The Observer from London, Greater London, England • 2

THE; OBSERVER, StmifW, 23, IF Si" uMuMc THEATRE By J. C. AND LIFE TREWIN By TOM HARRISSON By C. A. LEJEUNB' When you are dealing with a facsimile, of real life you have got to preserve a certain- semblance of JJOW greatly our senses help one another! ''How' much' sight and smell and feeling may add to the delight of hearing! Just now I walked across the sweet springing grass of an English commou just after sunset.

'Drinking to Victory AFTER five weeks the Stratford upon-Avon Festival Company has settled into its round ot two major tragedies, four comedies (among them the rosemary and rue of "The Winter's the verbal fanfares of Henry the Fifth," and a rare guest Sheridan's The Critic," graced by the most portentous nod in literature. It is an exacting repertory in the fourth year of the war. If the Festival, Mr. Milton Rosmer's first, does not rank with the high tides in the calendar, it can be saluted at least for its unabated vigour, for the spaciousness and colour cf the settings, and, remarkably, for the way in which the cast of Lear has answered the challenge of the mighty line. This was unexpected.

Few of the season's voices vibrate in the memory. There is too much hollow booming, the false Shakespearean delivery which knows only one stop, and that not the vox humana. Yet, in King Lear," most of the mannerisms are shed. Mr. Abraham Sofaer, always an admirable speaker, has been miscast in some ot the plays, but here he can show his true quality.

Unlike many Lears, he waxes as the tragedy mounts; his later pathos is better than his early passion. Though he utters the curse on Goneril with a throbbing intensity, he cannot encompass the Promethean Lear of the storm; his voice does not hold oak-cleaving thunderbolts, sulphurous and thought-executing fires. From the hovel scene onwards all is well. The meeting with Gloucester, the recognition of Cordelia, the tenderness of We two will sing like birds i' the cage." the last fading into death these passages are movingly and subtly, done. Not every inch a Lear, but a performance of rare accomplishment.

Throughout, Mr. Baiiol Hol- loway's Kent is a fellow of plain and uncoined constancy, and Mr.J Cjeorrrey Wincott Fool is above the average even if he does not meet Mr. Granville-Barker's demand for an actor who must sing like a lark, juggle his words so that the mere skill delights us, and tumble round with all the grace in the world." There are some good minor studies, and Mr. Durjcan Yarrow makes a personage of Albany, so often a cipher. A disappointment is an Edmund who has none of the man's dark relish and evil charm.

Mr. Peter Creswell has directed unobtrusively. One is not so conscious here, as elsewhere in the Festival, of panting Time, waiting trains, and a curtailed text. But must Gloucester and Edgar play their chalky bourn passage somewhere near the horizon? Like several other scenes this year, it cries to be brought forward. On the Memorial stage retreat is fatal.

Some of the other plays suffer from the pace at which they are driven. Transport cannot linger, and so the company must make short work of Henry the Fifth," In little room confining mighty men Mangling by starts the full course of their glory. This production has a swash Ing and a martial outside but no inner fire. What should be a glorious noise becomes often mere dissonance. Henry is not Mr.

Holloway's part, though he plays the paladin with tireless vitality, thrusts at the Harfleur and Crispin's Day speeches, and has a telling moment of calm in the prayer before battle. No one else rises above the hurly. The cast, like the Dickensian family, seems to be composed of all the stateliest people thereabouts, and' all the noisiest." Mr. Sofaer is not a comedian by nature; until the yielding of the French soldier his Pistol remains at half-cock. Among the people of palace and camp, Miss Anna Konstam does not labour Catherine's English lesson, and Mr.

Worrall-Thompson is an excellent Williams. The company is happier in Windsor than at Agincourt. Again one misses vocal range and variety, but in "The Merry Wives" this is hardly a Star-Chamber matter. Mr. Holloway's production is rightly brisk and giddy-paced, and he refuses to let his own Falstaff (cheerful pretender to the royal throne) indulge in superfluous wheezings and potations.

