguson and his orchestra , a blasting big band . 
Hendricks ' story was designed for children and he had a small audience of small children right on stage with him . Tracing the blues from its African roots among the slaves who were brought to this country and the West Indies , he stressed the close relationship between the early jazz forms and the music of the Negro churches .  SURPRISE ADDITION  To help him on this religious aspect of primitive jazz he had " Big " Miller , as a preacher-singer and Hannah Dean , Gospel-singer , while Oscar Brown Jr. , an extremely talented young man , did a slave auctioneer 's call , a field-hands ' work song , and a beautifully sung Negro lullaby , " Brown Baby " , which was one of the truly moving moments of the festival . 
One of those delightful surprise additions , which so frequently occur in jazz programs , was an excellent stint at the drums by the great Joe Jones , drumming to " Old Man River " , which seems to have been elected the favorite solo for the boys on the batterie at this year 's concerts . 
Demonstrating the primitive African rhythmic backgrounds of the Blues was Michael Babatunde Olatunji , who plays such native drums as the konga and even does a resounding job slapping his own chest . He has been on previous Newport programs and was one of the sensations of last year 's afternoon concerts . 
Hendricks had Billy Mitchell , tenor sax ; Pony Poindexter , alto sax ; Jimmy Witherspoon , blues singer ( and a good one ) , and the Ike Isaacs Trio , which has done such wonderful work for two afternoons now , helping him with the musical examples . 
It all went very well . 
PIANISTS who are serious about their work are likely to know the interesting material contained in Schubert 's Sonatas . Music lovers who are not familiar with this literature may hear an excellent example , played for RCA by Emil Gilels . He has chosen Sonata Op. 53 in D. The playing takes both sides of the disc . Perhaps one of the reasons these Sonatas are not programmed more often is their great length . Rhythmic interest , melodic beauty and the expansiveness of the writing are all qualities which hold one 's attention with the Gilels playing . His technique is ample and his musical ideas are projected beautifully . 
The male chorus of the Robert Shaw Chorale sings Sea Shanties in fine style . The group is superbly trained . What a discussion can ensue when the title of this type of song is in question . Do you say chantey , as if the word were derived from the French word chanter , to sing , or do you say shanty and think of a roughly built cabin , which derives its name from the French-Canadian use of the word chantier , with one of its meanings given as a boat-yard ? I say chantey . Either way , the Robert Shaw chorus sings them in fine style with every colorful word and its musical frame spelled out in terms of agreeable listening . If your favorite song is not here it must be an unfamiliar one . 
The London label offers an operatic recital by Ettore Bastianini , a baritone whose fame is international .  
MURRAY LOUIS and his dance company appeared at the Henry Street Playhouse on Friday and Saturday evenings and Sunday afternoons in the premiere of his latest work , " Signal " , and the repetition of an earlier one , " Journal " . 
" Signal " is choreographed for three male dancers to an electronic score by Alwin Nikolais . Its abstract decor is by John Hultberg . Program note reads as follows : 
" Take hands … this urgent visage beckons us " . 
Here , as in " Journal " , Mr. Louis has given himself the lion 's share of the dancing , and there is no doubt that he is capable of conceiving and executing a wide variety of difficult and arresting physical movements . Indeed , both " Journal " and " Signal " qualify as instructive catalogues of modern-dance calisthenics . 
But chains of movements are not necessarily communicative , and it is in the realm of communication that the works prove disappointing . One frequently has the feeling that the order of their movement combinations could be transposed without notable loss of effect , there is too little suggestion of organic relationship and development . 
It may be , of course , that Mr. Louis is consciously trying to create works that anticipate an age of total automation . But it may be , also , that he is merely more mindful of athletics than of esthetics at the present time . One thing is certain , however , and that is that he is far more slavish to the detailed accents , phrasings and contours of the music he deals with than a confident dance creator need be .   'AN AMERICAN JOURNEY'  A brisk , satirical spoof of contemporary American mores entitled " An American Journey " was given its first New York performance at Hunter College Playhouse last night by the Helen Tamiris-Daniel Nagrin Dance Company . Choreographed by Mr. Nagrin , the work filled the second half of a program that also offered the first New York showing of Miss Tamiris ' " Once Upon a Time … " as well as her " Women 's Song " and Mr. Nagrin 's " Indeterminate Figure " . 
Eugene Lester assembled a witty and explicit score for " An American Journey " , and Malcolm McCormick gave it sprightly imaginative costumes . 
Mr. Nagrin has described four " places " , each with its scenery and people , added two " diversions " , and concluded with " A Toccata for the Young " , a refreshingly underplayed interpretation of rock'n'roll dancing . 
The " places " could be anywhere , the idiosyncrasies and foibles observed there could be anybody 's , and the laugh is on us all . But we need not mind too much , because Mr. Nagrin has expressed it through movement that is diverting and clever almost all the way . 
Miss Tamiris ' " Once Upon a Time … " is a problem piece about a man and a woman and the three " figures " that bother them somehow . 
Unfortunately , the man and woman were not made to appear very interesting at the outset and the menacing figures failed to make them any more so . Nor did the dancing involved really seize the attention at any time . The music here , Russell Smith 's " Tetrameron " , sounded good . 
All the performances of the evening were smooth and assured , and the sizable company , with Mr. Nagrin and Marion Scott as its leading dancers , seemed to be fine shape . 
THE Symphony of the Air , greatly assisted by Van Cliburn , last night got its seven-concert Beethoven cycle at Carnegie Hall off to a good start . At the same time the orchestra announced that next season it would be giving twenty-five programs at Carnegie , and that it would be taking these concerts to the suburbs , repeating each of them in five different communities . 
This news , announced by Jerome Toobin , the orchestra 's administrative director , brought applause from the 2,800 persons who filled the hall . They showed they were glad that Carnegie would have a major orchestra playing there so often next season to take up the slack with the departure to Lincoln Center of the New York Philharmonic , the Philadelphia Orchestra and the Boston Symphony . 
This season the orchestra has already taken a step toward the suburbs in that it is giving six subscription concerts for the Orchestral Society of Westchester in the County Center in White Plains . The details of the suburban concerts next season , and the centers in which they will be given , will be announced later , Mr. Toobin said .    The concertos that Van Cliburn has been associated with in New York since his triumphant return from Russia in 1958 have been the Tchaikovsky , the Rachmaninoff Third , and the Prokofieff Third . It was pleasant last night , therefore , to hear him do something else : a concerto he has recently recorded , " The Emperor " . 
The young Texas pianist can make great chords ring out as well as anyone , so last night the massive sonorities of this challenging concerto were no hazard to him . But they were not what distinguished his performance . The elements that did were the introspective slow movement , the beautiful transition to the third movement , and the passages of filigree that laced through the bigger moments of the opening movement and the final Rondo . 
Mr. Cliburn gave the slow movement some of the quality of a Chopin Nocturne . Alfred Wallenstein , the conductor , sensitive accompanist that he is , picked up the idea and led the orchestra here with a sense of broodinf , poetic mystery . The collaboration was remarkable , as it was in both the other movements , too .    Mr. Wallenstein , who will lead all of the concerts in the cycle , also conducted the " Leonore " Overture No. 3 and the Fourth Symphony . The orchestra was obviously on its mettle and it played most responsively . And although there was plenty of vigor in the performance , the ensemble was at its best when the playing was soft and lyrical , yet full of the suppressed tension that is one of the hallmarks of Beethoven . Igor Oistrakh will be the next soloist on Feb. 4 . 
THERE are times when one suspects that the songs that are dropped from musical shows before they reach Broadway may really be better than many of those that are left in . Today , in the era of the integrated musical when an individual song must contribute to the over-all development of the show , it is understandable that a song , no matter how excellent it may be on its own terms , is cut out because it does not perform the function required of it . 
In the more casually constructed musicals of the Nineteen Twenties and Nineteen Thirties there would seem to have been less reason for eliminating a song of merit . Yet there is the classic case of the Gershwins ' " The Man I Love " . Deemed too static when it was first heard in " Lady Be Good " in Philadelphia in 1924 , it was dropped from the score . It was heard again in Philadelphia in 1927 in the first version of " Strike Up the Band " and again abandoned shortly before the entire show was given up . It finally reached Broadway in the second and successful version of " Strike Up the Band " in 1929 . ( Still another song in " Strike Up the Band " — " I 've Got a Crush on You " — was retrieved from a 1928 failure , " Treasure Girl " . )  SECOND CHANCE  Like the Gershwins , Richard Rodgers and Lorenz Hart were loath to let a good song get away from them . If one of Mr. Rodgers ' melodies seemed to deserve a better fate than interment in Boston or the obscurity of a Broadway failure , Mr. Hart was likely to deck it out with new lyrics to give it a second chance in another show . 
Several of these double entries have been collected by Ben Bagley and Michael McWhinney , along with Rodgers and Hart songs that disappeared permanently en route to New York and others that reached Broadway but have not become part of the constantly heard Rodgers and Hart repertory , in a delightfully refreshing album , Rodgers and Hart Revisited ( Spruce Records , 505 Fifth Avenue , New York ) . 
Among the particular gems in this collection is the impudent opening song of " The Garrick Gaieties " , an impressive forecast of the wit and melody that were to come from Rodgers and Hart in the years that followed ; Dorothy Loudon 's raucous listing of the attractions " At the Roxy Music Hall " from " I Married an Angel " ; and the incisive style with which Charlotte Rae delivers the top-drawer Hart lyrics of " I Blush " , a song that was cut from " A Connecticut Yankee " . 
Altogether fifteen virtually unknown Rodgers and Hart songs are sung by a quintet of able vocalists . Norman Paris has provided them with extremely effective orchestral accompanimen 
Turning to the current musical season on Broadway , the most widely acclaimed of the new arrivals , How to Succeed in Business Without Really Trying , has been transferred to an original cast album ( R. C. A. Victor LOC 1066 ; stereo LSO 1066 ) that has some entertaining moments , although it is scarcely as inventive as the praise elicited by the show might lead one to expect . Robert Morse , singing with comically plaintive earnestness , carries most of the burden and is responsible for the high spots in Frank Loesser 's score . 
Rudy Vallee , who shares star billing with Mr. Morse , makes only two appearances . He shares with Mr. Morse a parody of the college anthems he once sang while his second song is whisked away from him by Virginia Martin , a girl with a remarkably expressive yip in her voice . In general , Mr. Loesser has done a more consistent job as lyricist than he has as composer . 
Like Mr. Loesser , Jerry Herman is both composer and lyriist for Milk and Honey ( R. C. A. Victor LOC 1065 ; stereo LSO 1065 ) , but in this case it is the music that stands above the lyrics . For this story of an American couple who meet and fall in love in Israel , Mr. Herman has written songs that are warmly melodious and dance music that sparkles .  RESOURCEFUL VOICES  There are the full-bodied , resourceful voices of Robert Weede , Mimi Benzell and Tommy Rall to make the most of Mr. Herman 's lilting melodies and , for an occasional change of pace , the bright humor of Molly Picon . Mr. Herman has managed to mix musical ideas drawn from Israel and the standard American ballad style in a manner that stresses the basic tunefulness of both idioms . 
Not content to create only the music and lyrics , No.euml ; l Coward also wrote the book and directed Sail Away ( Capitol WAO 1643 ; stereo SWAO 1643 ) , a saga of life on a cruise ship that is not apt to be included among Mr. Coward 's more memorable works . The melodies flow along pleasantly , as Mr. Coward 's songs usually do , but his lyrics have a tired , TOOLONG quality . Elaine Stritch , who sings with a persuasively warm huskiness , belts some life into most of her songs , but the other members of the cast sound as lukewarm as Mr. Coward 's songs . 
WITH three fine Russian films in recent months on World War /2 , — " The House I Live In " , " The Cranes Are Flying " and " Ballad of a Soldier " — we had every right to expect a real Soviet block-buster in " The Day the War Ended " . It simply is n't , not by a long shot . The Artkino presentation , with English titles , opened on Saturday at the Cameo Theatre .    Make no mistake , this Gorky Studio drama is a respectable import — aptly grave , carefully written , performed and directed . In describing the initial Allied occupation of a middle-sized German city , the picture has color , pictorial pull and genuinely moving moments . Told strictly from the viewpoint of the Russian conquerors , the film compassionately peers over the shoulders of a smitten Soviet couple , at both sides of the conflict 's aftermath . 
