Word: styling
(lookup in dictionary)
(lookup stats)
Dates: during 1870-1879
Sort By: most recent first
(reverse)
...seems to be an interesting and highly creditable publication. Our high opinion of its merits, however, may be owing to our having taken immediately before it a large dose of other college papers. The prize oration on Carlyle is certainly original and thoughtful, though we cannot commend its style. The editors of the Lit. should be careful about quotations. Horace and Coleridge both suffer in this number...
...rash and inconsiderate Argus, having ventured a "churlish criticism" of the Beacon, has been completely annihilated in half a column of simile, seriousness, and sarcasm. We, therefore, profiting by such an example, simply offer our congratulations to the Beacon for its peculiarly elevated style and tone. May we suggest, however, that it is not universally acknowledged that the line "Remote, unfriended, melancholy, slow," is by Shakespeare. Some persons contend that it is the first line of a lost work, "The Traveller," by an obscure poet named Goldsmith. We are in perfect sympathy with the Beacon, and only doubt whether...
Here, then, in five lines out of eight, is a series of radical blunders in quantity and formation, every one of which requires no further reading than the first book of the Aeneid to set right. After that, considerations of the general style, transference of thought, building up of sentences, are superfluous. There is so much fatally bad that it is not worth asking if there is anything good...
...There is a good prospect for some new buildings to meet the requirements of the increasing numbers. Each professor has been consulted as to the style of rooms that would best meet the wants of his department, and the architects are at work on the plans. Probably the new buildings will be erected on the present site...
...orchestral pieces, the March from Mendelssohn, at the beginning of the second part, was in our opinion by far the best. The peculiarly calm, finished, and classical style of the author was rendered in a style which showed careful practice and artistic appreciation on the part of the orchestra; but to Jungmann's "Heimweh" we cannot conscientiously say justice was adequately done. The rich sweet chords of Fesca's trio for piano, violin, and 'cello by Messrs. Deane, Taussig, and Apthorp were happily expressed, though more practice would undoubtedly be followed by greater proficiency...