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...lovely bit of rascality-brief, definable, rightly punishable and done on the high seas, where U.S. men and machines still reign. The White House in its spring splendor looked like a Hollywood set. With somber visages and firm jaws, the actors hurried through the mellow night in their sleek black limousines. House Speaker Carl Albert, 5 ft. 5 in. tall, seemed at least 5 ft. 8 in. as he pondered American prestige on the White House steps. Senator John Sparkman was besieged by reporters after the President had told him the scenario for recapturing the ship and its crew. Others...

Author: /time Magazine | Title: THE PRESIDENCY by HUGH SIDEY: An Old-Fashioned Kind of Crisis | 5/26/1975 | See Source »

Just about everything else is, quite simply, wonderful. The scenery and the choreography are somewhat constrained by the claustrophobic proportions of the Agassiz stage, but the opulent costumes provide all the visual splendor necessary...

Author: By Natalie Wexler, | Title: A Production for the Purist | 4/23/1975 | See Source »

...GRADUAL CHANGE is a tradition in which Harvard prides itself, the still uncompleted process of integrating women into the undergraduate community most certainly exemplifies all the University's magnificence and splendor...

Author: NO WRITER ATTRIBUTED | Title: Equalize Admissions | 3/13/1975 | See Source »

Sylvan Scene. The plot is wafer-thin. It centers on the idea (a recurring one in Shakespeare) of nobles renouncing the splendor, gaiety and fleshly corruption of the court for a quasi-religious retreat amid the guileless innocence of the countryside. The King of Navarre (David Suchet) proposes to his three attendant lords, Longaville (Robert Ashby), Dumaine (Michael Ensign) and Berowne (Ian Richardson), that they form "a little academe." They pledge to meditate, study, fast, and forswear women. This pledge is scarcely uttered when four devilishly distracting ladies appear on the sylvan scene...

Author: /time Magazine | Title: The Theater: All in Aught | 2/24/1975 | See Source »

...Giulio Cesare, Don Rodrigo), makes his Met debut with a masterly series of designs that not only touch the eyes but also move the drama forward virtually without pause. Lee's contrasts are myriad. The rough outer walls of Moscow do not prepare one for the tapestried, iconic splendor of the Kremlin rooms. After the gold, be-crossed minarets of old Russia, the Renaissance fashion (all blues and whites) of an already Westernized Poland is breathtaking in its surprise...

Author: /time Magazine | Title: Music: Boris at the Met, At Last | 12/30/1974 | See Source »

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