Unfortunately , the whole picture hinges on this romance , at the expense of everything else . Tenderly and rather tediously , the camera rivets on the abrupt , deep love of a pretty nurse and a uniformed teacher , complicated by nothing more than a friend they do n't want to hurt . It 's the old story , war or no war , and more than one viewer may recall Hollywood 's " Titanic " , several seasons back , when the paramount concern was for the marital discord of a society dilettante . 
Not that the picture is superficial . Under Yakov Segal 's direction , it begins stirringly , as crouching Soviet and Nazi troops silently scan each other , waiting for the first surrender gesture . One high-up camera shot is magnificent , as the Germans straggle from a cathedral , dotting a huge , cobblestone square , and drop their weapons .   RING OF BRIGHT WATER , BY GAVIN MAXWELL . 211 PAGES . DUTTON. $5 .  Only once in a very long while comes a book that gives the reader a magic sense of sharing a rare experience . " Ring of Bright Water " by Gavin Maxwell is just that — a haunting , warmly personal chronicle of a man , an otter , and a remote cottage in the Scottish West Highlands . 
" He has married me with … a ring of bright water " , begins the Kathleen Raine poem from which Maxwell takes his title , and it is this mystic bond between the human and natural world that the author conveys . The place is Camusfearna , the site of a long-vanished sea-village opposite the isle of Skye . It is a land of long fjords , few people , a single-lane road miles away — and of wild stags , Greylag geese , wild swans , dolphins and porpoises playing in the waters . How Maxwell recounts his first coming to Camusfearna , his furnishing the empty house with beach-drift , the subtle changes in season over ten years , is a moving experience . Just the evocations of time and place , of passionate encounter between man and a natural world which today seems almost lost , would be enough . 
But it is n't . There is Mijbil , an otter who travelled with Maxwell — and gave Maxwell 's name to a new species — from the Tigris marshes to his London flat . It may sound extravagant to say that there has never been a more engaging animal in all literature . This is not only a compliment to Mijbil , of whom there are a fine series of photographs and drawings in the book , but to the author who has catalogued the saga of a frightened otter cub 's journey by plane from Iraq to London , then by train ( where he lay curled in the wash basin playing with the water tap ) to Camusfearna , with affectionate detail . 
Mij , as his owner was soon to learn , had strange , inexplicable habits . He liked to nip ear lobes of unsuspecting visitors with his needle-sharp teeth . He preferred sleeping in bed with his head on a pillow . Systematically he would open and ransack drawers . Given a small ball or marbles , he would invent games and play by himself for hours . With curiosity and elan , he explored every inch of glen , beach and burn , once stranding himself for hours on a ledge high up a sheer seventy-foot cliff and waiting with calm faith to be rescued by Maxwell , who nearly lost his life in doing so . 
A year and a day of this idyll is described for the reader , one in which not only discovery of a new world of personality is charted , but self-discovery as well . In the solitude of Camusfearna there had been no loneliness . " To be quite alone where there are no other human beings is sharply exhilarating ; it is as though some pressure had suddenly been lifted , allowing an intense awareness … a sharpening of the senses " . 
Now , with the increasing interdependence between himself and Mij came a knowledge of an obscure need , that of being trusted implicitly by some creature . Two other people in time shared Mijbil 's love : " … it remained around us three that his orb revolved when he was not away in his own imponderable world of wave and water … ; we were his Trinity , and he behaved towards us … with a mixture of trust and abuse , passion and irritation . In turn each of us in our own way depended , as gods do , upon his worship " . 
Yet the idyll ended . The brief details of Mijbil 's death lend depth to the story , give it an edge of ironic tragedy . Man , to whom Mij gave endless affection and fealty , was responsible in the form of a road worker with a pickaxe who somehow becomes an abstract symbol of the savage in man . But then , through a strange coincidence , Maxwell manages to acquire Idal , a female otter , and the fascinating story starts once more . 
One is not sure who emerges as the main personality of this book — Mijbil , with his rollicking ways , or Maxwell himself , poet , portrait painter , writer , journalist , traveller and zoologist , sensitive but never sentimental recorder of an unusual way of life , in a language at once lyrical and forceful , vivid and unabashed . This reviewer read the book when it was first brought out in England with a sense of discovery and excitement . Now Gavin Maxwell 's ring of bright water has widened to enchant the world .  NEW YORK  
- The performances of the Comedie Francaise are the most important recent events in the New York theater . 
They serve to contradict a popular notion that the Comedie merely repeats , as accurately as possible , the techniques of acting the classics that prevailed in the 17th century . On the contrary , the old plays are continually being reinterpreted , and each new production of a classic has only a brief history at the Comedie . 
Of course , the well-received revivals last longer than the others , and that further reminds us that the Comedie is not insensitive to criticism . The directors of the Comedie do not respond to adverse notices in as docile and subservient a manner as the Broadway producers who , in two instances this season , closed their plays after one performance . But they are aware of the world outside , they court public approval , they delight in full houses , and they occasionally dare to experiment in interpreting a dramatic classic . 
In France , novel approaches to the classic French plays are frequently attempted . The government pays a subsidy for revival of the classics , and this policy attracts experimenters who sometimes put Moliere 's characters in modern dress and often achieve interesting results . 
So far as I know , the Comedie has never put Moliere 's people in the costumes of the 20th century , but they do reinterpret plays and characters . Last season , the Comedie 's two principal experiments came to grief , and , in consequence , we can expect fairly soon to see still newer productions of Racine 's " Phedre " and Moliere 's " School for Wives " . 
The new " Phedre " was done in 17th century setting , instead of ancient Greek ; perhaps that is the Comedie 's equivalent for thrusting this play 's characters into our own time . The speaking of the lines seemed excessively slow and stately , possibly in an effort to capture the spirit of 17th century elegance . A few literary men defended what they took to be an emphasis on the poetry at the expense of the drama , but the response was mainly hostile and quite violent . 
The new " School for Wives " was interpreted according to a principle that is becoming increasingly common in the playing of classic comedy — the idea of turning some obviously ludicrous figure into a tragic character . 
Among the Moliere specialists of some years ago , Louis Jouvet tried to humanize some of the clowns , while Fernand Ledoux , often performing at the Comedie , made them more gross than Moliere may have intended . 
Apparently , Jouvet and Ledoux attempted just these dissimilar approaches in the role of Arnolphe in " The School for Wives " . I say " apparently " although I saw Jouvet as Arnolphe when he visited this country shortly before his death ; by that time , he seemed to have dropped the tragic playing of the last moments of the comedy . 
Arnolphe , it will be recalled , is a man of mature years who tries to preserve the innocence of his youthful wife-to-be . The part can lend itself to serious treatment ; one influential French critic remarked : " Pity for Arnolphe comes with age " . 
Accordingly , at the Comedie last year , Jean Meyer played a sympathetic Arnolphe and drew criticism for turning the comedy into a tragedy . But the stuff of tragedy was not truly present and the play became only comedy acted rather slowly . 
Wisely , the Comedie has brought Moliere 's " Tartuffe " on its tour and has left " The School for Wives " at home . Tartuffe is the religious hypocrite who courts his benefactor 's wife . Jouvet played him as a sincere zealot , and Ledoux , at the Comedie , made him a gross buffoon , or so the historians tell us . 
Louis Seigner , who formerly played the deluded benefactor opposite Ledoux , is the Tartuffe of the present production , which he himself directed . His Tartuffe observes the golden mean . His red face , his coarse gestures , and his lustful stares bespeak his sensuality . But his heavenward glances and his pious speeches are not merely perfunctory ; of course , they do not reflect sincerity , but they exhibit a concern to make a good job out of his pious impersonation . 
Occasionally , Seigner draws some justly deserved laughs by his quick shifts from one personality to another . The whole role , by the way , is a considerable transformation for anyone who has seen Seigner in his other parts . His normal specialty is playing the good-natured old man , frequently stupid or deluded but never mean or sly . Here , he is , quite persuasively , the very embodiment of meanness and slyness . 
Seigner is the dean of the company , the oldest actor in point of continuous service . In that function , he helps to rebut another legend about the Comedie . We are often told that the Comedie has , unfortunately , life-contracts with old actors who are both mediocre and lazy , drawing their pay without much acting but probably doing real service to the Comedie by staying off the stage . Seigner , however , is a fine actor and probably the busiest man in the company ; among his other parts are the leads in " The Bourgeois Gentleman " and " The Imaginary Invalid " . 
In Moliere 's farce , " The Tricks of Scapin " , Robert Hirsch undertakes another of the great roles . Here some innovation is attempted . 
To begin with , Scapin is a trickster in the old tradition of the clever servant who plots the strategy of courtship for his master . Hirsch 's Scapin is healthy , cheerful , energetic , revelling in his physical agility and his obvious superiority to the young gentlemen whom he serves . 
Hirsch says that he has given the role certain qualities he has observed in the city toughs of the real world . And surely his Scapin has a fresh directness , a no-nonsense quality that seems to make him his own master and nobody 's servant . 
DJANGO REINHARDT , the ill-fated gypsy , was a true artist , one who demonstrated conclusively the power of art to renew itself and flow into many channels . 
There is hardly a jazz guitarist in the business today who does n't owe something to Django . And Django owed much to Louis Armstrong . He told once of how he switched his style of playing to jazz after listening to two old Armstrong records he bought in the Flea Market in Paris . It was the first jazz he had heard . 
Django , who was born Jean Baptiste Reinhardt in Belgium and who died in 1953 in France , was an extraordinary man . Most of the fingers on his left hand were burned off when he fell asleep with a cigarette . And this was before he began to play his startlingly beautiful jazz . 
You can catch up with him — if you have n't already — on RCA-Victor 's album . " Djangology " , made up of tracks he recorded with Stephane Grappelly and the Quintet of the Hot Club of France . This is a choice item and Grappely deserves mention too , of course . He is one of the few men in history who plays jazz on a violin . 
They play : " Minor Swing " , " Honeysuckle Rose " , " Beyond the Sea " , " Bricktop " , " Heavy Artillery " , " Djangology " , " After You 've Gone " , " Where Are You , My Love " ? " I Saw Stars " , " Lover Man " , " Menilmontant " and " Swing 42 " . 
All this is great proceedings — get the minutes . 
Kid Ory , the trombonist chicken farmer , is also one of the solid anchor points of jazz . He dates back to the days before the first sailing ship pulled into New Orleans . His horn has blown loud and clear across the land for more years than he cares to remember . 
Good Time Jazz has released a nice two-record album which he made . He is starred against Alvin Alcorn , trumpet ; Phil Gomez , clarinet ; Cedric Haywood , piano ; Julian Davidson , guitar ; Wellman Braud , bass , and Minor Hall , drums . 
The set contains " High Society " , " Do What Ory Say " , " Down Home Rag " , " Careless Love " , Jazz Me Blues " , " Weary Blues " , " Original Dixieland One-Step " , " Bourbon Street Parade " , " Panama " , " Toot , Toot , Tootsie " , " Oh Did n't He Ramble " , " Beale Street Blues " , " Maryland , My Maryland " , " 1919 Rag " , " Eh , La Bas " , " Mood Indigo " , and " Bugle Call Rag " . 
All this will serve to show off the Ory style in fine fashion and is a must for those who want to collect elements of the old-time jazz before it is too late to lay hands on the gems .  
MISCHA ELMAN shared last night 's Lewisohn Stadium concert with three American composers . 
His portion of the program — and a big portion it was — consisted of half the major nineteenth-century concertos for the violin : to wit , the Mendelssohn and the Tchaikovsky . That is an evening of music-making that would faze many a younger man ; Mr. Elman is 70 years old . 
There were 8,000 persons at the Stadium who can tell their grandchildren that they heard Elman . But , with all due respects and allowances , it must truthfully be said that what they heard was more syrupy than sweet , more mannered than musical . The occasion was sentimental ; so was the playing .    The American part of the evening consisted of Paul Creston 's Dance Overture , William Schuman 's " Chester " from " New England Triptych " and two works of Wallingford Riegger , Dance Rhythms , Op. 58 , and a Romanza for Strings , Op. 56A . 
The Creston is purely a potboiler , with Spanish , English , French and American dances mixed into the stew . The Riegger , with its Latin hesitation bounce , is just this side of the pale ; like his sweet , attractive Romanza , it belongs to what the composer called his " Non-Dissonant ( Mostly ) " category of works . The Schuman " Chester " takes off from an old William Billings tune with rousing woodwind and brass effect .    All these — potboilers or no — provided a welcome breath of fresh air in the form of lively , colorful , unstuffy works well suited for the great out-of-doors . It was nice to have something a little up-to-date for a change . We have Alfredo Antonini to thank for this healthy change of diet as well as the lively performances of the Stadium Symphony . 
