Word: restraint
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...impeachment of President Nixon invariably contend that impeachment proceedings would accentuate the existing chaos in Government and do irreparable harm to the U.S. But failure to invoke such proceedings for the above reason will create a climate in which the President is above the law and free from congressional restraint...
Hughes does not mention Watergate. Late in his book, with great precision and restraint, he analyzes the follies of Nixon and Johnson over Viet Nam. Among them: misinterpretation of history, extravagance of purpose, blindness to cost, arrogance, deceit, disdain for Congress and the twisting of patriotism - this last, Richard Nixon's appalling variation on the McCarthy era's theme that any disagreement with U.S. policy amounts to some kind of treason. Hughes points out, though, that the presidential methods employed to get embroiled in the war were almost exactly like the methods used by earlier Presidents - among them...
...forcefully peppered opposing netmen with a destructive machine-gun fusillade of goals and attempts, full and deadly, carrying the Crimson ice fortunes to wide and expansive successes, mounting attack after attack, coiling and recoiling with the relentless regularity of a blind and savage dog against an alien cage of restraint, whose cage was a 4 ft. by 6 ft. cubicle squatting at the end of an ice highway, hunched full of glove and stick and defending bulk in which sinew and muscle and the accouterments of a savage and irrepressible game warfare were dedicated to the sole purpose of thwarting...
...which customarily support Nixon, dismissed the speech as "regrettable, not to say disappointing," branded his policy on the tapes "a grave mistake," and added that "people with nothing to hide do not hide things." On the other hand, the New Orleans Times-Picayune, a loyal Nixon supporter, pleaded for restraint to prevent "the current overkill" from damaging the President's ability to govern...
...emotional restraint of the program was most frustratingly evident in "El Lobo", choreographed by Dorothy Hershkowitz, a piece which attempted to express confining relationships between men and women. The dance kept slipping into formalized movement, sometimes a good parody of sleazy courtship rituals, but more often irrelevant to what was being expressed. "Cambridge Dances", choreographed by Bill Evans, and "Journeys", by Martha Armstrong Gray, were more fluid than the other works, but too abstract. At times, in both of these dances, Gray would suddenly shiver and limp, but even this never gave more than ripples to an overly calm surface...