Word: dooms
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...greatly valued by connoisseurs. Stephen Spender considers him Italy's greatest living poet, and the academy cited Montale's pessimistic but "indelible feeling for the value of life and the dignity of mankind." Part of this admiration undoubtedly stems from Montale's mastery of the doom-filled Eliotic metaphor ("All our life and all its labors spent/ Are like a man upon a journey sent/ Along a wall that's sheer and steep and endless, dressed/ With bits of broken bottles on its crest"). Part is due to the writer's stoic career. Like...
...next scene: a tight closeup of Perkins lying wide-eyed and morose, staring at the ceiling. Ross raises herself on one elbow and consoles him with the hollow reassurance of a nurse returning doom-laden X rays. "Don't worry," she sighs, "it's not the most important thing in the world...
Though a political miracle could conceivably save the convention, last week's disappointments probably doom Britain's latest attempt at a Northern Irish solution. They also make Merlyn Rees, Secretary of State for Northern Ireland, even more vulnerable than before to attacks from Ulster's Unionists and British Conservatives. Their principal complaint: Rees' policy of holding suspects only on solid evidence and gradually releasing detainees has repopulated the countryside with alleged I.R.A. diehards. As an example of Rees' tolerance, Ian Paisley angrily charged -and the British army admitted-that Seamus Twomey, chief of staff...
Cavafy is a laureate of loss: loss of youth, loss of love, loss of existence. Some poets seem to be peering at the dawn of the world; Cavafy stares at its doom, a weary Olympian contemplating the "toys of fate." With age, the poet might have become a complete Cassandra of declivity. But he never relinquished his belief in the power of the artist to transform the sordid into the contemplative serenity of beauty...
...passion, intrigue and despair, the decadent social life of prewar Russia. The last six scenes are devoted to the French invasion of 1812. Napoleon struts nervously (to the accompaniment of diabolic fanfares in brass), while Russian Field Marshal Kutuzov praises the people and plots the invader's doom ("The beast will be wounded with all the strength of Russia"). There is little continuity in the libretto written by Prokofiev and his second wife. Prokofiev was dramatizing only a series of focal points in the story that all his audiences know. In a final chorus ("We went to battle...