A WOMAN who undergoes artificial insemination against the wishes of her husband is the unlikely heroine of " A Question of Adultery " , yesterday 's new British import at the Apollo . 
Since an objective viewer might well conclude that this is not a situation that would often arise , the film 's extensive discussion of the problem seems , at best , superfluous . In its present artless , low-budget form , the subject matter seems designed to invite censorial wrath . 
With Julie London enacting the central role with husky-voiced sincerity , the longsuffering heroine is at least attractive . The explanation offered for her conduct is a misguided attempt to save her marriage to a neurotic husband left sterile as a result of an automobile accident . 
Anthony Steel , as the husband , is a jealous type who argues against her course and sues for divorce , labeling her action adulterous . The actor plays his role glumly under the lurid direction of Don Chaffey , as do Basil Sydney as his unsympathetic father and Anton Diffring as an innocent bystander . 
After a protracted , hysterical trial scene more notable for the frankness of its language than for dramatic credibility , the jury , to no one 's surprise , leaves the legal question unresolved . When the husband drops the case and returns to his wife , both seem sorry they brought the matter up in the first place . So was the audience .  LONDON , JULY 4  
- For its final change of bill in its London season , the Leningrad State Kirov Ballet chose tonight to give one of those choreographic miscellanies known as a " gala program " at the Royal Opera House , Covent Garden . No doubt the underlying idea was to show that for all the elegance and artistry that have distinguished its presentations thus far , it too could give a circus if it pleased . 
And please it did , in every sense of the word , for it had the audience shouting much of the time in a manner far from typical of London audiences . At the end of the program , indeed , there was a demonstration that lasted for forty-five minutes , and nothing could stop it . Alexandre Livshitz repeated a fantastic technical bit from the closing number , " Taras Bulba " , but even then there was a substantial number of diehards who seemed determined not to go home at all . Only a plea from the house manager , John Collins , finally broke up the party .    But for all the manifest intention to " show off " , this was a circus with a difference , for instead of descending in quality to what is known as a popular level , it added further to the evidence that this is a very great dancing company . 
The " Taras Bulba " excerpt is a rousing version of Gogol 's Ukrainian folk-tale choreographed by Bo Fenster to music of Soloviev-Sedoi . It is danced by some thirty-five men and no women , and it contains everything in the books — lusty comedy , gregarious cavorting , and tricks that only madmen or Russians would attempt to make the human body perform . Yuri Soloviev , Oleg Sokolov , Alexei Zhitkov , Lev Sokolov , Yuri Korneyev and Mr. Livshitz were the chief soloists , but everybody on stage was magnificent .    At the other extreme in character was the half-hour excerpt from the Petipa-Minkus ballet " Bayaderka " , which opened the evening . What a man this Petipa was ! And why do we in the West know so few of his ballets ? This scene is a " white ballet " in which a lovelorn hero searches for his departed love 's spirit among twenty-eight extraordinarily beautiful " shadows " who can all dance like nothing human — which , of course , is altogether fitting . The ensemble enters in a long adagio passage that is of fantastic difficulty , as well as loveliness , and adagio is the general medium of the piece .    Its ballerina , Olga Moiseyeva , performs simple miracles of beauty , and Ludmilla Alexeyeva , Inna Korneyeva and Gabrielle Komleva make up a threesome of exquisite accomplishments . Sergei Vikulov , as the lone male , meets the competition well with some brilliant hits , but the work is designed to belong to the ladies . 
The middle section of the program was made up of short numbers , naturally enough of unequal merit , but all of them pretty good at that . They consisted of a new arrangement of " Nutcracker " excerpts danced stunningly by Irina Kolpakova and Mr. Sokolev , with a large ensemble ; a winning little " Snow Maiden " variation by the adorable Galina Kekisheva ; two of those poetic adagios in Greek veils ( and superb esthetic acrobacy ) by Alla Osipenko and Igor Chernishev in one case and Inna Zubkovskaya and Yuri Kornevey in the other ; an amusing character pas de cinq called " Gossiping Women " ; a stirring " Flames of Paris " pas de deux by Xenia Ter-Stepanova and Alexandre Pavlovsky , and a lovely version of Fokine 's " Le Cygne " by Olga Moiseyeva , which had to be repeated . 
Vadim Kalentiev was the conductor . 
It was quite an evening ! 
A YEAR ago today , when the Democrats were fretting and frolicking in Los Angeles and John F. Kennedy was still only an able and ambitious Senator who yearned for the power and responsibility of the Presidency , Theodore H. White had already compiled masses of notes about the Presidential campaign of 1960 . 
As the pace of the quadrennial American political festival accelerated , Mr. White took more notes . He traveled alternately with Mr. Kennedy and with Richard M. Nixon . 
He asked intimate questions and got frank answers from the members of what he calls the candidates ' " in-groups " . He assembled quantities of facts about the nature of American politics in general , as well as about the day-to-day course of the closest Presidential election in American history . 
Those of us who read the papers may think we know a good deal about that election ; how little we know of what there is to be known is made humiliatingly clear by Mr. White in " The Making of the President 1960 " . 
This is a remarkable book and an astonishingly interesting one . What might have been only warmed-over topical journalism turns out to be an eyewitness contribution to history . Mr. White , who is only a competent novelist , is a brilliant reporter . His zest for specific detail , his sensitivity to emotional atmosphere , his tireless industry and his crisply turned prose all contribute to the effectiveness of his book .  A LESSON IN POLITICS  As a dramatic narrative " The Making of the President 1960 " is continuously engrossing . And as an introduction to American politics it is highly educational . 
The author begins this volume with a close-up of Mr. Kennedy , his family and his entourage waiting for the returns . He then switches back to a consideration of the seven principal Presidential hopefuls : five Democrats — Senator Hubert H. Humphrey , Senator Stuart Symington , Senator Lyndon B. Johnson , Adlai E. Stevenson and Mr. Kennedy — and two Republicans — Governor Rockefeller and Mr. Nixon . 
Then , in chronological order , Mr. White covers the primary campaigns , the conventions and the Presidential campaign itself . In the process he writes at length about many related matters : the importance of race , religion , local tradition , bosses , organizations , zealous volunteers and television . Mr. White is bluntly frank in his personal opinions . He frequently cites intimate details that seem to come straight from the horse 's mouth , from numerous insiders and from Mr. Kennedy himself ; but never from Mr. Nixon , who looked on reporters with suspicion and distrust . 
" Rarely in American history has there been a political campaign that discussed issues less or clarified them less " , says Mr. White . Mr. Nixon , he believes , has no particular political philosophy and mismanaged his own campaign . Although a skillful politician and a courageous and honest man , Mr. Nixon , Mr. White believes , ignored his own top-level planners , wasted time and effort in the wrong regions , missed opportunities through indecision and damaged his chances on television . 
Mr. Nixon is " a broody , moody man , given to long stretches of introspection ; he trusts only himself and his wife . … He is a man of major talent — but a man of solitary , uncertain impulses . … He was above all a friend seeker , almost pathetic in his eagerness to be liked . He wanted to identify with people and have a connection with them ; … the least inspiring candidate since Alfred M. Landon " . 
Mr. Kennedy , Mr. White believes , " had mastered politics on so many different levels that no other American could match him " . Calm , dignified , composed , " superbly eloquent " , Mr. Kennedy always knew everything about everybody . He enlisted a staff of loyal experts and of many zealous volunteers . Every decision was made quickly on sound grounds . Efficiency was enforced and nothing was left to chance . Mr. Kennedy did not neglect to cultivate the personal friendship of reporters . Mr. White admires him profoundly and leaves no doubt that he is a Democrat himself who expects Mr. Kennedy to be a fine President .  PRESSURES PORTRAYED  Throughout " The Making of a President " Mr. White shows wonderfully well how the pressures pile up on candidates , how decisions have constantly to be made , how fatigue and illness and nervous strain wear candidates down , how subordinates play key roles . And he makes many interesting comments . Here are several : 
" The root question in American politics is always : Who 's the Man to See ? To understand American politics is , simply , to know people , to know the relative weight of names — who are heroes , who are straw men , who controls , who does not . But to operate in American politics one must go a step further — one must build a bridge to such names , establish a warmth , a personal connection " . 
" In the hard life of politics it is well known that no platform nor any program advanced by either major American party has any purpose beyond expressing emotion " . 
" All platforms are meaningless : the program of either party is what lies in the vision and conscience of the candidate the party chooses to lead it " . 
NOSTALGIA WEEK at Lewisohn Stadium , which had begun with the appearance of the 70-year-old Mischa Elman on Tuesday night , continued last night as Lily Pons led the list of celebrities in an evening of French operatic excerpts . 
Miss Pons is certainly not 70-no singer ever is — and yet the rewards of the evening again lay more in paying tribute to a great figure of times gone by than in present accomplishments . The better part of gallantry might be , perhaps , to honor her perennial good looks and her gorgeous rainbow-hued gown , and to chide the orchestra for not playing in the same keys in which she had chosen to sing . 
No orchestra , however , could be expected to follow a singer through quite as many adventures with pitch as Miss Pons encountered last night . In all fairness , there were flashes of the great stylist of yesteryear , flashes even of the old consummate vocalism .    One such moment came in the breathtaking way Miss Pons sang the cadenza to Meyerbeer 's " Shadow Song " . The years suddenly fell away at this point . On the whole , however , one must wonder at just what it is that forces a beloved artist to besmirch her own reputation as time marches inexorably on . 
Sharing the program was the young French-Canadian tenor Richard Verreau , making his stadium debut on this occasion . Mr. Verreau began shakily , with a voice that tended toward an unpleasant whiteness when pushed beyond middle volume . Later on this problem vanished , and the " Flower Song " from Bizet 's " Carmen " was beautifully and intelligently projected .  
Radio is easily outdistancing television in its strides to reach the minority listener . Lower costs and a larger number of stations are the key factors making such specialization possible . 
The mushrooming of FM outlets , offering concerts ( both jazz and classical ) , lectures , and other special events , is a phenomenon which has had a fair amount of publicity . 
Not so well known is the growth of broadcasting operations aimed wholly or partly at Negro listeners — an audience which , in the United States , comprises some 19,000,000 people with $20,000,000,000 to spend each year . 
Of course , the nonwhite listener does his share of television watching . He even buys a lot of the products he sees advertised — despite the fact that the copy makes no special bid for his favor and sponsors rarely use any but white models in commercials . 
But the growing number of Negro-appeal radio stations , plus evidence of strong listener support of their advertisers , give time salesmen an impressive argument as they approach new prospects . It is estimated that more than 600 stations ( of a total of 3,400 ) do a significant amount of programing for the Negro . At least 60 stations devote all of their time to reaching this audience in about half of the 50 states . 
These and other figures and comments have been reported in a special supplement of Sponsor magazine , a trade publication for radio and TV advertisers . For 10 years Sponsor has issued an annual survey of the size and characteristics of the Negro market and of successful techniques for reaching this market through radio . 
In the past 10 years , Sponsor observes , these trends have become apparent :    
Negro population in the U.S. has increased 25 per cent while the white population was growing by 18 per cent . " The forgotten 15 million " — as Sponsor tagged the Negro market in its first survey — has become a better-remembered 19 million .    
Advertisers are changing their attitudes , both as to the significance of this market and the ways of speaking to it .    
Stations programing to Negro listeners are having to upgrade their shows in order to keep pace with rising educational , economic , and cultural levels . Futhermore , the station which wants real prestige must lead or participate in community improvement projects , not simply serve on the air . 
In the last decade the number of Negro-appeal radio program hours has risen at least 15 per cent , and the number of Negro-appeal stations has increased 30 per cent , according to a research man quoted by Sponsor . 
A year ago the Negro Radio Association was formed to spur research which the 30-odd member stations are sure will bring in more business . 
The 1960 census underscored the explosive character of the population growth . It also brought home proof of something a casual observer might have missed : that more than half of the U.S. Negroes live outside the southeastern states . Also , the state with the largest number of Negroes is New York — not in the South at all . 
In New York City , WLIB boasts " more community service programs than any other Negro station " and " one of the largest Negro news staffs in America " . And WWRL 's colorful mobile unit , cruising predominately Negro neighborhoods , is a frequent reminder of that station 's round-the-clock dedication to nonwhite interests . Recently , WWRL won praise for its expose of particular cases of employment agency deceit . A half-dozen other stations in the New York area also bid for attention of the city 's Negro population , up about 50 per cent in the past decade . 
