Word: terrorisms
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...surface, this weakness in first year marks can be attributed to one of two reasons: either the class of 1926 is more than usually slow in getting started in the way it should go, or else the "powers that be" have decided to institute an academic reign of terror for the ostensible purpose of encouraging higher grades and more serious devotedness to duty...
...following program will be presented at the "Pops" concert tonight at 8.15 o'clock in Symphony Hall: 1March, "El Capitan" Sousa 2 Overture, "Maximilian Robespiere" (The Last Day of the Terror" Litolff 3 a. Cheer for Old Amherst J. N. Pierce '02 b. Amherst, Alma Mater J. S. Hamilton '06 4 Campus Dreams E. N. Blake '97 5 Bacchanale (Act I, Veusberg,) "Tannhauser" Wagner 6 Third Movement, "Scheherazade" Rimsky-Korsakoff The Prince and the Princess. 7 Hungarian March Berlioz 8 a. Paige's Horse F. J. E. Woodbridge '89 b. To the Fairest College D. C. Bartlett '03 (Organist--Carl...
...signing of the Irish Peace agreement marks the end of a second period of terrorism and guerilla warfare which has not only brought little credit to Ireland but has even cast grave doubts on her ability to govern herself under the Irish Free State. Like the treaty between England and Sinn Fein this settlement was signed quite suddenly at a crisis of Irish affairs. Since the speeches of Collins and De Valera, in a sort of Lincoln-Douglas series, early in March, conditions have grown steadily worse, particularly in Limerick and about Belfast, until finally they assumed almost the dimensions...
...when nothing is being said than when there is speech, and it is in his silences that Gilpin does some of his best work--though his speech, too, is excellent, and his rich, musical voice is a delight in itself. His gradual degeneration from brazen self-assurance to abject terror proceeds by subtle and orderly degrees, and carries the audience along in cumulative terror. In the first act, a dialogue between the pullman-porter, emperor and Smithers, a while trader on his island empire, is all that makes up the action; yet in it the whole exposition is stealthily unfolded...
...fourth scene is a welcome (though unintentional) lot-down. The next two again build terror, that ends in the shooting of the witch-doctor with the silver bullet which negro had intended to save for himself. The catastrophe is powerful in its contrasting mildness; the death of the emperor offstage, and the subsequent appearance of his body, verges dangerously on the anticlimactic. Perhaps it will sound like a plea of the sensational, but one cannot suppress a feeling that the play would end more effectively when the natives fire the fatal shots...