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Word: banalized (lookup in dictionary) (lookup stats)
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...seventeenth-century world of religious nightmare, alchemical daydream, and academic short-circuit, in which an inherited logic grinned at itself and morbidity became bumptious. In one of the 1954 poems, "A Mirror for Poets," Mr. Gunn described that age, so obviously like our own as to make the comparison banal, as a "violent time" which demanded its right to be taken seriously by whispering to the writer, "For feel my fingers in your pia mater. I am a cruelly insistent friend:/ You cannot smile at me and make an end." But when the explosion of tradition and the routini- zation...

Author: By James Rieger, | Title: Thom Gunn, Poet: Convokes Absences | 3/16/1962 | See Source »

...Couth & the Uncouth. The postwar poets fall into two broad categories: the couth and the uncouth. So far the uncouth have not communicated much in the way of poetry, but they have come through loud and clear in the headlines. Dirty, noisy, loaded with banal aggression, The Beat Generation in the U.S. and the "Teddy-bards" in Britain have put poetry in the news for the first time since the '20s. ("The Beats have taken poetry out of the academic study," says one critic, "and put it in the subway restroom.") And the success of the uncouth has encouraged...

Author: /time Magazine | Title: Books: Poetry in English: 1945-62 | 3/9/1962 | See Source »

...comes to an end. Suddenly the audience, a group of young and well-dressed young people, spring to life; they greet each other and break into smaller groups to play cards and talk of their previous meetings a year ago in the same place. Their games and dances, their banal talk, constitute the second level...

Author: By Raymond A. Sokolov jr., | Title: Last Year at 'Marienbad | 3/8/1962 | See Source »

Though Doktor deserved his three encores, the Diabelli, Beethoven, and Tartini crept along the same low road as most of the rest of the program. It was a bad night for Beethoven fans: his contredanses (numbers 1 and 5) were pleasant, but banal...

Author: By Joel E. Cohen, | Title: Paul Doktor, Viola | 3/3/1962 | See Source »

Harbison's five-movement work, placed in the middle of the program, vacillated strangely from the dramatically original to the depressingly banal. In the first movement, "Fanfare," for example, an oom-pah-pah calliope followed an exciting, dissonant flourish. But Harbison nicely exploited the resonance of the piano and the technical facility of the flute...

Author: By Wilson LYMAN Keats, | Title: Flute and Piano | 12/9/1961 | See Source »

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