In all big cities outside the South , and even in small towns within the South , radio stations can be found beaming some or all of their programs at Negro listeners . The Keystone Broadcasting System 's Negro network includes 360 affiliated stations , whose signals reach more than half the total U.S. Negro population . 
One question which inevitably crops up is whether such stations have a future in a nation where the Negro is moving into a fully integrated status . 
Whatever the long-range impact of integration , the owners of Negro-appeal radio stations these days know they have an audience and that it is loyal . Advertisers have discovered the tendency of Negroes to shop for brand names they have heard on stations catering to their special interests . And many advertisers have been happy with the results of letting a Negro disc jockey phrase the commercial in his own words , working only from a fact sheet . 
What sets Negro-appeal programing apart from other radio shows ? Sponsor magazine notes the stress on popular Negro bands and singers ; rhythm-and-blues mood music ; " race " music , folk songs and melodies , and gospel programs . Furthermore , news and special presentations inform the listener about groups , projects , and personalities rarely mentioned on a general-appeal station . Advertising copy frequently takes into account matters of special Negro concern . 
Sponsor quotes John McLendon of the McLendon-Ebony station group as saying that the Southern Negro is becoming conscious of quality and and " does not wish to be associated with radio which is any way degrading to his race ; he tends to shy away from the hooting and hollering personalities that originally made Negro radio programs famous " . 
The sociological impact is perhaps most eloquently summed up in this quotation of J. Walter Carroll of KSAN , San Francisco : 
" Negro-appeal radio is more important to the Negro today , because it provides a direct and powerful mirror in which the Negro can hear and see his ambitions , achievements and desires . It will continue to be important as a means of orientation to the Negro , seeking to become urbanized , as he tries to make adjustment to the urban life . Negro radio is vitally necessary during the process of assimilation " . 
Presentation of " The Life and Times of John Sloan " in the Delaware Art Center here suggests a current nostalgia for human values in art . 
Staged by way of announcing the gift of a large and intimate Sloan collection by the artist 's widow , Helen Farr Sloan , to the Wilmington Society of the Fine Arts , the exhibition presents a survey of Sloan 's work . From early family portraits , painted before he entered the schools of the Pennsylvania Academy of the Fine Arts , the chronology extends to a group of paintings executed in his last year ( 1951 ) and still part of his estate . 
Few artists have left a life work so eloquent of the period in which they lived . Few who have painted the scenes around them have done so with so little bitterness . The paintings , drawings , prints , and illustrations all reflect the manners , costumes , and mores of America in the first half of the present century . 
Obviously Sloan 's early years were influenced by his close friend Robert Henri . As early as 1928 , however , the Sloan style began to change . The dark pigments of the early work were superseded by a brighter palette . The solidity of brush stroke yielded to a hatching technique that finally led to virtual abandonment of American genres in favor of single figure studies and studio nudes . 
The exhibition presents all phases of Sloan 's many-sided art . In addition to the paintings are drawings , prints , and illustrations . Sloan created such works for newspaper supplements before syndication threw him out of a job and sent him to roam the streets of New York , thereby building for America an incomparable city survey from paintings of McSorley 's Saloon to breezy clotheslines on city roofs . 
One of the most appealing of the rooftop canvases is " Sun and Wind on the Roof " , with a woman and child bracing themselves against flapping clothes and flying birds . Although there are landscapes in the show ( one of the strongest is a vista of " Gloucester Harbor " in 1915 ) , the human element was the compelling factor in Sloan 's art . 
Significant are such canvases as " Bleeker Street , Saturday Night " , with its typically American crowd ( Sloan never went abroad ) ; the multifigure " Traveling Carnival " , in which action is vivified by lighting ; or " Carmine Theater , 1912 " , the only canvas with an ash can ( and foraging dog ) , although Sloan was a member of the famous " Eight " , and of the so-called " Ash-Can School " , a term he resented . 
Not all the paintings , however , are of cities . The exhibition touches briefly on his sojourn in the Southwest ( " Koshare in the Dust " , a vigorous Indian dance , and landscapes suggest the influence of western color on his palette ) . 
The fact that Sloan was an extrovert , concerned primarily with what he saw , adds greatly to the value of his art as a human chronicle . 
There are 151 items in the Wilmington show , including one painting by each member of the " Eight " , as well as work by Sloan 's friends and students . Supplementing the actual art are memorabilia — correspondence , diaries , books from the artist 's library , etc . All belong to the collection being given to Wilmington over a period of years by Mrs. Sloan , who has cherished such revelatory items ever since she first studied with Sloan at the Art Students League , New York , in the 1920 's . 
To enable students and the public to spot Sloan forgeries , the Delaware Art Center ( according to its director , Bruce St. John ) will maintain a complete file of photographs of all Sloan works , as well as a card index file . The entire Sloan collection will be made available at the center to all serious art students and historians . 
The current exhibition , which remains on view through Oct. 29 , has tapped 14 major collections and many private sources . 
Any musician playing Beethoven here , where Beethoven was born , is likely to examine his own interpretations with special care . In a sense , he is offering Bonn what its famous son ( who left as a youth ) never did — the sound of the composer 's mature style . 
Robert Riefling , who gave the only piano recital of the recently concluded 23rd Beethoven Festival , penetrated deep into the spirit of the style . His readings were careful without being fussy , and they were authoritative without being presumptuous . The 32 C minor Variations with which he opened moved fluently yet logically from one to another , leaving the right impression of abundance under discipline . 
The D minor Sonata , Op. 31 No. 2 , introduced by dynamically shaped arpeggios , was most engaging in its moments of quasi-recitative — single lines in which the fingers seemed to be feeling their way toward the idea to come . These inwardly dramatic moments showed the kind of " opera style " of which Beethoven was genuinely capable , but which did not take so kindly to the mechanics of staging . 
Two late Sonatas , Op. 110 and 111 , were played with similar insight , the disarming simplicities of the Op. 111 Adagio made plain without ever becoming obvious . The two were separated from each other by the Six Bagatelles of Op. 126 . Herr Riefling , in everything he gave his large Beethoven Hall audience , proved himself as an interpreter of unobtrusive authority . 
Volker Wangenheim , who conducted Bonn 's St.auml ; dtisches Orchester on the following evening , made one more conscious of the process of interpretation . Herr Wangenheim has only recently become the city 's music director , and is a young man with a clear flair for the podium . 
But he weighted the Eighth Symphony , at times , with a shuddering subjectivity which seemed considerably at odds with the music . He might have been hoping , to all appearances , that this relatively sunny symphony , in conjunction with the Choral Fantasy at the end of the program , could amount to something like the Ninth ; but no amount of head-tossing could make it so . 
The conductor 's preoccupation with the business of starting and stopping caused occasional raggedness , as with the first orchestra entrance in the Fourth Piano Concerto , but when he put his deliberations and obsequies aside and let the music move as designed , it did so with plenty of spring . 
The concerto 's soloist , Hans Richter-Haaser , played with compensatory ease and economy , though without the consummate plasticity to which we had been treated on the previous evening by Herr Riefling . His was a burgomaster 's Beethoven , solid and sensible . 
Everybody returned after intermission for the miscellaneous sweepings of the Fantasy for Piano , Chorus , and Orchestra in C minor , made up by its composer to fill out one of his programs . The entrance of the St.auml ; dtisches Gesangverein ( Bonn 's civic chorus ) was worth all the waiting , however , as the young Rhenish voices finally brought the music to life . 
The last program of this festival , which during two weeks had sampled most compositional categories , brought the Cologne TOOLONG and Rundfunkchor to Bonn 's gold-filled hall for a performance of the Missa Solemnis .  
A tribe in ancient India believed the earth was a huge tea tray resting on the backs of three giant elephants , which in turn stood on the shell of a great tortoise . This theory eventually proved inexact . But the primitive method of explaining the unknown with what is known bears at least a symbolic resemblance to the methods of modern science . 
It is the business of cosmologists , the scientists who study the nature and structure of the universe , to try to solve the great cosmic mysteries by using keys that have clicked open other doors . These keys are the working principles of physics , mathematics and astronomy , principles which are then extrapolated , or projected , to explain phenomena of which we have little or no direct knowledge . 
In the autumn of 1959 , the British Broadcasting Corporation presented a series of talks by four scientists competent in cosmology . Three of these men discussed major theories of the universe while the other acted as a moderator . The participants were Professor H. Bondi , professor of mathematics at King 's College , London ; Dr. W. B. Bonnor , reader in mathematics at Queen Elizabeth College , London ; Dr. R. A. Lyttleton , a lecturer at St. John 's College , Cambridge , and a reader in theoretical astronomy at the University of Cambridge ; and Dr. G. J. Whitrow , reader in applied mathematics at the Imperial College of Science and Technology , London . 
Dr. Whitrow functioned as moderator . The programs were so well received by the British public that the arguments have been published in a totally engrossing little book called , " Rival Theories of Cosmology " . 
Dr. Bonnor begins with a discussion of the relativistic theories of the universe , based on the general theory of relativity . First of all , and this has been calculated by observation , the universe is expanding — that is , the galaxies are receding from each other at immense speeds . Because of this Dr. Bonnor holds that the universe is becoming more thinly populated by stars and whatever else is there . This expansion has been going on for an estimated eight billion years .  EXPANDS AND CONTRACTS  Dr. Bonnor supports the idea that the universe both expands and contracts , that in several billion years the expansion will slow up and reverse itself and that the contraction will set in . Then , after many more billions of years , when all the galaxies are whistling toward a common center , this movement will slow down and reverse itself again . 
Professor Bondi disagrees with the expansion-contraction theory . He supports the steady-state theory which holds that matter is continually being created in space . For this reason , he says , the density of the universe always remains the same even though the galaxies are zooming away in all directions . New galaxies are forever being formed to fill in the gaps left by the receding galaxies . 
If this is true , then the universe today looks just as it did millions of years ago and as it will look millions of years hence , even though the universe is expanding . For new galaxies to be created , Professor Bondi declares , it would only be necessary for a single hydrogen atom to be created in an area the size of your living room once every few million years . He contends this idea does n't conflict with experiments on which the principle of conservation of matter and energy is based because some slight error must be assumed in such experiments . 
Dr. Lyttleton backs the theory that we live in an electric universe and this theory starts with the behavior of protons and electrons . Protons and electrons bear opposite electrical charges which make them attract each other , and when they are joined they make up an atom of hydrogen — the basic building block of matter . The charges of the electron and proton are believed to be exactly equal and opposite , but Dr. Lyttleton is not so sure . Suppose , says Dr. Lyttleton , the proton has a slightly greater charge than the electron ( so slight it is presently immeasurable ) . This would give the hydrogen atom a slight charge-excess . 
Now if one hydrogen atom were placed at the surface of a large sphere of hydrogen atoms , it would be subject both to the gravitation of the sphere and the charge-excess of all those atoms in the sphere . Because electrical forces ( the charge-excess ) are far more powerful than gravitation , the surface hydrogen atoms would shoot away from the sphere . 
Dr. Lyttleton then imagines the universe as a large hydrogen sphere with surface atoms shooting away from it . This , he claims , would reasonably account for the expansion of the universe .  FLEETING GLIMPSE  This slim book , while giving the reader only a fleeting glimpse of the scientific mind confronting the universe , has the appeal that informed conversation always has . Several photographs and charts of galaxies help the non-scientist keep up with the discussion , and the smooth language indicates the contributors were determined to avoid the jargon that seems to work its way into almost every field . 
It is clear from this discussion that cosmologists of every persuasion look hopefully toward the day when a man-made satellite can be equipped with optical devices which will open up new vistas to science . Presently , the intense absorption of ultra-violet rays in the earth 's atmosphere seriously hinders ground observation . These scientists are convinced that a telescope unclouded by the earth 's gases will go a long way toward bolstering or destroying cosmic theories . 
There would seem to be some small solace in the prospect that the missile race between nations is at the same time accelerating the study of the space around us , giving us a long-sought ladder from which to peer at alien regions . 
In doing away with the tea tray , the elephants and the giant tortoise , science has developed a series of rationally defensible explanations of the cosmos . And although the universe may forever defy understanding , it might even now be finding its match in the imagination of man . " Roots " , the new play at the brand-new Mayfair Theater on 46th St. which has been made over from a night club , is about the intellectual and spiritual awakening of an English farm girl . Highly successful in England before its transfer to New York , most of " Roots " is as relentlessly dour as the trappings of the small new theater are gaudy . 
