Word: conflict
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Dates: during 1950-1959
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Bullets & Laughter. At the height of the fighting, Ned Kelly, wearing his 94-lb. suit of homemade armor, suddenly appeared in the rear of the police lines. A contemporary newspaper account describes the scene: "Nine police joined in the conflict and fired point-blank at Kelly. It was apparent that many of the shots hit him, yet he always recovered himself, and tapping his breast, laughed derisively at his opponents as he coolly returned the fire." After half an hour of this strange battle, a police bullet found Kelly's unprotected legs and felled him, the only member...
...ambition is to play before the Czar; instead she sees his back in a railway station as he is about to make his exit from history. Another Arapov is a captain in a crack cavalry regiment, and one aspect of Russia's tragedy is seen in the inner conflict of this passionately loyal man who, amid mutiny and despair, does not know what his new loyalties ought to be. The doomed family has its socialist, too-idealistic Nicolas Arapov. When the soldiery, whom he pities, pitilessly murder their Czarist officers, he is shocked at their cruelty, even though...
Pearl S. Buck is still presiding over her China with the air of a lady dispensing oolong from a rare porcelain tea service. In her 43rd book, she subdues the storm over Asia to the dimensions of one of her teacups. The conflict between Communist China and the West is symbolized by the MacLeods of Raleigh, Vt. Gerald MacLeod, although not a Communist, lives in Peking and is president of its Communist-run university. Wife Elizabeth MacLeod lives in Vermont with their son Rennie and her father-in-law. Old Mr. MacLeod, who was once adviser to the Boy Emperor...
...rapped what he termed the frequent conflict between the mechanics of education and education itself, pointing to buildings so mechanically perfect that "nothing is left for the children to create...
...major pitfalls and most of the minor ones. For the constructive plan of Othello, Shakespeare's most masterly, and most daring, occurs nowhere else in the playwright's works. Othello lacks the usual extraneous trappings and non-essentials. We do not have here scenes of tension or conflict alternating with scenes of "comic relief"; nor do we have any separate sub-plots. Everything is directly related to the main current of the drama. Once Iago begins to poison Othello's mind, the play moves slowly, unswervingly and unalterably to the final catastrophe like a runaway steamroller grinding down a hill...