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Nor did Paula, during an interval of discussion with the violinist in which she did not desist from stating her criticism of O'Hay's latest criticism of Harold Bauer, fail to see and keep her eyes on Graham's progress.
It was an irresistible smile, a smile that lighted the eyes with the radiance of good fellowship and that crinkled the corners into tiny, genial lines. It was provocative of smiles, for she found herself smiling a silent greeting in return as she continued stating to Ware her grievance against O'Hay's too-complacent praise of Bauer.
He had to admire the way she refused to exceed the limitations of her voice. In this she achieved triumphs. And, while he nodded absently to O'Hay's lecturette on the state of the opera, Graham fell to wondering if Paula Forrest, thus so completely the mistress of her temperament, might not be equally mistress of her temperament in the deeper, passional ways.
The idea and the trick had been Dick's. Combat had joined early in the evening, when a seeming chance remark of Ernestine had enabled Aaron Hancock to fling the first bomb into the thick of O'Hay's deepest convictions. Dar Hyal, a willing and eager ally, had charged around the flank with his blastic theory of music and taken O'Hay in reverse.
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