Settings are half-timbered, performances Mr. Ivor Brown will resume his artioles shortly. whole-hearted. Miss Patricia Jessel and Miss Alison Pickard are as much at ease with the merry wives as with the baleful sisters of "Lear," and they spare us too many gasps of synthetic laughter. Mr.

Michael Madell keeps Slender under control, and Mr. Sofaer's Ford is always helpful, though the actor is a thought too suave and lacks the fine frenzy that Handle Ayrton used to give to his Master Brook. The Quickly is merely mechanical. This babbling gossip has been scurvily treated in recent revivals by both Avon and Thames. INDIAN DANCERS Indian dancers and musicians are rare but welcome visitors to London.

We may not yet have fathomed the full subtlety of their art, but we have seen and heard enough to find if charming. The little company led by Raflq Anwar at the Ambassadors Theatre presents the kind of programme made familiar to us, before the war by Udy Shankar. The dancers are grave and graceful in movement, their hands are eloquent, and they mime the sacred and secular themes with deep sincerity. The delightful little orchestra squats in the O.P. corner, and from instruments as fabulous as the Arabian Nights fills the eye with wonder and the ear with enchantment.

From the little pat-a-cake drums and sweet flute, to that tall zither with gourd-like resonators, whose obbligato suggests a blitz by mosquitoes, these instruments are irresistible. H. H. THIS WEEK Monday. Bird of Passage." by Edward Knoblock imatmie i St James's Tuesday Shadow and Substance' by Paul Vincpnt Carroll, Duke rif York's (Malcolm Keen.

Joce Red-mani; Sadler's Wells Ballet, New. Wednesday "Peg My Heart" frevivali, Scala. Thuhsday Magic Carpet." Princes iSvdney Howard. Cyril Fletcher. Byr WILLIAM GLOCK HPHE' letters I received after my -article on Michael Tippett showed me what a growing inter est is being taken in contemporary music.

A practical expression'" of uus interest is tne recently iormea Committee for the Promotion of New with Williams' as president. Every iort- by young-composers- 1 -1 1 1 cornmitteeSiis to see. tiic iicaiu.tuiu.uicu inat, ine none ioo pieroxir.Tncluded might into a- parallel to posers, with a quarterly, review of its- own1" Muatc." Such an organisation has-, long Deen iieeueu nere. St. Cecilia Decca have lately recorded Britten's Hymn to St.

Cecilia (K 1088-9). The first section is one o( the most beautiful things in English music. One can study it endlessly: for its sagacity, tor its elegance, andx tor that single inspiration at' the beginning which leads to such incalculable results. Auden's poem has been criticised; but I think literary men, would 'say that, both in atmosphere' and' im the opportunities it gives for: treatment, it could hardly be bettered. Britten's music never presses; on the poetry: it neither emphasises nor simplifies.

The wonder isHhat it should flow with such' naturalness and. variety of cadence and rhythm, and that it should be anything else in the world. yet seem (at this time of day) to have been written by the voices themselves. The only difficulties are the cavernous conclusion, where the basses enter a region belonging to the Don Cossacks (who be lost during the rest of the work); the very, nigh pitch of the soprano solo beginning at dear white" children casual as birds and one or two progressions (e.g., "And notes, tremendous from her great, engine thundered out where the only hope of singing in tune is to think ahead to the next phase of harmony. Ail these give painful' moments in' an otherwise good performance by the Fleet-street Choir, yet one would not have them changed.

Bach and Beethoven would not have watered down their imaginative intentions any more than Britten has done. In looking at some of the works of our youngistV composers have found that, as a their vocal music is tuneful and'sincere. while their instrumental' music seems dry, over-wrought, and self-conscious. Britten himself has always taken a more' masterful flight when confronted with words than when throwing all his personal strength and. virtuosity into sucn worKS as me ainioma aa Requiem.

But 1 think the new String Quartet shows his increas ing maturity as an instrumental composer. It is concentrated, yet free from any general mood which would colour and weaken the material. Britten's music flows inevitably from the individual lines: and so far as I can see. his development lies in a steady en richment ol these lines, ana in thinking in terms of texture rather than of dynamics. Texture The interest in texture is very clear in the first and third movements of the quartet.