Only in its final scene , where Beatie Bryant ( Mary Doyle ) shakes off the disappointment of being jilted by her intellectual lover and proclaims her emancipation do we get much which makes worthwhile the series of boorish rustic happenings we have had to watch for most of the first two and one-half acts . 
The burden of Mr. Wesker 's message is that people living close to the soil ( at least in England ) are not the happy , fine , strong , natural , earthy people city-bred intellectuals imagine . Rather they are genuine clods , proud of their cloddishness and openly antagonistic to the illuminating influences of aesthetics or thought . They care no more for politics , says Mr. Wesker , than they do for a symphony . Seeming to have roots in the soil , they actually have none in life . They dwell , in short , in the doltish twilight in which peasants and serfs of the past are commonly reported to have lived . 
But this is a theme which does not take so much time to state as Mr. Wesker dedicates to it . So much untidiness of mind and household does not attract the interest of the theatergoer ( unless he has been living in a gilded palace , perhaps , and wants a real big heap of contrast ) . The messy meals , the washing of dishes , the drying of clothes may be realism , but there is such a thing as redundancy . 
Now for the good points . Miss Doyle as Beatie has a great fund of animal spirits , a strong voice and a warm smile . She is just home from a sojourn in London where she has become the sweetheart of a young fellow named Ronnie ( we never do see him ) and has been subjected to a first course in thinking and appreciating , including a dose of good British socialism . But while she is able to tell her retarded family about the new world she has seen open before her , Ronnie has not been able to observe her progress , and instead of appearing at a family party to be looked over like a new bull , he sends Beatie a letter of dismissal . 
Beatie , getting no sympathy for her misfortune , soon rallies and finds that although she has lost a lover she has gained her freedom . Despite a too long sustained declamatory flight , this final speech is convincing , and we see why British audiences apparently were impressed by " Roots " . 
There were several fairly good minor portraits in the play , including William Hansen 's impersonation of a stubborn , rather pathetic father , and Katherine Squire 's vigorous characterization of a farm mother who brooked no hifalutin' nonsense from her daughter , or anyone else . But I am afraid Mr. Wesker 's meat and potatoes dish is n't well seasoned enough for local audiences . 
SHAKESPEARE had a word for everything , even for the rain that disrupted Wednesday night 's " Much Ado About Nothing " opening the season of free theatre in Central Park . 
The New York Shakespeare Festival , which is using the Wollman Memorial Skating Rink while its theatre near the Belvedere is being completed , began bravely . Joseph Papp , impassioned founder of the festival and director of " Much Ado " , had a vibrant , colorful production under way . Using a wide stage resourcefully he mingled music and dance with Shakespeare 's words in a spirited mixture . 
The audience filled all the seats inside the Wollman enclosure and overflowed onto the lawns outside the fence . The barbed sallies of Beatrice and Benedick , so contemporary to a public inured to the humor of insult , raised chuckles . The simple-minded comedy of Dogberry and Verges , also familiar in a day that responds easily to jokes skimmed off the top of writers ' heads , evoked laughter . The vivacity of the masquers ' party at Leonato 's palace , with the Spanish motif in the music and dancing in honor of the visiting Prince of Arragon , cast a spell of delight .    As " Much Ado " turned serious while the insipid Claudio rejected Hero at the altar , a sprinkle began to fall . At first hardly a person in the audience moved , although some umbrellas were opened . But the rain came more heavily , and men and women in light summer clothes began to depart . The grieving Hero and her father , Leonato , followed by the Friar , left the stage . A voice on the loudspeaker system announced that if the rain let up the performance would resume in ten minutes . 
More than half the audience departed . Some remained in the Wollman enclosure , fortified with raincoats or with newspapers to cover their heads . Others huddled under the trees outside the fence . Twenty minutes after the interruption , although it was still raining , the play was resumed at the point in the fourth act where it had been stopped . 
Beatrice ( Nan Martin ) and Benedick ( J. D. Cannon ) took their places on the stage . In their very first speeches it was clear that Shakespeare , like a Nostradamus , had foreseen this moment . 
Said Benedick : " Lady Beatrice , have you wept all this while " ? 
Replied Beatrice : " Yea , and I will weep a while longer " . 
The heavens refused to give up their weeping . The gallant company completed Act /4 , and got through part of Act /5 , . But the final scenes could not be played . If any among the hardy hundreds who sat in the downpour are in doubt about how it comes out , let them take comfort . " Much Ado " ends happily .    The Parks Department has done an admirable job of preparing the Wollman Rink for Shakespeare . One could hardly blame Newbold Morris , the Parks Commissioner , for devoting so much grateful mention to the department 's technicians who at short notice provided the stage with its rising platforms , its balcony , its generous wings and even its impressive trapdoors for the use of the villains . 
Eldon Elder , who designed the stage , also created a gay , spacious set that blended attractively with the park background and Shakespeare 's lighthearted mood . Mr. Papp has directed a performance that has verve and pace , although he has tolerated obvious business to garner easy laughs where elegance and consistency of style would be preferable .  
Elisabeth Schwarzkopf sang so magnificently Saturday night at Hunter College that it seems a pity to have to register any complaints . Still a demurrer or two must be entered . 
Schwarzkopf is , of course , Schwarzkopf . For style and assurance , for a supreme and regal bearing there is still no one who can touch her . If the voice is just a shade less glorious than it used to be , it is still a beautiful instrument , controlled and flexible . Put to the service of lieder of Schubert , Brahms , Strauss and Wolf in a dramatical and musical way , it made its effect with ease and precision . 
But what has been happening recently might be described as creeping mannerism . Instead of her old confidence in the simplest , purest , most moving musical expression , Miss Schwarzkopf is letting herself be tempted by the classic sin of artistic pride — that subtle vanity that sometimes misleads a great artist into thinking that he or she can somehow better the music by bringing to it something extra , some personal dramatic touch imposed from the outside . 
The symptoms Saturday night were unmistakable . Clever light songs were overly coy , tragic songs a little too melodramatic . There was an extra pause here , a gasp or a sigh there , here and there an extra little twist of a word or note , all in the interest of effect . The result was like that of a beautiful painting with some of the highlights touched up almost to the point of garishness . 
There were stunning musical phrases too , and sometimes the deepest kind of musical and poetic absorption and communication . Miss Schwarzkopf and her excellent pianist , John Wustman , often achieved the highest lyrical ideals of the lieder tradition . All the more reason why there should have been no place for the frills ; Miss Schwarzkopf is too great an artist to need them . 
THE dance , dancers and dance enthusiasts ( 8,500 of them ) had a much better time of it at Lewisohn Stadium on Saturday night than all had had two nights earlier , when Stadium Concerts presented the first of two dance programs . 
On Saturday , the orchestra was sensibly situated down on the field , the stage floor was apparently in decent condition for dancing , and the order of the program improved .    There was , additionally , a bonus for the Saturday-night patrons . Alvin Ailey and Carmen De Lavallade appeared in the first New York performance of Mr. Ailey 's " Roots of the Blues " , a work given its premiere three weeks ago at the Boston Arts Festival . 
Otherwise , the program included , as on Thursday , the Taras-Tchaikovsky " Design for Strings " , the Dollar-Britten " Divertimento " , the Dollar-De Banfield " The Duel " and the pas de deux from " The Nutcracker " . 
Maria Tallchief and Erik Bruhn , who danced the " Nutcracker " pas de deux , were also seen in the Petipa-Minkus pas de deux from " Don Quixote " , another brilliant showpiece that displayed their technical prowess handsomely . 
Among the other solo ballet dancers of the evening , Elisabeth Carroll and Ivan Allen were particularly impressive in their roles in " The Duel " , a work that depends so much upon the precision and incisiveness of the two principal combatants . 
Mr. Ailey 's " Roots of the Blues " , an earthy and very human modern dance work , provided strong contrast to the ballet selections of the evening .    As Brother John Sellers sang five " blues " to the guitar and drum accompaniments of Bruce Langhorne and Shep Shepard , Mr. Ailey and Miss De Lavallade went through volatile dances that were by turns insinuating , threatening , contemptuous and ecstatic . 
Their props were two stepladders , a chair and a palm fan . He wore the clothes of a laborer , and she was wondrously seductive in a yellow and orange dress . 
The cat-like sinuousness and agility of both dancers were exploited in leaps , lifts , crawls and slides that were almost invariably compelling in a work of strong , sometimes almost frightening , tensions . " Roots of the Blues " may not be for gentle souls , but others should welcome its super-charged impact . 
" PERHAPS it is better to stay at home . The armchair traveler preserves his illusions " . This somewhat cynical comment may be found in " Blue Skies , Brown Studies " , a collection of travel essays by William Sansom , who would never consider staying home for long . Mr. Sansom is English , bearded , formidably cultivated , the versatile author of numerous volumes of short stories , of novels and of pieces that are neither short stories nor travel articles but something midway between . 
The only man alive who seems qualified by his learning , his disposition and his addiction to a baroque luxuriance of language to inherit the literary mantle of Sacheverell Sitwell , Mr. Sansom writes of foreign parts with a dedication to decoration worthy of a pastry chef creating a wedding cake for the marriage of a Hungarian beauty ( her third ) and an American multimillionaire ( his fourth ) . The result is rather wonderful , but so rich as to be indigestible if taken in too thick slices . 
There are sixteen essays in " Blue Skies , Brown Studies " . Most of them were written between 1953 and 1960 and originally appeared in various magazines . All are well written and are overwritten . But , even if Mr. Sansom labors too hard to extract more refinements of meaning and feeling from his travel experiences than the limits of language allow , he still can charm and astound . Too many books and articles are just assembled by putting one word after another . Mr. Sansom actually writes his with a nice ear for a gracefully composed sentence , with an intense relish in all the metaphorical resources of English , with a thick shower of sophisticated , cultural references .  A CONTEMPLATIVE CONNOISSEUR  " I like to sniff a place , and reproduce what it really smells and looks like , its color , its particular kind of life " . This is an exact description of what Mr. Sansom does . He ignores guidebook facts . He only rarely tells a personal anecdote and hardly ever sketches an individual or quotes his opinions . It is an over-all impression Mr. Sansom strives for , an impression compounded of visual details , of a savory mixture of smells , of much loving attention to architecture and scenery , of lights and shadows , of intangibles of atmosphere and of echoes of the past . 
William Sansom writes only about Europe in this book and frequently of such familiar places as London , Vienna , the French Riviera and the Norwegian fjords . But no matter what he writes about he brings to his subject his own original mind and his own sensitive reactions . " A writer lives , at best , in a state of astonishment " , he says . " Beneath any feeling he has of the good or the evil of the world lies a deeper one of wonder at it all . To transmit that feeling he writes " . This may not be true of many writers , but it certainly is true of Mr. Sansom . So in these pages one can share his wonder at the traditional fiesta of St. Torpetius that still persists in St. Tropez ; at the sun and the heat of Mediterranean lands , always much brighter and hotter to an Englishman than to an American used to summers in New York or Kansas City ; at the supreme delights to be found in one of the world 's finest restaurants , La Bonne Auberge , which is situated on the seacoast twenty miles west of the Nice airport ; and at the infinite variety of London . 
Mr. Sansom can be eloquent in a spectacular way which recalls ( to those who recall easily ) the statues of Bernini and the gigantic paintings of Tintoretto . He can coin a neat phrase : " a street spattered with an invigoration of people " ; tulips with " petals wide and shaggy as a spaniel 's ears " ; after a snowstorm a landscape smelling " of woodsmoke and clarity " . And , for all his lacquered , almost Byzantine self-consciousness , he can make one recognize the aptness of an unexpected comparison .  BEAUTY BORROWED FROM AFAR  In one of his best essays Mr. Sansom expresses his enthusiasm for the many country mansions designed by Andrea Palladio himself that dot the environs of Vicenza . How far that pedimented and pillared style has shed its influence Mr. Sansom reminds us thus : 
" The white colonnaded , cedar-roofed Southern mansion is directly traceable via the grey and buff stone of grey-skied England to the golden stucco of one particular part of the blue South , the Palladian orbit stretching out from Vicenza : the old mind of Andrea Palladio still smiles from behind many an old rocking chair on a Southern porch , the deep friezes of his architectonic music rise firm above the shallower freeze in the kitchen , his feeling for light and shade brings a glitter from a tall mint julep , his sense of columns framing the warm velvet night has brought together a million couple of mating lips " . Nice , even if a trifle gaudy . 
