Word: touched
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Dates: during 1870-1879
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VIII. Every player is on-side, but is put off-side if he enters a scrimmage, upon his opponents' side, or, being in a scrimmage, gets in front of the ball, or when the ball has been kicked, touched, or is being run with by any of his own side behind him (that is, between himself and his goal line). Every player when off-side is out of the game, and shall not touch the ball in any case whatever, or in any way obstruct or interrupt any player until he is on-side...
...kept dangerously near the Harvard goal; here a discussion of the rules took place, thereby delaying the game for some time. After this, the game was begun again, and this time the ball was driven down toward the Canada goal, Curtis making a very pretty pass to Seamans. A touch-down was then obtained by Leeds, but as the ball was brought by Cushing between the goal-posts, the goal was not allowed. This ended the first half-hour. The second half being begun, Littauer led off, and the ball was at once driven toward the Canada goal. Here...
This ended the game, Harvard winning by two goals and two touch-downs, Canada having obtained nothing. On the Canada side the best plays were made by Price, of Quebec, and by McLaren, Wilmot, Taylor, Campbell, and Thomas, of Montreal. On the Harvard side the most brilliant plays were made by Leeds, Herrick, and Wetherbee. Bacon and Cate made some long kicks, and Hall and Keyes proved themselves very effective in stopping and throwing their opponents. Messrs. Hare and Whiting acted respectively as umpires for Canada and Harvard; Mr. R. M. Esdaile was referee; Mr. Clouston acted as Captain...
...past a few simple, but universally necessary principles to guide the murderer in the formation and execution of his design. Such I consider the following to be: The death must be inflicted cleanly; unnecessary cruelty must be avoided; the artist must escape undetected after he has given the last touch to his work...
Thirdly, the artist must escape undetected after he has given the last touch to his work. The reason for this principle is like the second of the ten given in support of the first principle. If the artist, leaving his work complete, escapes entirely undetected, then his deed is a mysterious horror, and no man can be sure that the fate of the subject will not be his own. The murderer has done his work cleanly and skilfully (we will say), and is gone. No one knows who he is, what are his motives, what are his resources of courage...