It was widely interpreted as pro-Communist, but Auden later wrote in a copy of the printed text, "The communists never spotted that this was a nihilistic leg-pull".
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Simple guard pass also known as the arm/leg pull is a guard pass demonstrated in The Essence Of Judo by Kyuzo Mifune, and it is an unnamed technique described in The Canon Of Judo. In Brazilian Jiu Jitsu this pass is commonly referred to as the Toreando/Bull Fighter Pass. The main characteristic of the pass is the practitioner side-stepping around the opponent's legs whilst simultaneously pulling aside the opponent's leg or pinning the opponents legs to the ground.
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Its superficial fancies are so ridiculous that at first one wonders if it is just a 'leg pull', pure 'spoof'."R. B. Serjeant, Journal of the Royal Asiatic Society (1978). p. 78 Eric Manheimer, reviewing the work in the American Historical Review, commented that, "The research on Hagarism is thorough, but this reviewer feels that the conclusions drawn lack balance. The weights on the scales tip too easily toward the hypercritical side, tending to distract from what might have been an excellent study in comparative religion.
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The value of Finnegans Wake as a work of literature has been a point of contention since the time of its appearance, in serial form, in literary reviews of the 1920s. Initial response, to both its serialised and final published forms, was almost universally negative. Even close friends and family were disapproving of Joyce's seemingly impenetrable text, with Joyce's brother Stanislaus "rebuk[ing] him for writing an incomprehensible night-book",Ellmann 1983, p. 603 and former friend Oliver Gogarty believing the book to be a joke, pulled by Joyce on the literary community, referring to it as "the most colossal leg pull in literature since Macpherson's Ossian".
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" Templeton said that after the photograph was published he was visited by two men who said they were from the government who refused to show their identification and that "They said they worked for the government and that they were only identified by number." After taking the men to the site where the photos were taken, Templeton said that when he explained he had not seen the figure at the time, the men became angry and drove away, leaving him to walk home. In September 1964, Templeton dismissed the two men as frauds, saying: "It all looks like a leg pull to me. I'm sure the men were not security agents.
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Time Magazine: > An extremely funny 15-minute film, may be taken as a solemn leg-pull of the > recent vogue for dribble-and-splotch painters, those athletic canvas- > coverers whose style owes less to Van Gogh's brush technique than to Stan > Laurel's custard pie stance. Or it may be taken as an explicit set of > instructions for getting rich. > The film, a first-time effort by three ex-admen, begins with a loving shot > of wharfs, fishing shacks and sounding sea-the sort of vista once sketched > avidly by artists and now appreciated chiefly by retired couples who tour > Cape Cod in late September. The artist is a burly fellow (Ezra Reuben > Baker), recognizably aesthetic in paint-smeared dungarees, scurrilous red > sweater and combat boots.
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His verse drama The Dance of Death (1933) was a political extravaganza in the style of a theatrical revue, which Auden later called "a nihilistic leg-pull." His next play The Dog Beneath the Skin (1935), written in collaboration with Isherwood, was similarly a quasi-Marxist updating of Gilbert and Sullivan in which the general idea of social transformation was more prominent than any specific political action or structure. The Ascent of F6 (1937), another play written with Isherwood, was partly an anti-imperialist satire, partly (in the character of the self-destroying climber Michael Ransom) an examination of Auden's own motives in taking on a public role as a political poet. This play included the first version of "Funeral Blues" ("Stop all the clocks"), written as a satiric eulogy for a politician; Auden later rewrote the poem as a "Cabaret Song" about lost love (written to be sung by the soprano Hedli Anderson, for whom he wrote many lyrics in the 1930s).
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The grim intention of Yorkshire not to score and win on the first innings, this late summer day at Bath, was too much for the comic imagination of Daniell. With only time for the bowling of two overs, he claimed a new ball. Yorkshire would take the lead (first innings) if they scored eight more runs – and lose precious percentage. Daniell gave the new ball to Robertson-Glasgow, perfect instrument in this gorgeous leg-pull of Yorkshire. He at once bowled four byes right down the leg-side, wide of Emmott’s pads, right down to a bank of geraniums in front of the pavilion. Emmott was in high dudgeon, 'Ah’m surprised at you, Dr Glasgow, usin’ new ball that way'. And Robertson-Glasgow, who never missed a cue, retorted, ‘That comment Emmott, coming from one who knows all, and more than all, of the uses and abuses of new ball manipulation, touches me sorely’. But Daniell, standing at mid-off and wearing an ancient brown ‘trilby’ hat, cried out, ‘Well bowled, Crusoe.
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