Word: skill
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Dates: during 1890-1899
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...matter scientifically. This Professor White has done in his monograph, putting it in the form of an argument. First, he has collected the passages which may be taken to prove the existence of a stage, in which the words commonly meaning "go up" and "go down" occur, and has skillfully shown that in Aristophanes' time they were used simply as stage terms in the sense of "go on" or "go off," this signification arising from the early Greek religious processions where the first actor mounted a wheeled plat form to deliver his verses in honor of the god. Next...
Coming now to the last factor, the word "stroke" might be substituted for "method," and the following sub-division adopted: 1. Skill and form. 2. Time. 3. Recover. According to some, all that may be said upon rowing may be included under the head of "skill;" "form," referring to the appearance of similarity and uniformity throughout the crew. It will be apparent that both "form" and "skill" are dependent upon certain constituent elements. Two of these, "time" and "recover" may be considered in another letter...
...those who wish to know how to win at poher, faro, roulette, and various other games of chance or skill, an article is contributed on "Gambling Sharps and their Tools." Of quite a different character is the Marquise Clara Lanza's "Women Clerks in New York...
...made it evident that, with more entries, the tumbling would be one of the most enjoyable features of the meetings. While it is true that the regularly organized teams rightly claim the athletic energy of a majority of the men physically suited to engage in feats of strength and skill, still it is strange that gymnasiums of a membership one-fifth the size of ours should present in their exhibitions tumbling so far superior to that which we have in ours. There must be at least a dozen men in college who, at some time or another, have practiced tumbling...
...minor, played by Mr. Carl Faelton. This concerto, composed just fifty years ago, is incomparably finer than any concerto that has been composed since. It was last played in Cambridge in January, 1888, by Miss Aus der Ohe. It gave Mr. Faelton abundant opportunity to display his brilliant technical skill and poetic feeling...