Word: ought
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Dates: during 1960-1969
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...into privatism or worse, a surrender to nihilism, the politics, if you will, of Peter Pan, of boys who will not grow up. And it is not good enough. The end of youth is not the end of life, much less the end of the world. It is, or ought to mark the onset of a period of less fun, no doubt, but far more satisfaction and much greater consequence. Poets do their best work young, philosophers late. Nations, I would argue, do it in the middle years, and these are now upon us in America, and it should...
...smarmy son. With virtuosity, Hepburn and Arkin collaborate to revive an old theme-The-Helpless-Girl-Against-the-Odds-that has been out of fashion since Dorothy McGuire and Barbara Stanwyck screamed for help in The Spiral Staircase and Sorry, Wrong Number. If Hollywood is still counting money, it ought soon to be back in style...
...ought to emphasize that from the Faculty's point of view probation is a serious penalty. A student on probation can't represent the College publicly on any athletic team, any dramatic program, musical program, anything of that sort, cannot be an officer in an organization, is subject to immediate closing of probation, which is severance, either for academic or disciplinary reasons during that period. In other words, this is not what I would call mild action. But it was certainly not in the faculty's view over-reacting or Draconian...
Davis attacks Catholicism on two major points: it is not a credible representation of what Christ's church ought to be, and its claim to be founded by Jesus through the Apostles cannot be justified historically. On the credibility issue Davis cites examples of the lack of freedom within the church, and its refusal to admit past error. Davis also argues that there is no convincing Scriptural basis for the institution of the papacy, and that the community of faith envisioned by Jesus was not the highly structured ecclesiastical bureaucracy that Rome is today but simply a loose-knit...
Stoppard hugely enjoys honing language to the precision point. Nonetheless, a play that rides on words as heavily as does R. and G. ought to have rid itself of some. Even the tensile strength of Derek Goldby's direction cannot keep segments of the drama from dialogyness. There is nothing logy about Brian Murray and John Wood in the taxing title roles. Every shifting breeze of the play's moods crosses their faces: they can summon up anxiety, false courage, utter bafflement, and honest fear with a flick of the lip, or a twist of the torso. They...