Word: dulling
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Dates: during 1920-1929
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...limit the government to the use of airplanes and bombs? Are we to waste the talents of our inventors who are so eager to supply us with muderous chemicals and poisonous gases? In the dull periods of history when no international disagreements are brewing, the war on labor will furnish us with an excellent laboratory in which to test our newest devices for efficient killing. ROBERT WORMSER '22 March...
...truth to the scribes of this journal it is a matter of great debate and discouragement to answer the question which doth appear to us when we reflect upon how many there be among us who have not learned to relish the fruits of knowledge. 'How dull,' saith the uncultured as, yawning and stretching they emerge from the halls of learning. Wherefore must we abide these stupid dispensers of insipid facts. They interest us not with their long dissertations upon the doings of kings...
...alas, it is not for CRIMSON editorial writers to indulge in such thoughts as these. Unfeeling, dull, prosaic creatures that we are, we must leave it to those airy children of light-winged fancy who live around the corner to disport themselves upon the breath of words; and to play the role of merry-hearted Puck. Readily will we wish Lampoon editors (nor will we, in a spirit of mean reprisal, add "and Mayor-elect Curley") a very merry Christmas and a New Year in which there will be innumerable candidates blest with the divine fire. And if our good...
...noise is not all. There are two technical points that make all the difference between a dull, heavy roar and spirited singing. Roll every r: "rrrip 'em thrrrough!" And sing as staccato as possible by putting an h before each vowel. Really "Hit the line for Harvard;" make "The cheers frrrom the Harvard hosts rrring high" mean something; and on the last line of the Marseillaise don't sing a feeble "Anon to victory," but a short, snappy prophetic: "hon hon to victory." ABBOTT LOW MOFFAT...
...Forza del Destino: unfortunately is clumsily put together. The plot is dull, the music to a great extent uninteresting. The revival was entirely justified, however, by two exceeding impressive pieces of composition. The overture, which preceded the prologue, was a gloriously romantic combination of contrasting motifs, which in itself told the story of the opera, more interesting than the piece itself. The second act, a scene in a monastery, was both musically and dramatically effective. The composition here was in Verdi's more religious vein, and this, through the medium of a well trained chorus was presented most satisfactorily...