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Word: fooled (lookup in dictionary) (lookup stats)
Dates: during 1950-1959
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Usage:

...scenes, it is Jack Point, the unhappy Jester, who distinguishes the work. W. Barry Pennington plays the role with as complete a mastery as anyone could hope for in such a production. He projects Gilbert's conceits admirably, and at the same time is able to make the fool a genuinely pitiable character. There is more of the grumpily clever W. S. Gilbert in Point's lines than in those of any other part in the operas...

Author: By Stephen O. Saxe, | Title: The Yeomen of the Guard | 4/13/1951 | See Source »

...hill so that in the sketch there emerged a powerful plastic suggestion by the perspective view of the blocks of houses. [Then I punched] the back of the paper. Now you can see the protruding tumor, and you see that these houses and sun were nonsense. But I, poor fool, what did I do? This wild effort to depict in appearance the reality seems also to have been illusion, for . . . the paper is as flat and smooth as before, and I succeeded only in the suggestion of a suggestion...

Author: /time Magazine | Title: Art: Prying Dutchman | 4/2/1951 | See Source »

...misquoted: "I know many boys who got married and went plumb straight to hell. I don't believe a man ought to get married unless he cannot help it. I mean to say ... a man who gets married without being wild about the girl is just a plain fool...

Author: /time Magazine | Title: People: The Family Circle | 3/26/1951 | See Source »

...vipers nor vixens. The scene is the South-an elegant summer boarding house run by a wellborn, middle-aged spinster. The guests are largely people of her own generation and kind-fiberless, frustrated people: a quiet, cynical drinker who has never married; a quiet-seeking general married to a fool; a confused young man halfheartedly about to marry the spinster's French niece...

Author: /time Magazine | Title: The Theater: New Plays in Manhattan, Mar. 19, 1951 | 3/19/1951 | See Source »

...golden basso cantante (a lyric bass rather than a growler) with a natural authority onstage, Siepi won himself an opening-night ovation as the dignified king in Don Carlo. Then, a month later, he shed the dignity like a shirt, became an inspired and pompous fool as Don Basilio in The Barber of Seville. He turned next to Mephistopheles in Faust, sang and acted with his customary conviction...

Author: /time Magazine | Title: Music: Hello at the Met | 3/19/1951 | See Source »

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