She and Curran take possession of the tale and save it with sprightliness; their smiles arise without warning.
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And Mr. Thibaudet was just right for it: Not a keyboard pounder, he went for sensuality and witty sprightliness.
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It was this sprightliness that proved to be detrimental for Ziggy, who was limping and seemed to be in pain when walking.
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The nachos, already quite flavourful due to the guacamole, beans and pico de gallo, are thoroughly aided by the sprightliness of the bottled sauce.
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On the contrary: They all seem exceedingly proud of themselves, hashtagging their humility to advertise their own status, success, sprightliness, generosity, moral superiority and luck.
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Ms. Arbus — whose fruitful association with Theater for a New Audience has yielded a bright string of cleareyed productions of classics — doesn't entirely restore "Skin" to newborn sprightliness.
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There are also unfamiliar works that mesmerize, including two from around 1930: "Adam and Eve and the Garden," a carved wood tableau by José Dolores López that buzzes with medieval sprightliness, and Palmer Hayden's "Untitled (Dreamer)," which depicts a black man sleeping in a pose and simplified style reminiscent of both Henri Rousseau and Paul Gauguin.
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Sir Hugh Tyrold is Camilla's uncle who lives at Cleves. He is uneducated but very good natured and sweet tempered, with good morals and an excellent heart. Camilla is his favourite niece, her sprightliness and lively sweetness endearing her to him. He is very generous and charitable.
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According to Bertie, Catsmeat is a very lively individual both on and off the stage. His sprightliness is a byword among his friends.Wodehouse (2008) [1949], The Mating Season, chapter 2, pp. 14–15. Catsmeat is also known for being a fashionable dresser; in Uncle Fred in the Springtime, he is described as a "modern Brummel".
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According to linguist Ivan Duridanov, Chiprovtsi's original name was Kipurovets (Кипуровец). The current form gradually emerged through a sound shift and a syncope. The name is of Slavic origin, but may be linked to the archaic Greek loanword kipos (κήπος, "garden"), a word also borrowed by Serbian. Some researchers derive the toponym from the personal name Kipra or Kipro, implying beauty and sprightliness.
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In 1708, Forbes became exempt of his troop and a brother of the Trinity House. In May 1709, he left his ship to do duty with his troop at Windsor, where his sprightliness of genius and politeness of manner recommended him to Queen Anne (Memoirs of the Earls of Granard, p. 86), at whose desire he was appointed to the Grafton of 70 guns. Forbes, who in the meantime had married, sailed for the Mediterranean with Sir John Norris in 1710.
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There were already other Flemish potters in London, two of them in Southwark recorded in 1571 as "painters of pottes". English delftware pottery and its painted decoration is similar in many respects to that from Holland, but its peculiarly English quality has been commented upon: "... there is a relaxed tone and a sprightliness which is preserved throughout the history of English delftware; the overriding mood is provincial and naive rather than urbane and sophisticated."Carnegy, p.51. Caiger-Smith describes its mood as "ingenuous, direct, sometimes eccentric", and Garner talks of its "quite distinctive character".
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He married Rose (1596–1683), daughter of Thomas Evelyn of Ditton, Surrey. This lady was a first cousin of John Evelyn the diarist, and is described by him as possessing unusual sprightliness and comeliness when 86 years old. On 9 July 1675 he married Frances, youngest daughter of Edward Hyde, 1st Earl of Clarendon and Frances Hyde, Countess of Clarendon, and sister of the Duke of York's first wife. In January 1713, after an absence of more than twenty years, he met his wife at Somerset House, London.
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Throughout her life, Charlotte Tonna was very popular amongst Evangelical Protestant communities. Critics from the New York Evangelist described her writings as "too fast" and described her style as "consequently diffuse and inelegant, and there is a too incessant prosperity to preach". However, they praised her vividness of description and sprightliness to her writing. Additionally, other critics complained of her stories having "thin characterizations" and long tangents that disrupted the plot, but still praised her ability to describe in intense details the poor working conditions of labor workers in Helen Fleetwood: A Tale of the Factories.