In the opening Allegro it is the ousting of one element Dy another, ana processes of thinning and thickening, which dominate the design; in the Andante, Britten sacrifices every aid of showmanship, just as Schnabel does in playing the slow movement of the He even runs the risk of emptiness where the violin melody is heard against an unchanging background of flat until we see that the destiny of this wayward theme is to find a close and sympathetic accompaniment. The second movement is a success without implications. It consists. in one aspect, all a splashing little figure which gradually encroaches on the music with a rhythm which one merely observes, as one observes the processes of nature. The, finale is also superb, with a Haydnesque wit and power movement.

If such statements were fruitful, 1 should say that Britten shows promise ot greater things than any English composer since Purcell. Promise," however, is a word we must now abandon, because Britten already stands as a model for the next generation of composers. Sayings of the Week We have to thank the intuition of Corporal Hitler." Mr. Churchill. It is not a Tory argument.

It is common sense." Mr. Ernest Benin. Every time you find a Pole you will find a newspaper." Mr. Brendan Bracken. IF it is really essential to victory for our screens to be monopolised by war-films, by all means let us have more war-filnas as as.

Anthony Asquith's We Dive At Dawn (Leicester-square 1" I'm. vLlil- uiuy me-presence oi'onn wiius-iii the not enly the. plot, which concerns a ship's crew1, only the co-operation of the Royal Navy, makes Asqiiith -ftlm in some B'ense' a In Which We Serve:" The two films share, a common under standi W' of human 'beHaviour. Both convey, with considerable felicity, a landsman's passion for the sea and -his reverence for sea-going men. Both approach, from the standpoint of the man of culture, the problerhs of the man of action, and translate, 'them, without any drool of sentiment, into terms that are annrehensible by the man of heart.

We Dive At Dawn is the story of the British submarine Sea Tiger, which is presumed lost in the Baltic on a secret mission. After apparently heart-breaking failure, after a menacing voyage through nets and minefields, after sweating hours under water without food or oil, she manages to refuel on a Danish island, and arrives at her home port to find the bunting out and herself a heroine. I have emphasised that We Dive At Dawn is a sensible picture. It is. After months of Hollywood films and some British films too for that matter in which the handsome democrat scores off 4t A i ii mtr uuiubii n.jiis uuuy wiluuul ruffling a wave of his hair; in which service is merely a short cut to a medal, and danger an oppor tunity for another democracy speech; after a series of epics in which victory is tne prize oi synthetic sweat, without blood, toil or tears, it is a privilege to find a film that describes so simply the reactions of common men to a common job.

It is sensible to show the way men do respond to emergency; not with measured heroics, but with shortened tempers and with brittle jokes. When men are wait- ing for zero hour on land, on sea, or in the air, one doesn't really remark to the other, what are you fighting for? and Bill doesn't really reply, as Hollywood so beautifully imagines, I'm fighting so that all the lights can go up agajn in Europe." Rather he grumbles, as the Captain does in the film, Can't you keep the ruddy basket still for a minute? or observes, like the coxswain, You'll find a tin marked White Lead they're suckers bring them in, will you? When you are in a musical comedy you can afford to carry on in a comedy manner. Bridge By OUR CORRESPONDENT IN a close match some time ago the following hand turned up, and vnii thA wnv tn which It was played in- the two rooms, and with what differing results. The bidding ended the same in eacn Uroom, Three Bo-iraraps uy Rnuth with nr Dinaine irom and the opening lead was the same. When Dummy was exposed, this Is what South in room i.

couia see. 9, 7, 4 0 11, 7, 5, 3, 2 3 a 8, 7, 4 Q. 4, 2 South (fhinkino) Eight tricks are in sight. 1 5 and the Aces of Diamonds and Clubs proDided I cn'n o-t hack into mv own riand after clearing the of Hearts. I suppose I had better play West for K.

of Clubs, and hope he will put up the King at once. So I might as well take the first Spade and lead Clubs. He did, leading the of Clubs at trick 2. TO hM- K. O.

