Word: poseur
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...Balzac," she said, "but he could be compared with Squire Western, or Mr. Micawber, or Lucien de Rubempre." The posthumous publication of parts of his own remarkable million-word Journal, moreover, only added to the popular caricature of him as a fop, a snob, and a frightened little poseur hiding behind bombast and a vulgar cocksureness...
...tools and a copy of The Gas World. But Paris looked at him with an indifference to match his own, and (less conspicuously dressed) he took off for points east with a donkey and a rather nutty companion who was a much more usual type of rebel, a romantic poseur who was doing what Brenan was incapable of-making a gesture. Of course, the romantic cracked first. Brenan trudged on alone (barefoot through snow when his boots gave out in the Balkans) and only turned back when it dawned on him that he was not enjoying himself...
Faulted Hero. But Lawrence's troubled spirit has not been allowed to rest in peace. Six years ago, Novelist Richard Aldington performed a literary autopsy on Lawrence's remains, charged that Lawrence was a downright fraud, possibly a homosexual, certainly a poseur whose role in the Arab revolt had been negligible. Old friends from Winston Churchill down rallied to Lawrence's defense, but the damage had been done. Lawrence's own confessions in Pillars made it clear that he had known from the beginning that the Great Powers intended to carve up the Middle East, that...
Young playwrights, particularly when they have a great deal to say, feel an impulse to say it all at once. No exception, O'Neill indulges in every thematic permutation. Both his protagonists are made heroes, and both are villains. Dion, as played by Mitch Ryan, is less a poseur than a mixed-up kid; Brown (Richard Mulligan) is less an organization man than a hard worker. An these antithetical characters love and admire each other as a prerequisite of their hatred. O'Neill comes out both for and against his mystical idea of "talent," and for and against his image...
Jean Genet has been in prison, and his insights into the smothered aspirations and inarticulate regrets of jailed men are occasionally penetrating and even beautiful. But Louis Lopez-Cepere as the effeminate kid, Maurice, and George Quenzel as the poseur, LeFranc, shout and gesticulate until you can no longer hear M. Genet. Maurice is turned into such a hyperbolized fairy that his pathetic love and desperation become the cheapest banality. His real groping for affection is represented by nine or ten unctuous lunges at his cellmates. As for Quenzel, someone must have told him that the more important a line...