Word: grecians
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Dates: during 1960-1969
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...pictured in black trousers and no shoes on pages 10 and 13 of the section, and, according to LaBour, "dead men are buried in black trousers and without shoes." Also on page 13, there are a pair of empty shoes to Paul's left, which, LaBour wrote, "were a Grecian symbol of death." Paul is holding, a wreath on page 24, in addition to wearing a black carnation...
...children, he is now suffering an ugly species of character assassination that in many ways he brought upon himself. However much he has fallen in public esteem, it is probably in the deeper recesses of his own mind that Kennedy is suffering most and experiencing the harshest judgments. The Grecian aspects of the family's tragedies shade here into the existential. There is nothing heroic about fencing with half-truths, falsehoods, omissions, rumors, insinuations of cowardice...
...four o'clock the brigade commander, Lieut. Colonel Lambert Ihenacho, drove up in a camouflaged Land Rover with ammunition. The cartridges were counted out like gold nuggets, the .30-cal. machine gun ammunition belts handled like so many rare Grecian urns. Ihenacho, at 25 the youngest brigade commander in the Biafran army, supervised the process, his hands on the grip of a captured submachine gun. Then Ihenacho led the way up the trail leading to the village. The path was lined with civilians, young and old. "They help carry out the wounded," the colonel explained as he politely murmured...
...once remarked: "An artist is a creature driven by demons. He is completely amoral in that he will rob, borrow, beg or steal from anybody and everybody to get the work done. If a writer has to rob his mother, he will not hesitate; the 'Ode on a Grecian Urn' is worth any number of old ladies." It is an attitude shared by all who have discovered just how difficult it is to write one superlative poem and what bitter battles must be waged to keep poetry vital and relevant in an age when so much else seems...
...viewer. Author John Fowles, adapting his open-end puzzle of a book, cuts away much of its elegance; but he retains the oscillation between illusion and reality and maintains the mystery to the final frame. Director Guy Green wastes footage on tepid erotic interludes, and some of his Grecian tableaux smack of spring pageants at Vassar. Still, he has a strong sense of place, and he uses the azure skies and limpid Mediterranean to give the story the cast of eternity and overtones of legend-in-the-making. In the final hallucinatory segment, he makes the screen a place...