8. 5. 2: H. 9, K. 8, 4, 9.

and thought, Do I cover the Perhaps, hut as I have the Kings of Diamonds and Clubs, and Hearts are blocked in Dummy, South cant get back if I sacrifice my King on the second round of Clubs. Furthermore, if South puts up the Ace now in the faint hope of dropping a lone King with East, 1 can still prevent South, poor fellow, from getUng into his hand before I have run off my Spades, so I won't put up the. King of Clubs." Now, South was sunk. West marie 4 Snades and the KinB of Dia monds, and possibly the King of Clubs if South played the Ace on tne first round. I will give the play in the other room next week.

What do you think It was, remembering you do not Know wests No. 893. By OUTIS CINCE April 19 I have heard four of the "Great Religions of the World talks (Mondays). I had hoped to learn much of other viewpoints. Instead there was a polite chit-chat, Sir Frederick Whyte diplomatically steering each speaker away from the reefs 01 controversy.

Even the talk on Hinduism managed to avoid all ticklish subjects, such as "caste." I do not want the B.B.C. to provide an open forum for competitive mass conversion, but I do condemn pseudo-impartiality, the neutralising of positives, particularly in subjects which have no interest when so treated. Why give the first talk, on Primitive Religions," to an Anglican minister who barely indicated the vast scope and significance of this super-subject? Why sandwich in the middle of the series a talk on Christianity itself? Even inside Broadcasting House there seems to be some uneasiness here. Programme publicity describes the talk as somewhat different" from the others, adding It is hoped to present a broad picture of Christianity." But the same pleasant radio voice that of the Rev. Nathaniel Micklem of Christian Commentary" already deals with this subject every Sunday.

Reading List Consider, too, the B.B.C. 's recommended reading list for the series. Why one book for each less familiar world faith, but six (three of them irrelevant) on Christianity? Does all this imply excessive nervousness in allowing others a hearing? When it comes to minority groups within Christianity the attitude Is more pronounced. A sect's validity is decided by its statistics roughly, a membership of over a million earns a place. How would the Early Church have fared in these days? Radio run by one unit may indeed make the road of new movements hard and harder.

The B.B.C. has another method of facing this very difficult problem. This method, that of the broadest discussion, is currently represented by The Anvil," which drew 4,000 questions in its first run of six weeks. Now. strengthened and with Capt.

Quintin Hogg, M.P., in the chair, it makes pleasant listening. Although answers are extemporaneous, like those in the Brains Trust, questions are seen beforehand. Cannot theologians manage to make the impromptu response more revealing and sincere than the prepared? Over-preparation is a constant defect in religious broadcasting. In the latest of the "Red on the Map discussions Captain Hogg again steered the others past red lights, for example, when one speaker praises Canada, another diplomatically but qujte unnecessarily inserts Southern Rhodesia too." Empire Youth Ernpire Youth Talks it Over (May 16). which happily decided on our imperial perfection, was under strong chairmanship.

Where every participant agrees, we have the L.C of argument Where they agree (or disagree) to differ, as in daily life, we have the H.C.F. demo cracy, out tnis nan hour was distinguished by Gosinda Desanv ot bind, whose deep sincerity of voice made the chairman. Professor Harlow, sound hollow and donnish, well-meaning but meaning little beside such felicity of phrase. By contrast, Tuesday's Living Opinion was a vigorous workers' discussion on the rather unlikely subject of "Environment." The dialect and cross-talk were occasionally unintelligible but always alive. Scarcity of good religious discussion is not traceable to any lack of lively religious broadcasters, among whom Mr.

C. Lewis is outstanding for his blending of the topical and the fundamental, temporary and permanent. His new volume of talks. Christian Behaviour (Bles, 2s. 6d.

net) is good roading. Mr. H. Willink, M.P gave an admirable Religion and Politics talk on Friday. Hints of the Week V.

