Word: cassandra
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...prewar system of parliamentary supremacy and accept a chief executive empowered to make policy without constant interference from the National Assembly. When, after World War II, a majority of Frenchmen opted for the old rules, De Gaulle retired to the sidelines and sat there for a decade, croaking, like Cassandra, of impending disaster. Last week his prophecies, like Cassandra's, were being borne out, and the kind of hour for which he was created was about to strike once again. For De Gaulle, as Historian Herbert Luethy noted, is essentially a "politician of catastrophe," and it was catastrophe that...
Archaic Britons. Meantime still another ad began appearing in newspapers in U.S. cities: "Student of Anglo-American relations is anxious to know what qualities are most disliked in the British . . ." It proved to be the work of the London Daily Mirror's waspish Columnist Cassandra (William Connor), who could hardly wait to return from his vacation to see what the postman had brought. One of the papers carrying his ad, the Washington Post and Times Herald, published its own reply: "The British are archaic. They cling to worn-out practices. They profess to see virtue in . . . training for public...
...Troilus, gave an earnest but uneven performance. At times, overacting marred scenes that required emotional intensity rather than emotional exhibition. Cressida often shouted, like a querulous child in a tantrum. Siebert gave a sensitive interpretation of Troilus, showing an understanding of his composite personality. Regina Oliver was commendable as Cassandra, although she needed more variety of voice. William Harris, as Cressida's father, suffered most from overacting and a reliance on stick gestures. The Prince Regent, Hector, was strongly reminiscent of Marshall Tito, but needed a more imperial air. Paris was overplayed as an asinine nincompoop by Gardiner Tillson. Among...
...pure song to first place in opera, and he succeeded magnificently. The work is studded with lovely arias bathed in richly hued orchestration. The musical theme that runs through the opera is the broad pomp-and-circumstantial Trojan March, first heard with ironic overtones as the Trojans, tired of Cassandra's doom-singing, drag the horse into the city; then brassily as they arrive at Carthage; and again with a touch of moody irony as they board the ships for "Roma, Roma, city eternal...
Jeffers, "a twentieth century Cassandra," felt that Christ had "shamed an age," and that His crucifixion had given Western people a "lust for blood," the speaker asserted. Wilder cited Jeffers' work, "Dear Judas," in which the poet asserts that Christ realizes that His power over man is achieved through suffering...