Word: verbalism
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Dates: during 1960-1969
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Furthermore, Love's Labour's Lost is the most topical of all the plays. In it Shakespeare parodies the euphemistic style of John Lyly (who is today not exactly a widely read author), and lampoons a number of the verbal fads and affectations of the late sixteenth century. It is stuffed with what its leading character, Berowne, describes as "Taffeta phrases, silken terms precise./Three-piled hyperboles, spruce affectation,/Figures pedantical." And there are hundreds of puns, many be-labored mercilessly. How many of today's theatregoers relish extended puns on long-obsolete terms for a male deer of the second...
...just himself. He undergoes emotions, but can control and channel them as he sees fit. Shakespeare has made Richard the purveyor of artificial and ear-tickling poetry, full of wonderful imagery. In fact, Richard's speeches tend to be arias and ariosos. Never was Shakespeare more intent on creating verbal music (and indeed it is no accident that, except for King John, Richard II is his only play without a single line of prose...
Buckley's verbal agility never flagged all through the question-andanswer period that followed his talk. Asked what he thought would happen to Mayor Lindsay's political career if he were appointed to the Senate, Buckley disposed of his former opponent with a casual "I don't know. Where will he give fewer speeches?" And what about ex-Mayor Robert F. Wagner's appointment as Ambassador to Spain? Nothing wrong with that, said Buckley of his former Democratic nemesis' new assignment. "After all, he doesn't have to run Madrid...
From the start, the Rev. Ralph Abernathy's lax grip on leadership of the Poor People's Campaign has been steadily slipping away. Last week his hold relaxed to the point of paralysis. While Resurrection City afforded Washington an unseemly display of backbiting and verbal pyromania, the protest movement's leaders purged the man who, above all, might have given their faltering cause realistic direction...
George P. Elliott is no square, but there is something sturdily old-fashioned about him all the same. The fictional fashions of the day are for chaos, apocalypse and sexual grotesqueries, splattered onto the page in a sort of verbal-action painting. Yet here is Elliott with 13 quiet, thoughtful stories, precisely fitted with conventional plot and narrative, and-at their best-fairly humming with moral earnestness. As for eroticism, Elliott is still getting mileage out of the kiss...