" Blue Skies , Brown Studies " is illustrated with numerous excellent photographs . 
IN recent days there have been extensive lamentations over the absence of original drama on television , but not for years have many regretted the passing of new plays on radio . WBAI , the listener-supported outlet on the frequency-modulation band , has decided to do what it can to correct this aural void . Yesterday it offered " Poised for Violence " , by Jean Reavey . 
WBAI is on the right track : in the sound medium there has been excessive emphasis on music and news and there could and should be a place for theatre , as the Canadian and British Broadcasting Corporations continue to demonstrate . Unfortunately , " Poised for Violence " was not the happiest vehicle with which to make the point .    Mrs. Reavey 's work is written for the stage — it is mentioned for an off-Broadway production in the fall — and , in addition , employs an avant-garde structure that particularly needs to be seen if comprehension is to be encouraged . 
The play 's device is to explore society 's obsession with disaster and violence through the eyes of a group of artist 's models who remain part of someone else 's painting rather than just be themselves . In a succession of scenes they appear in different guises — patrons of a cafe , performers in a circus and participants in a family picnic — but in each instance they inevitably put ugliness before beauty .    Somewhere in Mrs. Reavey 's play there is both protest and aspiration of merit . But its relentless discursiveness and determined complexity are so overwhelming that after an hour and a half a listener 's stamina begins to wilt . Moreover , her central figures are so busily fulfilling their multitudinous assignments that none emerges as an arresting individual in his own right or as a provocative symbol of mankind 's ills . 
But quite conceivably an altogether different impression will obtain when the work is offered in the theatre and there can be other effects to relieve the burden on the author 's words . Which in itself is an immediate reward of the WBAI experiment ; good radio drama has its own special demands that badly need reinvigoration . 
A WEEKLY showcase for contemporary music , from the austere archaism of Stravinsky to the bleeps and bloops of electronic music , is celebrating its fourth anniversary this month . 
Titled " What 's New in Music " ? the enterprising program is heard Saturday afternoons on radio station WQXR . 
The brief notes introducing each work offer salient historical or technical points , and many listeners are probably grateful for being intelligently taken by the hand through an often difficult maze . The show is programed and written by the station 's assistant continuity editor , Chuck Briefer . 
The first Saturday in each month is set aside for new recordings . Last Saturday 's interesting melange included Ernst Toch , Karlheinz Stockhausen , Richard Yardumian and a brief excerpt from a new " space " opera by the Swedish composer , Karl-Birger Blomdahl . 
Other Saturdays are devoted to studies of a selected American composer , a particular type of music or the music of a given country . 
It is commendable that a regularly scheduled hour is set aside for an introduction to the contemporary musical scene . But one wishes , when the appetite is whetted , as it was in the case of the all-too-brief excerpt from the Blomdahl opera , that further opportunity would be provided both for hearing the works in their entirety and for a closer analytical look at the sense and nature of the compositions . 
THE Moiseyev Dance Company dropped in at Madison Square Garden last night for the first of four farewell performances before it brings its long American tour to a close . 
It is not simply giving a repetition of the program it gave during its New York engagement earlier this season , but has brought back many of the numbers that were on the bill when it paid us its first visit and won everybody 's heart . 
It is good to see those numbers again . The " Suite of Old Russian Dances " that opened that inaugural program with the slow and modest entrance of the maidens and built steadily into typical Moiseyev vigor and warmth ; the amusing " Yurochka " , in which a hard-to-please young man is given his come-uppance ; the lovely ( and of course vigorous ) " Polyanka " or " The Meadow " ; the three Moldavian dances entitled " Zhok " ; the sweet and funny little dance about potato planting called " Bul'ba " ; and the hilarious picture of social life in an earlier day called " City Quadrille " are all just as good as one remembers them to have been , and they are welcome back . 
So , for that matter , are the newer dances — the " Kalmuk Dance " with its animal movements , that genial juggling act by Sergei Tsvetkov called " The Platter " , the rousing and beautiful betrothal celebration called " Summer " , " The Three Shepherds " of Azerbaijan hopping up on their staffs , and , of course , the trenchant " Rock 'n' Roll " .  As autumn starts its annual sweep , few Americans and Canadians realize how fortunate they are in having the world 's finest fall coloring . Spectacular displays of this sort are relatively rare in the entire land surface of the earth . The only other regions so blessed are the British Isles , western Europe , eastern China , southern Chile and parts of Japan , New Zealand and Tasmania . Their autumn tints are all fairly low keyed compared with the fiery stabs of crimson , gold , purple , bronze , blue and vermilion that flame up in North America . Jack Frost is not really responsible for this great seasonal spectacle ; in fact , a freezing autumn dulls the blaze . The best effects come from a combination of temperate climate and plenty of late-summer rain , followed by sunny days and cool nights . Foliage pilgrimages , either organized or individual , are becoming an autumn item for more and more Americans each year . Below is a specific guide , keyed to the calendar .  NATURE   CANADA .  
Late September finds Quebec 's color at its peak , especially in the Laurentian hills and in the area south of the St. Lawrence River . In the Maritime provinces farther east , the tones are a little quieter . Ontario 's foliage is most vivid from about Sept. 23 to Oct. 10 , with both Muskoka ( 100 miles north of Toronto ) and Haliburton ( 125 miles northwest of Toronto ) holding color cavalcades starting Sept. 23 . In the Canadian Rockies , great groves of aspen are already glinting gold .  NEW ENGLAND .  
Vermont 's sugar maples are scarlet from Sept. 25 to Oct. 15 , and often hit a height in early October . New Hampshire figures its peak around Columbus Day and boasts of all its hardwoods including the yellow of the birches . The shades tend to be a little softer in the forests that blanket so much of Maine . In western Massachusetts and northwest Connecticut , the Berkshires are at their vibrant prime the first week of October .  MIDDLE ATLANTIC STATES .  
The Adirondacks blaze brightest in early October , choice routes being 9N from Saratoga up to Lake George and 73 and 86 in the Lake Placid area . Farther south in New York there is a heavy haze of color over the Catskills in mid-October , notably along routes 23 and 23A . About the same time the Alleghenies and Poconos in Pennsylvania are magnificent — Renovo holds its annual Flaming Foliage Festival on Oct. 14 , 15 . New Jersey 's color varies from staccato to pastel all the way from the Delaware Water Gap to Cape May .  SOUTHEAST .  
During the first half of October the Blue Ridge and other parts of the Appalachians provide a spectacle stretching from Maryland and West Virginia to Georgia . The most brilliant displays are along the Skyline Drive above Virginia 's Shenandoah Valley and throughout the Great Smokies between North Carolina and Tennessee .  MIDWEST .  
Michigan , Wisconsin and Minnesota have many superb stretches of color which reach their height from the last few days of September well into October , especially in their northern sections , e.g. , Wisconsin 's Vilas County whose Colorama celebration is Sept. 29-Oct. 8 . In Wisconsin , take route 55 north of Shawano or routes 78 and 60 from Portage to Prairie du Chien . In Michigan , there is fine color on route 27 up to the Mackinac Straits , while the views around Marquette and Iron Mountain in the Upper Peninsula are spectacular . In Minnesota , Arrowhead County and route 53 north to International Falls are outstanding . Farther south , there are attractive patches all the way to the Ozarks , with some seasonal peaks as late as early November . Illinois ' Shawnee National Forest , Missouri 's Iron County and the maples of Hiawatha , Kan. should be at their best in mid-October .  THE WEST .  
The Rockies have many " Aspencades " , which are organized tours of the aspen areas with frequent stops at vantage points for viewing the golden panoramas . In Colorado , Ouray has its Fall Color Week Sept. 22-29 , Rye and Salida both sponsor Aspencades Sept. 24 , and Steamboat Springs has a week-long Aspencade Sept. 25-30 . New Mexico 's biggest is at Ruidoso Oct. 7 , 8 , while Alamogordo and Cloudcroft cooperate in similar trips Oct. 1 .  AMERICANA   PLEASURE DOMES .  
Two sharply contrasting places designed for public enjoyment are now on display . 
The Corn Palace at Mitchell , S. Dak. , " the world 's corniest building " , has a carnival through Sept. 23 headlining the Three Stooges and Pee Wee Hunt . Since 1892 ears of red , yellow , purple and white corn have annually been nailed to 11 big picture panels to create hugh " paintings " . The 1961 theme is the Dakota Territorial Centennial , with the pictures including the Lewis and Clark expedition , the first river steamboat , the 1876 gold rush , a little red schoolhouse on the prairie , and today 's construction of large Missouri River reservoirs . The panels will stay up until they are replaced next summer . 
Longwood Gardens , near Kennett Square , Pa. ( about 12 miles from Wilmington , Del. ) , was developed and heavily endowed by the late Pierre S. du Pont . Every Wednesday night through Oct. 11 there will be an elaborate colored fountain display , with 229 nozzles throwing jets of water up to 130 feet . The " peacock tail " nozzle throws a giant fan of water 100 feet wide and 40 feet high . The gardens themselves are open free of charge the year round , and the 192 permanent employes make sure that not a dead or wilted flower is ever seen indoors or out by any visitor . The greenhouses alone cover 3-1/2 acres .  BOOKS   CLOCK WITHOUT HANDS .  
Carson McCullers , after a long , painful illness that might have crushed a less-indomitable soul , has come back with an absolute gem of a novel which jumped high on best-seller lists even before official publication . Though the subject — segregation in her native South — has been thoroughly worked , Miss McCullers uses her poet 's instinct and storyteller 's skill to reaffirm her place at the very top of modern American writing .   FRANNY AND ZOOEY .  
With an art that almost conceals art , J. D. Salinger can create a fictional world so authentic that it hurts . Here , in the most eagerly awaited novel of the season ( his first since The Catcher in the Rye ) , he tells of a college girl in flight from the life around her and the tart but sympathetic help she gets from her 25-year-old brother .   THE HEAD OF MONSIEUR M. ,  
Althea Urn . A deft , hilarious satire on very high French society involving a statesman with two enviable possessions , a lovely young bride and a head containing such weighty thoughts that he has occasionally to remove it for greater comfort . There is probably a moral in all this about " mind vs. heart " .   A MATTER OF LIFE AND DEATH .  
Virgilia Peterson , a critic by trade , has turned her critical eye pitilessly and honestly on herself in an autobiography more of the mind and heart than of specific events . It is an engrossing commentary on a repressive , upper-middle-class New York way of life in the first part of this century .   DARK RIDER .  
This retelling by Louis Zara of the brief , anguished life of Stephen Crane — poet and master novelist at 23 , dead at 28 — is in novelized form but does not abuse its tragic subject .   RURAL FREE ,  
Rachel Peden . Subtitled A Farmwife 's Almanac of Country Living , this is a gentle and nostalgic chronicle of the changing seasons seen through the clear , humorous eye of a Hoosier housewife and popular columnist .   DANCE   RUSSIANS , FILIPINOS .  
Two noted troupes from overseas will get the fall dance season off to a sparkling start . Leningrad 's Kirov Ballet , famous for classic purity of technique , begins its first U.S. tour in New York ( through Sept. 30 ) . The Bayanihan Philippine Dance Company , with music and dances that depict the many facets of Filipino culture , opens its 60-city U.S. tour in San Francisco ( through Sept. 24 ) then , via one-night stands , moves on to Los los Angeles ( Sept. 29-Oct. 1 ) .  FESTIVALS   ACROSS THE LAND .  
With harvests in full swing , you can enjoy festivals for grapes at Sonoma , Calif . ( Sept. 22-24 ) , as well as for cranberries at Bandon , Ore . ( Sept. 28-Oct. 1 ) , for buckwheat at Kingwood , W. Va . ( Sept. 28-30 ) , sugar cane at New Iberia , La . ( Sept. 29-Oct. 1 ) and tobacco at Richmond , Va . ( Sept. 23-30 ) . 