S. Prltchett and Stephen Potter on Dostoevsky and Turgenev (10.35 Home) new James Bridie play (9 30 p.m. to-day. Home). new jnnn Bropny story lit) is p.m Forces); Somerset MauRham's I "The Hairless Mexican" (9.35 p.m Sat Home).

TO-DAY'S PROGRAMMES HOME I203.5irt J31 lm 449 1m 4B 54m 7.0, NrfWS 7.t5. LSRtl Music 7.50. CIrPeLinKS from a 10. liund 8.40. Family Album- 9.0 News- 9.30, Record 10.30.

Light Music; 11.0. Music Talk 11.20. LtRht Music; 12.0. titrln? Qimrtrt 12.30, Organ 12.50, Mostly (or Women- ,1.0, News; 1.15. Snanlsh Mutlc: 1,45.

Home Guards: 1.55. Oholrs. 2.15, Mr Middleton. 2 30, B.O. Svmphony Orchestra: 3,20, Talk bv Prank Howefi: 3.32, Symphony Concert, Part Tito.

4.30. Violin: 4.45, Talk by the Dean of 81. Paul's: 5.0, welsh Hews: 5.20. Children: 0.0. News, 5.50.

Doctors Agree ttalkt; 6.40, Field-Pare: 8.45. Bournemouth Municipal Orchestra; 7.30. Transatlantic Call: Ban-por. Maine: 8.0. Frvice: a 40.

Good Cause. 8.45. Louis Kentner fptanoi- 9.0, News. Postscript: 9.30, James Bridie's play. The Drapon and the Dove 10.30.

Epilogue: 10.38. Quintet, 11.15, -'The Great Victorians" 11.25, Records: 12 0.1 2 20. News. F0HCES (216 1m; 3 421m). 0.30 Records.

7.0. Ns 7.15, Orchestra, 7.50, Records. 8.30. Cairo OalljnR. B.O.

News 9 30. Sunday Serenade 10.15. Service to SO. Indian Forces, 11.0. Luton Band' 11 30, Workers' Playtime; 12.0.

Light Music: 12 35. Pred Allen Programme, 1 0, News. 1.15. luna 1,45, Light Music. 2.20.

Canadian -Revue, 2.50, Talk by Rev A Hopkins. 3,0. Accordion Band, 3.30 Concert; 4.15. Empire Brains Trust, 5.0 Records. 5.20.

Sunday Half-Hour. 5.50 The Week's Films (C. A Lejeune); 0.0 News: 30. Songs from the Scrapbooka' 7.0 U.S. sports Bulletin.

7.10. Huppl droma. 8.0, Organ, 8.0, News Postscript: 9.3o, Th ajre rtci favinon Pier Pa Presents 10.0. Enllo cue- 10.8. Letter.

10 20, Records 1 Mm sic Light In old of the Westminster Hospital. Mr. Donald Wolfits company i which opens a month's run on the lollowing night) will give a special performance of Anstey's amusing version of "The Imaginary Invalid iMoliere's Le Malade at the Westminster Theatre on May 31. Tickets for the evening obtainable only from the Hospital, St. John's-Rardens, S.W 1.

I CAN YOU SAY? 1 No people do so much h-rm as ihcoe who go about doing good Whose opiniun was thi 2 Who wrote Sallv tn Our 2 Tom Bowling What is Macaronic vere i 4 What have Mrs Malaprop and DoRberry in common 5 What was the name of the horse of Dr. Syntax'' 6. Who were the "Three Kings of Cologne (Answers on p. 6) I human speech and "We Diva. at Dawn" has faults.

To my mind Eric Portman's melodramatic role as a seaTnan with wife-trauWejjisgout jof jkeyr the laconism of j. Williams's and Val Valentine's script, and the nervous. -excitina performance by 6hip Mills fbifi Duuuiwiue ittptain. are moacis Hollywood of the way these4hings should be done. We can remember thenv.in;this $gtb'' a good deal of pride and pleasure.

