Word: courtiers
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...capacity of women to love scoundrels," writes Orville Prescott, "is one of the abiding marvels of the world." Prescott may be right. In this compendium of scoundrels, he offers much evidence to prove his point. Galeazzo Sforza, for instance, was so cruel that he once had a courtier, fallen from favor, nailed up in a chest. Then, the story goes, he gleefully listened to the dying man's moans. Still, when assassins cut Sforza down at the door of a church, his wife, the Duchess Bona of Milan, mournfully wrote to Pope Sixtus IV, declaring that "after...
...This is not a gentleman's Hamlet. It evokes the bloody tragedies of revenge from which Shakespeare lifted some of his plots. In fairly vengeful but clean editing, Director Tony Richardson has cut the play to less than three hours running time, erasing a gravedigger here and a courtier there. Returning to stage direction after five years of indifferent film making, Richardson provides no innovative fireworks, but with a firebrand like Williamson on view, who would have noticed...
...urbane nobleman who had become France's Finance Minister a year before the young Louis was crowned at the age of 15. He thought of Louis as a young whippersnapper, and with some justice he felt he had been of more service to the state. Renowned as a courtier, conversationalist and diplomat, he had devised dozens of ingenious schemes to finance France's war with Spain, and when he decided to build himself a château on a tract of land that he owned halfway between Paris and Fontainebleau, he spared no expense. He summoned Louis...
...helmet. Rosaline (Denise Huot), in a navy blue suit and white boots, also arrives on a Honda (which, at the opening performance, nearly sailed over the footlights and into the audience), while the other two ladies, Maria (Kathleen Dabney) and Katherine (Marian Hailey), appear on foot. The Princess' courtier Boyet (Thomas Ruisinger), in a blue jacket with yellow handkerchief, white ducks, bow tie, and black-and-white shoes, is a U.S. Southerner with a duly droll drawl...
...Gramont regards style as a capacity for coping inventively with everything from the design of waistcoats ("the historical monuments of our age," a Louis XVI courtier called them) to the conduct of diplomacy. In his survey, the palace at Versailles and the royalty that lived there soon come to represent elegance proliferating unproductively upon itself. The palace and its people become a symbol of style divorced from reality, in which monarchy turned into a kind of theatrical corruption...