Use italics (lyric) and bold (lyric) to distinguish between different vocalists in the same song part In a way no other songs of the period quite did, Porter's created a world. It was a between–the– wars realm of drop–dead chic and careless name–dropping insouciance. And it was a sexy place to be invited. Let's Do It, Let's Fall in Love"; an earlier variant, rather than "Even eagles...": "Heavy hippopotami do it..."

Newscaster Emily Maitlis offends BBC viewers with flash of leg Newscaster Emily Maitlis offends BBC viewers with flash of leg

The wit of his words depended on his ability to raise the audience immediately to his own level — and keep it there. The instant happiness that Porter gave his audience is the kind that becomes history. A song written by Cole Porter for his 1934 musical of the same name, set aboard an ocean liner. Many of the lyrics feature humorous references to various figures of scandal and gossip in Depression-era high society. Let's Do It, Let's Fall in Love" (there have been many variant renditions of this song by various artists). Don't Fence Me In" (1934) written for a never-released film Adios, Argentina, later used in the film Hollywood Canteen (1944).

The song occurs towards the end of the first act, as nightclub singer Reno Sweeney reflects that a brief romance aboard the ship with Lord Evelyn Oakleigh could mean she will soon be married, since in “modern” times love moves fast. Reflecting on modern romance and trends, she sings this song with the cast. La estructura narrativa de la obra, si bien armónicamente compuesta, carece de ese grado de complejidad intrincada que hubiera permitido a los personajes y a la trama alcanzar una resonancia más profunda con el lector perspicaz. Gage, aunque evidencia una capacidad tangible para tejer una tapestría rica y colorida de relaciones humanas y dilemas morales, no logra del todo trascender las limitaciones del género para ofrecer una obra que se sostenga en la crítica literaria más profunda. En "El Brillo de la Seda", nos encontramos frente a una obra que, aunque considerablemente bien concebida, titubea en su camino hacia la verdadera grandiosidad literaria. Elizabeth Gage, con una habilidad notable para la construcción del mundo y una pluma que danza grácilmente a través de las páginas, se propone abrazar las complexidades de la condición humana, pero a menudo se detiene en el umbral de la verdadera profundidad analítica que caracteriza a las grandes obras de la literatura.