By' far the most -jewarding of the other' new' fllipj? fantasy at 'the' Empire, The Cabin. In the with sandy-voicedftochester' and bountrftjil all atlarkj Cabin in the Skjf" is a special for epicures; not iwnolly satisfying, not, perhaps a well-balanced feast, put 6i its kind sharjv feweet; and partly a rhapsody of swing, it tells the story pf a negro gambler whose sour is disputed 'by, the j(if beaven Jand hell: The Hall Johnson Choir is massed behind Jlhe. protagonist in i White Duke Ellington and his Band reinforce the lures of Lucifer (in black). Melody flows i like, a rich river, and it the thing hasn't the nobility of "Green Pastures," it has all the darkie fun and all the darkie rhythm. A coloured artist, too," Hazel Scott, -lends a distinction, otherwise, sadly lacking' to Something to Shout, About (Tivoli and New Gallery).

Miss Scott's felicitous moment at. the piano occurs when the "principals, Don Ameche, Jack Oakie, and Janet: Blair, decide, not a. moment too soon, that some-thin? must be done about" the musical show they are inflicting' on Broadway and cinema patrons. What they do with it is perhaps open to criticism, but Miss Scott's act isn't- She gives colourfully, but she always, first- and foremost as an artist. Miss Blair.

who is' white, and may be an artist too for all we know, wriggles even more vigorously than Miss Scott, but manages to seem just restless SUBURBS AND PROVINCES The Gentle Sex. Seven eirls in the A.T.S.; record of training and ser vice, adorned, tnougn occasionally blurred, bv the whimsical charm Of Leslie Howard's Hirectian and com mentary. A good picture, with heart ana plenty ot ODservauon. wun Rosamund John. Lull' Palmer, and others.

A Night to Remember. Loretta Young and Brian Ahearne in breezy thriller made to the classic formula: clutching hands, screams in the bodies in the cupboard. A turtle and some jokes are new. Mademoiselle France. Joan Craw ford portrays the soul of unvan- auished France, with the helD of im- stick, mascara, and nail-varnish.

Arctic fox. and several smart ensem bles. Philip Dorn and John Wayne also assist in me war enon, tnougn with fewer accessories. Keep 'Em Slugging. With the Dead End Kids and the Litv--Tough Guys.

Keep 'em. THE MINISTRY OF FOOD CUT THIS OUT See that the Darblculara on your identity card, and food ration books (both buff and green) are and that they, agree. If tHese are not exactly the' eame, da not alter them yourself, but take both to your Pood Office immediately. in na page 3 of your present ration book the Reference Leaf) mcluding Section Z. But do not cut our, mis page.

nnm) A nf t-Vtj rXa.n i viioi ai (buff) Book the back of the rtHierBnoe ljeai), write the name and' address of your present Milk retailer. On page 4 of the Child's (green) Book, write the names and addresses of the ohlld's pre- sent Milk, Meat, and Begs retailers. Never miiyj the printing; write on top of it. Do not take Out the page. HOW TO NEW RATION If fM general I (Buff) I BOOK 1) If-.

Si BOOK 3 when from window in.the;midst.; of light clouds; still pink from an1 invisible sun, a brightening? moon looked humorously The common was' Both fringed and dotted with thorns, whose. May blossom, in rare profusion, weighted the air with Its heavy, luxurious AsT walked up to one pf-these most uimui uikii tinuaie DroKe into sudden song. a moment the loudness almost drowned, the sweetness. The came first; but soon the merry, thrushlike warbling calls were succeeded first by the deep, vibrant tremolo and then by the thin piercing elfiand cry which, seems to come irom anywhere, from nowhere. Several birds have some sort of ventriloquial gift, though even the grasshopper warbler cannot in this regard rival the brekke-ke-kex of the, frog.

almost spiritual: it seems to have strayed from the music of the spheres. That is the quality which Rives the song its sunremacv. The blackbird is more musical, the thrush merrier, the curlew more the blackcap more sweet ana nomeiy; dui wnen throuch the sweetly-scented airs of May the conflicting tones of day and night join melodies the nightingale pours out his heart; the song does not abide our ques tion emotion has no defence against its power. Even when you can see the bird at a few yards' distance and detect the throbbing of the throat and the occasional shiver that overcomes the singer, as if his own song were too strong for him, you may hardly believe. inai an me music comes irom ine little bird on the particular spray.