The mule is honored at Benson , N.C. ( Sept. 22,23 ) and at Boron , Calif . ( Sept. 24-Oct. 1 ) , while the legend of the Maid of the Mist is celebrated at Niagara Falls through the 24th . The fine old mansions of U.S. Grant 's old home town of Galena , Ill. are open for inspection ( Sept. 23 , 24 ) . An archery tournament will be held at North Falmouth , Mass . ( Sept. 23 , 24 ) . The 300th anniversaries of Staten Island ( through Sept. 23 ) and of Mamaroneck , N.Y . ( through Sept. 24 ) will both include parades and pageants .  MOVIES   PURPLE NOON :  
This French film , set in Italy , is a summertime splurge in shock and terror all shot in lovely sunny scenery — so breath-taking that at times you almost forget the horrors the movie is dealing with . But slowly they take over as Alain Delon ( LIFE , Sept. 15 ) , playing a sometimes appealing but always criminal boy , casually tells a rich and foot-loose American that he is going to murder him , then does it even while the American is trying to puzzle out how Delon expects to profit from the act .  RECORDS   NORMA .  
Callas devotees will have good reason to do their customary cart wheels over a new and complete stereo version of the Bellini opera . Maria goes all out as a Druid princess who gets two-timed by a Roman big shot . By turns , her beautifully sung Norma is fierce , tender , venomous and pitiful . The tenor lead , Franco Corelli , and La Scala cast under Maestro Tullio Serafin are all first rate .   JEREMIAH PEABODY 'S POLYUNSATURATED QUICK DISSOLVING FAST ACTING PLEASANT TASTING GREEN AND PURPLE PILLS .  
In a raucous take-off on radio commercials , Singer Ray Stevens hawks a cure-all for neuritis , neuralgia , head-cold distress , beriberi , overweight , fungus , mungus and water on the knee .  Of the nation 's eight million pleasure-boat owners a sizable number have learned that late autumn is one of the loveliest seasons to be afloat — at least in that broad balmy region that lies below America 's belt line . Waterways are busy right now from the Virginia capes to the Texas coast . There true yachtsmen often find November winds steadier , the waters cooler , the fish hungrier , and rivers more pleasant — less turbulence and mud , and fewer floating logs . 
More and more boats move overland on wheels ( 1.8 million trailers are now in use ) and Midwesterners taking long weekends can travel south with their craft . In the Southwest , the fall brings out flotillas of boatsmen who find the summer too hot for comfort . And on northern shores indomitable sailors from Long Island to Lake Michigan will beat around the buoys in dozens of frostbite races . Some pleasant fall cruising country is mapped out below .  BOATING   WEST COAST .  
Pleasure boating is just scooting into its best months in California as crisp breezes bring out craft of every size on every kind of water — ocean , lake and reservoir . Shore facilities are enormous — Los Angeles harbors 5,000 boats , and Long Beach 3,000 — but marinas are crowded everywhere . New docks and ramps are being rushed at Playa del Rey , Ventura , Dana Point , Oceanside and Mission Bay . 
Inland , outboard motorists welcome cooler weather and the chance to buzz over Colorado River sandbars and Lake Mead . Newest small-boat playground is the Salton Sea , a once-dry desert sinkhole which is now a salty lake 42 miles long and 235 feet below sea level . On Nov. 11 , 12 , racers will drive their flying shingles in 5-mile laps over its 500-mile speedboat course . In San Francisco Bay , winds are gusty and undependable during this season . A sailboat may have a bone in her teeth one minute and lie becalmed the next . But regattas are scheduled right up to Christmas . The Corinthian Yacht Club in Tiburon launches its winter races Nov. 5 .  GULF COAST .  
Hurricane Carla damaged 70% of the marinas in the Galveston-Port Aransas area but fuel service is back to normal , and explorers can roam as far west as Port Isabel on the Mexican border . Sailing activity is slowed down by Texas northers , but power cruisers can move freely , poking into the San Jacinto , Trinity and Brazos rivers ( fine tarpon fishing in the Brazos ) or pushing eastward to the pirate country of Barataria . Off Grand Isle , yachters often visit the towering oil rigs . The Mississippi Sound leads into a protected waterway running about 200 miles from Pascagoula to Apalachicola .  LOWER MISSISSIPPI .  
Memphis stinkpotters like McKellar Lake , inside the city limits , and sailors look for autumn winds at Arkabutla Lake where fall racing is now in progress . River cruising for small craft is ideal in November . At New Orleans , 25-mile-square Lake Pontchartrain has few squalls and year-long boating . Marinas are less plush than the Florida type but service is good and Creole cooking better .  TVA LAKES .  
Ten thousand twisty miles of shoreline frame the 30-odd lakes in the vast Tennessee River system that loops in and out of seven states . When dam construction began in 1933 , fewer than 600 boats used these waters ; today there are 48,500 .  
A YEAR ago it was bruited that the primary character in Erich Maria Remarque 's new novel was based on the Marquis Alfonso de Portago , the Spanish nobleman who died driving in the Mille Miglia automobile race of 1957 . If this was in fact Mr. Remarque 's intention he has achieved a notable failure . Clerfayt of " Heaven Has No Favorites " resembles Portago only in that he is male and a race-driver — quite a bad race-driver , whereas Portago was a good one . He is a dull , unformed , and aimless person ; the twelfth Marquis de Portago was intelligent , purposeful , and passionate . 
One looked forward to Mr. Remarque 's ninth book if only because not even a reasonably good novel has yet been written grounded on automobile racing , as dramatic a sport as mankind has devised . Unhappily , " Heaven Has No Favorites " does not alter the record except to add one more bad book to the list . 
Mr. Remarque 's conception of this novel was sound and perhaps even noble . He proposed throwing together a man in an occupation of high hazard and a woman balanced on a knife-edge between death from tuberculosis and recovery . His treatment of it is something else . His heroine chooses to die — the price of recovery , years under the strict regimen of a sanatorium , being higher than she wishes to pay . Her lover precedes her in death , at the wheel , and presumably he too has chosen . Between the first meeting of Clerfayt and Lillian and this dismal denouement , Mr. Remarque has laid down many pages of junior-philosophical discourse , some demure and rather fetching love-making , pleasant talk about some of the countryside and restaurants of Europe , and a modicum of automobile racing . The ramblings on life , death , and the wonder of it all are distressing ; the love-making , perhaps because it is pale and low-key when one has been conditioned to expect harsh colors and explicitness , is often charming ; the automobile racing bears little relation to reality . 
This latter failure is more than merely bad reportage and it is distinctly more important than it would have been had the author drawn Clerfayt as , say , a tournament golfer . Hazards to life and limb on the golf course , while existent , are actuarially insignificant . Race-drivers , on the other hand , are quite often killed on the circuit , and since it was obviously Mr. Remarque 's intention to establish automobile racing as life in microcosm , one might reasonably have expected him to demonstrate precise knowledge not only of techniques but of mores and attitudes . He does not . The jacket biography describes him as a former racing driver , and he may indeed have been , although I do not recall having encountered his name either in the records or the literature . Perhaps he has only forgotten a great deal . The book carries a disclaimer in which Remarque says it has been necessary for him to take minor liberties with some of the procedures and formalities of racing . The necessity is not clear to me , and , in any case , to present a case-hardened race-driver as saying he has left his car , which , or whom , he calls " Giuseppe " , parked " on the Place Vendome sneering at a dozen Bentleys and Rolls-Royces parked around him " is not a liberty ; it is an absurdity . 
But it is in the matter of preoccupation with death , which is the primary concern of the book , that Remarque 's failure is plainest . Clerfayt is neurotic , preoccupied , and passive . To be human , he believes , is to seek one 's own destruction : the Freudian " death-wish " cliche inevitably cited whenever laymen talk about auto race-drivers . In point of fact , the race-drivers one knows are nearly always intelligent , healthy technicians who differ from other technicians only in the depth of the passion they feel for the work by which they live . A Clerfayt may moon on about the face of Death in the cockpit ; a Portago could say , as he did say to me , " If I die tomorrow , still I have had twenty-eight wonderful years ; but I sha n't die tomorrow ; I 'll live to be 105 " . 
Clerfayt , transported , may think of the engine driving his car as " a mystical beast under the hood " . The Italian master Piero Taruffi , no less sensitive , knows twice the ecstasy though he thinks of a car 's adhesion to a wet two-lane road at 165 miles an hour as a matter best expressed in algebraic formulae . Clerfayt , driving , sees himself " a volcano whose cone funneled down to hell " ; the Briton Stirling Moss , one of the greatest virtuosi of all time , believes that ultra-fast road-circuit driving is an art form related to ballet . 
Errors in technical terminology suggest that the over-all translation from the German may not convey quite everything Mr. Remarque hoped to tell us . 
However , my principal objection in this sort of novel is to the hackneyed treatment of race-drivers , pilots , submariners , atomic researchers , and all the machine-masters of our age as brooding mystics or hysterical fatalists . 
THE WEST is leaderless , according to this book . In contrast , the East is ably led by such stalwart heroes as Khrushchev , Tito , and Mao . Against this invincible determination to communize the whole world stands a group of nations unable to agree on fundamentals and each refusing to make any sacrifice of sovereignty for the common good of all . 
It is Field Marshal Montgomery 's belief that in most Western countries about 60 per cent of the people do not really care about democracy or Christianity ; about 30 per cent call themselves Christians in order to keep up appearances and be considered respectable , and only the last 10 per cent are genuine Christians and believers in democracy . 
But these Western countries do care about themselves . Each feels intensely national . If , say , the Russians intended to stop Tom Jones ' going to the pub , then Tom Jones would fight the Commies . But he would fight for his own liberty rather than for any abstract principle connected with it — such as " cause " . For all practical purposes , the West stands disunited , undedicated , and unprepared for the tasks of world leadership . 
With this barrage , Montgomery of Alamein launches his attack upon the blunderings of the West . Never given to mincing words , he places heavy blame upon the faulty , uncourageous leadership of Britain and particularly America . At war 's end leadership in Western Europe passed from Britain because the Labour Government devoted its attention to the creation of a welfare state . With Britain looking inward , overseas problems were neglected and the baton was passed on to the United States . 
Montgomery believes that she started well . " America gave generously in economic aid and military equipment to friend and foe alike " . She pushed wartorn and poverty-stricken nations into prosperity , but she failed to lead them into unity and world peace . America has divided more than she has united the West . The reasons are that America generally believes that she can buy anything with dollars , and that she compulsively strives to be liked . However , she really does not know how to match the quantity of dollars given away by a quality of leadership that is basically needed . 
But the greater reason for fumbling , stumbling American leadership is due to the shock her pride suffered when the Japanese attacked at Pearl Harbor . " They are determined " , Montgomery writes , " not to be surprised again , and now insist on a state of readiness for war which is not only unnecessary , but also creates nervousness … among other nations in the Western Alliance — not to mention such great suspicions among the nations of the Eastern bloc that any progress towards peaceful coexistence or disarmament is not possible " . 
The net result is that under American leadership the general world situation has become bad . To " Monty " , the American people , who in two previous world wars were very reluctant to join the fight , " now look like the nation most likely to lead us all into a third World War " .   AS faulty as has been our leadership clearly the United States must be relied upon to lead . The path to leadership is made clear . Montgomery calls for a leader who will first put the West 's own house in order . Such a man must be able and willing to give clear and sensible advice to the whole group , a person in whom all the member nations will have absolute confidence . This leader must be a man who lives above illusions that heretofore have shaped the foreign policy of the United States , namely that Russia will agree to a reunited Germany , that the East German government does not exist , that events in Japan in June 1960 were Communist-inspired , that the true government of China is in Formosa , that Mao was the evil influence behind Khrushchev at the Summit Conference in Paris in May 1960 , and that either China or Russia wants or expects war . 
Such a leader must strengthen NATO politically , and establish that true unity about which it has always talked . After drastically overhauling NATO , Western leadership should turn to reducing the suspicions that tear apart the East and West . Major to this effort is to get all world powers to withdraw to their own territories , say by 1970 . " The West should make the central proposal ; but the East would have to show sincerity in carrying it out " . 
" But where is the leader who will handle all these things for us " ? Montgomery knew all the national leaders up to the time of Kennedy . The man whom he would select as our leader for this great task is de Gaulle . He alone has the wisdom , the conviction , the tenacity , and the courage to reach a decision . But de Gaulle is buried in the cause of restoring France 's lost soul . 
Whoever rises to the occasion walks a treacherous path to leadership . The leader Montgomery envisages will need to discipline himself , lead a carefully regulated and orderly life , allow time for quiet thought and reflection , adapt decisions and plans to changing situations , be ruthless , particularly with inefficiency , and be honest and morally proper . All in all , Montgomery calls for a leader who will anticipate and dominate the events that surround him .   IN LOOKING as far back as Moses , thence to Cromwell , Napoleon , Lincoln , Churchill , and Nehru , Montgomery attempts to trace the stirrings and qualities of great men . He believes that greatness is a marriage between the man and the times as was aptly represented by Churchill , who would very possibly have gone down in history as a political failure if it had not been for Hitler 's war . 
