Word: reproachfulness
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Dates: during 1990-1999
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Clarke is magnificent as the third Richard, slowly loosing grip on the kingdom and his sanity. He bounces around the stage in a fury of guilt and reproach as the valiant Richmond moves to retake the throne. Parris perfectly complements Clarke as the righteous force of good that inevitably defeats the evil Richard. The play ends with a gloriously choreographed battle between the forces of Richard and Richmond. But although the choreography, music and set are spectacular, the real engine that moves Richard III to success is the solid, intense, and complementary performances of the three Richards...
...together. We can discuss a public official's private behavior and decide whether it is immoral or not, but the discussion has to take place. Morality certainly has a place in public discourse; simply to ignore private behavior and to say that it is personal, and thus beyond reproach, is destructive and undemocratic. Sujit Raman '00 is a history concentrator in Mather House. His column appears on alternate Tuesdays...
Most endearing in spite of his sleazy role is Stanley Tucci. Though the ending could read as a reproach to Grigoris, he ends up on top, reigned in if not transformed. Like Robin Hood, he has the miraculous ability to bend morality and its most loyal adherents without making either immoral. By the end, one is convinced of the justice of his scheme since even with his cheating, there remians genuine goodness in him. It is hard to sort out what was what and who was right, but in the end they're all endearing. If robbing the rich puts...
...supposed to apologize for lying to his advisers for the better part of a year. When Shalala questioned the president's separation of political and moral authority, he reacted to her criticism by turning the assault back on her, further proving that he believes his actions are beyond reproach...
...only reproach to be made against The Coast of Good Intentions is exactly that. It wants to tell the story of the coast of good intentions, and this moral undertone wraps the otherwise remarkably perspicacious oeuvre in a virtuous air--something that doesn't quite fit on the rest of Byers' literary turf. Were he intending to give a lesson in ethics by preaching them, these stories could not seem less undeserving of an exemplary attitude that they seem to take. Happy endings don't have to straighten their moral codes to be "good." In fact, normal as they seem...