Varied Bushes Nevertheless, no bird is more particular about the site of its home or more faithful to its im mediate neighbourhood. It likes a group of varied bushes that are not quite a wood or grove or hedge. It likes to sing and nest at a particular height above the ground. Since the comparative absence of commoners' animals has allowed a freer growth of holly, scrub oak, juniper, gorse, rose; honeysuckle, and especially raspberry, some of the commons to the north of London have attracted more and more regular pairs of nightingales. The spacing of the Dusnes allows you on any night to move as close almost as you please to the singer and to get the full benefit of the undertones that often precede the triumphant burst audible almost half a mile away.

The nightingale is a twilight as well as night singer and enjoys a orignt moon. It was feared at one time that our nightingales were decreasing; and a grim picture was drawn of murders by little owls pouncing on the unwise singers. The charge, I think, was quite untrue. Certainly the nightingales of late years have rather extended their range towards the west, if not to the north. They have crossed Wye and Severn; and advanced some distance beyond.

It has been supposed that the weakness of their flight has been the agency that has limited them to the southeastern corner ot England; but it may be doubted whether they fly less well than, say, the willow warbler which floods our western regions. These warblers are doubtless urged on by the pressure of population, and it may well be that should nightingales become asjriul-tidudinous they too will find their way into Wales, if not Ireland. B.T. Chess By BRIAN hArLEY Problem No 1,200. Bv and Warton No.

1,289. 2 moves. Key Qs, 10 marks Threat 2 P. Variations: 1 R. a.

-K41 1. Kt R. 2 R4; 1. Kt K3 or Q3, 2. OB: 1.

Kt B. 2. x. Kt IQ) 1. Kt Qa.

2. Kt: l. Ka, 2. Kt l. Bs, 2.

P. Key Is a double sacrifice: the Black Kt on Ba yields 3 variations, and the Knighting of the la amusing ACROSS 1 Where Trelawney might well have died (8. 6) 10 In Winchester a reredos is this (5) 11 Product of a dead horse is applied by this to product of a dead cat (9) 12 Desert a scheme for (he tattoo (8) 13 Both dry and wet private (6) 15 D-discreet (9) 16 6s 8d. very generous (5) 18 A drawback I given (5) 20 None stupider, anyhow (9) 22 Lime makes the red feel blue (6) 24 Might describe an inspired wave (8) '26 Make a trout smile? (9) 27 Right place for the snail, according to Browninc 28 Asked for a kiss by a clown (14) DOWN 2 Where Bauer slew a royal im tfil Jp. jllillll, HI Vhite pla and males in ihree moves perks 7) 4 A subfeline ation is 5 Remains odds (4) 6 Speech be more visitor 7 Fossilised yellow a small 8 Universal route (4, 9 Modernists and they can pap here 14 Degradation Sambo (10) 17 Origin 19 Went hose (7) 21 Letters in tabular (7) 23 Name with tail 25 Here's clue to going 3 Emaciation of the the war brands of At.

soft drinks even Kia- fice4 tffeir identity. TosaifelalMtrJ'actory space, and 'transport one stdndardjline "S.D.L", for Soft, Drinks Industry at standard prices is now offered to the public by the 'whole 6f the industry. No little sacrifice for such as Kia-Ora, proud of their fair name and perfect products no little sacrifice for the retailer, too, who has wished to sell none but the very best; but as things are, a real help tfrthe nar effort. Come Peace Come Kia-Qra. LIVERPOOL idHOlffl GLOBE INSURANCE COMPANY LIMITED In Statement circulated with the 107th Annual Report of The Liverpool ind London and Globe Insurance Co.

the Oi airman, Mr. P. R. England, indicated that total Fire, Accident ind Marioe-jremlum. at 10,485,290, showed an fncreau of over-1941.