However , Montgomery makes little contribution to leadership theory and practice . Most of what is said about his great men of history has already been said , and what has not is largely irrelevant to the contemporary scene . Like Eisenhower , he holds the militarist 's suspicion of politicians . However , at the same time Montgomery selects as his hero de Gaulle , who is a militarist dominated by political ambitions . " Monty " shows a remarkable capacity for the direct statement and an equally remarkable incapacity for giving adequate support . For the most part , his writing rambles and jogs , preventing easy access by the reader to his true thoughts . 
Nevertheless , Montgomery has stated courageously and wisely the crisis of the Western world . It suffers from a lack of unity of purpose and respect for heroic leadership . And it remains to be seen if the new frontier now taking form can produce the leadership and wisdom necessary to understand the current shape of events . 
IT IS no common thing for a listener ( critical or otherwise ) to hear a singer " live " for the first time only after he has died . But then , Mario Lanza was no common singer , and his whole career , public and non-public , was studded with the kind of unconventional happenings that terminate with the appearance of his first " recital " only when he has ceased to be a living voice . It is a kind of justice , too , that it should originate in London 's Royal Albert Hall , where , traditionally , the loudest , if not the greatest , performers have entertained the thousands it will accommodate ( RCA Victor LM 2454 , $4.98 ) . 
To be sure , Lanza made numerous concert tours , here and abroad , but these did not take him to New York where the carping critic might lurk .  
The reading public , the theatergoing public , the skindiving public , the horse-playing public — all these and others fill substantial roles in U.S. life , but none is so varied , vast and vigilant as the eating public . The Department of Agriculture averaged out U.S. food consumption last year at 1,488 lbs . per person , which , allowing for the 17 million Americans that John Kennedy said go to bed hungry every night , means that certain gluttons on the upper end must somehow down 8 lbs . or more a day . That mother hen of the weight-height tables , the Metropolitan Life Insurance Co. , clucks that 48 million Americans are overweight . 
Through previous centuries , eating changed by nearly imperceptible degrees , and mostly toward just getting enough . Now big forces buffet food . For the first time in history , the U.S. has produced a society in which less than one-tenth of the people turn out so much food that the Government 's most embarrassing problem is how to dispose inconspicuously of 100 million tons of surplus farm produce . In this same society , the plain citizen can with an average of only one-fifth his income buy more calories than he can consume . Refrigeration , automated processing and packaging conspire to defy season and banish spoilage . And in the wake of the new affluence and the new techniques of processing comes a new American interest in how what people eat affects their health . To eat is human , the nation is learning to think , to survive divine .  FADS , FACTS **H  Not all the concern for health is well directed . From the fusty panaceas of spinach , eggs and prunes , the U.S. has progressed to curds , concentrates and capsules . Each year , reports the American Medical Association , ten million Americans spend $900 million on vitamins , tonics and other food supplements . At juice bars in Los Angeles ' 35 " health " stores , a new sensation is a pink , high-protein cocktail , concocted of dried eggs , powdered milk and cherry-flavored No-Cal , which sells for 59  per 8-oz. glass . Grocery stores sell dozens of foods that boast of having almost no food value at all . 
But a big part of the public wants to know facts about diet and health , and a big group of U.S. scientists wants to supply them . The man most firmly at grips with the problem is the University of Minnesota 's Physiologist Ancel Keys , 57 , inventor of the wartime K ( for Keys ) ration and author of last year 's bestselling Eat Well and Stay Well . From his birch-paneled office in the Laboratory of Physiological Hygiene , under the university 's football stadium in Minneapolis ( " We get a rumble on every touchdown " ) , blocky , grey-haired Dr. Keys directs an ambitious , $200,000-a-year experiment on diet , which spans three continents and seven nations and is still growing . Pursuing it , he has logged 500,000 miles , suffered indescribable digestive indignities , and meticulously collected physiological data on the health and eating habits of 10,000 individuals , from Bantu tribesmen to Italian contadini . He has measured the skinfolds ( the fleshy areas under the shoulder blades ) of Neapolitan firemen , studied the metabolism of Finnish woodcutters , analyzed the " mealie-meal " eaten by Capetown coloreds , and experimented on Minneapolis businessmen .  **H AND FATS .  Keys 's findings , though far from complete , are likely to smash many an eating cliche . Vitamins , eggs and milk begin to look like foods to hold down on ( though mothers ' milk is still the ticket ) . Readings of the number of milligrams of cholesterol in the blood , which seem to have value in predicting heart attacks , are becoming as routine as the electrocardiogram , which can show that the heart has suffered a symptomatic attack . Already many an American knows his count , and rejoices or worries depending on whether it is nearer 180 ( safe ) or 250 ( dangerous ) . 
Out of cholesterol come Keys 's main messages so far : 
 Americans eat too much . The typical U.S. daily menu , says Dr. Keys , contains 3,000 calories , should contain 2,300 . And extra weight increases the risk of cancer , diabetes , artery disease and heart attack . 
 Americans eat too much fat . With meat , milk , butter and ice cream , the calorie-heavy U.S. diet is 40% fat , and most of that is saturated fat — the insidious kind , says Dr. Keys , that increases blood cholesterol , damages arteries , and leads to coronary disease .  OBESITY : A MALNUTRITION .  Throughout much of the world , food is still so scarce that half of the earth 's population has trouble getting the 1,600 calories a day necessary to sustain life . The deficiency diseases — scurvy , tropical sprue , pellagra — run rampant . In West Africa , for example , where meat is a luxury and babies must be weaned early to make room at the breast for later arrivals , a childhood menace is kwashiorkor , or " red Johnny " , a growth-stunting protein deficiency ( signs : reddish hair , bloated belly ) that kills more than half its victims , leaves the rest prey for parasites and lingering tropical disease . 
In the well-fed U.S. , deficiency diseases have virtually vanished in the past 20 years . Today , as Harrison 's Principles of Internal Medicine , a standard internist 's text , puts it , " The most common form of malnutrition is caloric excess or obesity " . 
Puritan New England regarded obesity as a flagrant symbol of intemperance , and thus a sin . Says Keys : " Maybe if the idea got around again that obesity is immoral , the fat man would start to think " . Morals aside , the fat man has plenty to worry about — over and above the fact that no one any longer loves him . The simple mechanical strain of overweight , says New York 's Dr. Norman Jolliffe , can overburden and damage the heart " for much the same reason that a Chevrolet engine in a Cadillac body would wear out sooner than if it were in a body for which it was built " . The fat man has trouble buying life insurance or has to pay higher premiums . He has — for unclear reasons — a 25% higher death rate from cancer . He is particularly vulnerable to diabetes . He may find even moderate physical exertion uncomfortable , because excess body fat hampers his breathing and restricts his muscular movement . 
Physiologically , people overeat because what Dr. Jolliffe calls the " appestat " is set too high . The appestat , which adjusts the appetite to keep weight constant , is located , says Jolliffe , in the hypothalamus — near the body 's temperature , sleep and water-balance controls . Physical exercise raises the appestat . So does cold weather . In moderate doses , alcohol narcotizes the appestat and enhances appetite ( the original reason for the cocktail ) ; but because liquor has a high caloric value — 100 calories per oz. — the heavy drinker is seldom hungry . In rare cases , diseases such as encephalitis or a pituitary tumor may damage the appestat permanently , destroying nearly all sense of satiety .  FOOD FOR FRUSTRATION .  Far more frequently , overeating is the result of a psychological compulsion . It may be fostered by frustration , depression , insecurity — or , in children , simply by the desire to stop an anxious mother 's nagging . Some families place undue emphasis on food : conversations center on it , and rich delicacies are offered as rewards , withheld as punishment . The result says Jolliffe : " The child gains the feeling that food is the purpose of life " . Food may act as a sedative , giving temporary emotional solace , just as , for some people , alcohol does . Reports Dr. Keys : " A fairly common experience for us is the wife who finds her husband staying out more and more . He may be interested in another woman , or just like being with the boys . So she fishes around in the cupboard and hauls out a chocolate cake . It 's a matter of boredom , and the subconscious feeling that she is entitled to something , because she 's being deprived of something else " . 
For the army of compulsive eaters — from the nibblers and the gobblers to the downright gluttons — reducing is a war with the will that is rarely won . Physiologist Keys flatly dismisses such appetite depressants as the amphetamines ( Benzedrine , Dexedrine ) as dangerous " crutches for a weak will " . 
Keys has no such objections to Metrecal , Quaker Oats 's Quota and other 900-calorie milk formulas that are currently winning favor from dieters . " Metrecal is a pretty complete food " , he says . " It contains large amounts of protein , vitamins and minerals . In the quantity of 900 calories a day , anyone will lose weight on it — 20 , 30 or 40 lbs . " . But Keys worries that the Metrecal drinker will never make either the psychological or physiological adjustment to the idea of eating smaller portions of food .  THAT REMARKABLE CHOLESTEROL .  Despite his personal distaste for obesity ( " disgusting " ) , Dr. Keys has only an incidental interest in how much Americans eat . What concerns him much more is the relationship of diet to the nation 's No. 1 killer : coronary artery disease , which accounts for more than half of all heart fatalities and kills 500,000 Americans a year — twice the toll from all varieties of cancer , five times the deaths from automobile accidents . 
Cholesterol , the cornerstone of Dr. Keys 's theory , is a mysterious yellowish , waxy substance , chemically a crystalline alcohol . Scientists assume that cholesterol ( from the Greek chole , meaning bile , and sterios , meaning solid ) is somehow necessary for the formation of brain cells , since it accounts for about 2% of the brain 's total solid weight . They know it is the chief ingredient in gallstones . They suspect it plays a role in the production of adrenal hormones , and they believe it is essential to the transport of fats throughout the circulatory system . But they can not fully explain the process of its manufacture by the human liver . Although the fatty protein molecules , carried in the blood and partly composed of cholesterol , are water soluble , cholesterol itself is insoluble , and can not be destroyed by the body . " A remarkable substance " , says Dr. Keys , " quite apart from its tendency to be deposited in the walls of arteries " . 
When thus deposited , Keys says that cholesterol is mainly responsible for the arterial blockages that culminate in heart attacks . Explains Keys : As the fatty protein molecules travel in the bloodstream , they are deposited in the intima , or inner wall of a coronary artery . The proteins and fats are burned off , and the cholesterol is left behind . As cholesterol piles up , it narrows , irritates and damages the artery , encouraging formation of calcium deposits and slowing circulation . Eventually , says Keys , one of two things happens . A clot forms at the site , seals off the flow of blood to the heart and provokes a heart attack . Or ( more commonly , thinks Keys ) the deposits themselves get so big that they choke off the artery 's flow to the point that an infarct occurs : the heart muscle is suffocated , cells supplied by the artery die , and the heart is permanently , perhaps fatally injured .  FATS + CORONARIES .  Ordinarily , the human liver synthesizes only enough cholesterol to satisfy the body 's needs — for transportation of fats and for production of bile . Even eggs and other cholesterol-rich foods , eaten in normal amounts , says Dr. Keys , do not materially affect the amount of cholesterol in the blood . But fatty foods do . 
During World War /2 , , doctors in The Netherlands and Scandinavia noted a curious fact : despite the stresses of Nazi occupation , the death rate from coronary artery disease was slowly dropping . Not until long after the war — 1950 , in fact — did they get a hint of the reason . That year , Sweden 's Haqvin Malmros showed that the sinking death rate neatly coincided with increasingly severe restrictions on fatty foods . That same year the University of California 's Dr. Laurance Kinsell , timing oxidation rates of blood fats , stumbled onto the discovery that many vegetable fats cause blood cholesterol levels to drop radically , while animal fats cause them to rise . Here Keys and others , such as Dr. A. E. Ahrens of the Rockefeller Institute , took over to demonstrate the chemical difference between vegetable and animal fats — and even between different varieties of each . 
All natural food fats fall into one of three categories — saturated , mono-unsaturated and poly-unsaturated . The degree of saturation depends on the number of hydrogen atoms on the fat molecule . Saturated fats can accommodate no more hydrogens . Mono-unsaturated fats have room for two more hydrogens on each molecule , and the poly-unsaturated fat molecule has room for at least four hydrogens . 
The three fats have similar caloric values ( about 265 calories per oz. ) , but each exerts a radically different influence on blood cholesterol . text