Underwriting Profit was agalntt 7504. New Life business, at 1,264,519, was some 67,000 less. New premiums ware somewhat higher. Fire premiums, at 3.705,732, compared with 9,964,216 in 1941. Policyholder! were urged, in' theJr own Interests, to Increase sums insured tn line with up-to-date values.

Accident Department trading was again satisfactory! premiums, at 5.045,712, comparing with 4,928,422. Marine premiums, at 1.733.848, showed a substantial increase over the 19-41 figure of 1.116,709. Net interest 3 (again The Directors recommended a Flntl DivTdcnd oi I3 r6, mzkitig 270 ptr Share. 4ecS tax, far 1542. FOR REFERENCE rm Make sure that nam 33 of your present "ration book has been properly -filled in.

TO RMIDIMTl itf -U-rlf FOOD OF1ci AUDTBITLY IP Howtogct your 9 Look out for A.B.C. posters like this In local cinemas, post offices, food offices, and for advertisements in your local papers. Opposite your initial yon will see where you should call and when. The office will be situated in your own food 'control area. It's no use going to any other place, or at any other time, than that shown on the poster or advertisements.

The new books and cards will be prepared and Issued in alphabetical order of surnames. If there are different csurnames In vour household, it will mean more than one visit, but less waiting when you get there. A friend can go for you. but only at the time and place advertised for your surname. Take your identity card and present ration book when you go for your new ones.

You need not take personal pofnti or clothlnx book. You will be giver, your new fool ration boolc with personal points and clothing book bound together but detachable) and. If you are over 16, a new-identity card. -4 FOOD PACTS" NO. 1(1 l-TOcg WMtRITO GO I u4 iWlL GET YOUR BOOKS "Tell ie, doctor is one CROSSWORD conqueror what are the important properties of an antiseptic for personal use In the first place an antiseptic must kill germs.

But, more than that, it must kill them without damaging the tissues they have invaded. It "must be selective -able to tell a good germ from a bad one. An antiseptic for personal use must be non -toxic, non-corrosive, stable, and persistent in the presence of blood or pus and, for preference, agreeable in use. These are the properties of an antiseptic which medical science has rnxiously sought since germs first came to be understood. In the modern antiseptic Dettol these qualities are united and combined and today in our great hospitals, and in private practice, doctors, surgeons and nurses use 'Dettol to protect their patients, and themselves, from the menace of septic in BiT- i 1 7 I is znzaz zniizazaz zDzazDzpir zi 1 52-Z3 I 1 zazDZDipz-znzaz varl-' quite impracticable (10) with the is said to than a to 1 (7) and remains of fish (5) supply 3, 3, 4) think, rightly, that find nothing but realist (14) for in a raid pipes with the arranged form merged in 26 (5) another 24 by round this fection rrom all Ch.mlih DETTOL 1 rade Mark THE MODERN ANTISEPTIC LAST WEEK'S SOLUTION AND NOTES AOflORS.

i. Fabliaux; 9. Mea-R imerej, 14. Afiiiront. i4r.

Ensoul (nouslel. 15, Sfax. 16. S-tot-tina. 17.

Tokio: 18. Ethmoid. 19, Bream Itali, 20r Ad -jo-urn, 22 Aclon leather-Jacket lib. Ulst, et. A HBr, Baei ibarei: 29r.

Mordecai Esth vii 101 33, Sabapth: 35, Boone (Macdonell England, Their 36. -venue; 37. Allots (atolls): IB. Ceng; 39r Hollands. DOWN.

1. Fast. 2, Axforce; 3. Brake; Loxia (see wryneck); 5, InsommoLis; 6. Attenuated; 7.

Ulotrichan Caesar, 1 2. 191. Mi; 8, Xu-thus; 9, Motmot; lor. (N)Olse; llr, Dinna; 12r. Cadger tgraced); 19, Barsac lacarab); 21, Jar-ool: 23r.

Nebat (1 Kings passim); 24. O-bang; 27. Ton-to Gil Bias "-see Brewer); 30r, Albe (able); SI, Dolllluss); 32, Mesh; 34, Ava(rlcu). postor (9) water (4) with-hyphen or hyphens..