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English delftware pottery and its painted decoration is similar in many respects to that from Holland, but its peculiarly English quality has been commented upon: "... there is a relaxed tone and a sprightliness which is preserved throughout the history of English delftware; the overriding mood is provincial and naïve rather than urbane and sophisticated." Caiger-Smith describes its mood as "ingenuous, direct, sometimes eccentric"; and Garner talks of its "quite distinctive character". Its methods and techniques were simpler than those of its continental counterparts. English tin-glaze potters rarely used the transparent overglaze applied by the more sophisticated Dutch and Italian potters.
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According to Griswold (1852), her most distinguishing characteristic was sprightliness. Her poetical vein seldom rose above the fanciful, but in her vivacity there was both wit and cheerfulness. She needed apparently but the provocation of a wider social inspiration to become very clever and apt in jeux d'esprit and epigrams, as a few specimens which found their way into the journals amply indicated. It was however in such pieces as "Jack Frost", "The Pebble and the Acorn", and other effusions devoted to graceful details of nature, or suggestive incidents in life, that the public recognised the graceful play of her muse.
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British essayists were critical of the tax and the effect it had on British literature. According to English writer Samuel Johnson, "A news-writer is a man without virtue who writes lies at home for his own profit. To these compositions is required neither genius nor knowledge, neither industry nor sprightliness, but contempt of shame and indifference to truth are absolutely necessary." These essayists often saw retribution for their published words; Henry Hetherington, a prominent radical, was imprisoned for claiming the tax was a tax on knowledge, and his printing presses were ordered to be destroyed.
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Though the experience was important for Elston, his music was never imitative of Webern in technique or style. He did not employ the twelve-tone technique, but his colleague Andrew Imbrie later observed that the influence of Webern could be heard in his "flexible use of motif as a unifying force, in a certain sprightliness of texture, and in a forward-pushing upbeat quality of phrase". Elston himself was later to write, > I am clearly in the tradition of the Schoenberg school, probably closer to > Schoenberg than to Webern or Berg. But I have never espoused the 12-tone > technique.
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Her journal remains noteworthy both for its larger-than-life central character (Knight) and its telling of a trying journey not normally undertaken by a woman. The discomforts of primitive traveling are described with much sprightliness and not a little humor, including poems of gratitude and relief about finding moonlight, and poems of frustration about the loud sounds of drunken men late at night. The journal is valuable as a history of the manners and customs of the time, and is full of graphic descriptions of the early settlements in New England and New York. At the same time, it is interesting for its original orthography and interspersed rhymes.
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Her biography of Marie Thérèse Charlotte, duchess of Angoulême was completed after her death by John Doran (1807–1878) and published in 1852 as Filia Dolorosa. Romer was described by a near-contemporary, the Irish writer Richard Robert Madden, as a "shrewd, lively, mystery-loving, and 'a leetle conceited,' occasional authoress, prone to expatiate rather extensively on themes merely personal, and regarding her own feelings, but always redeeming slight defects of that nature by vivid delineations, and smart, interesting, and entertaining descriptions." The same author said that her descriptions of Palestine were "abounding more in sprightliness than spirituality."Richard Robert Madden..., pp. 329–30.
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Karl Münchinger, 1968 Karl Münchinger (29 May 1915 - 13 March 1990) was a German conductor of European classical music. He helped to revive the now- ubiquitous Canon in D by Johann Pachelbel, through recording it with his Stuttgart Chamber Orchestra in 1960. (Jean-François Paillard made a rival, and also very popular, recording of the same piece at around the same time.) Münchinger is also noted for restoring baroque traditions to the interpretation of Bach's oeuvre, his greatest musical love: moderate-sized forces, judicious ornamentation, and rhythmic sprightliness, though not on "period instruments". Born in Stuttgart, Münchinger studied at the Hochschule für Musik in his home city.
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He is not surprised that Jeeves spends so much time there, noting that the Junior Ganymede, while lacking the sprightliness of the Drones Club, is a very cosy and comfortable establishment.Wodehouse (2008) [1971], Much Obliged, Jeeves, chapter 4, pp 35–36. It appears that members are not required to resign after relinquishing their positions in service, since one valet, Bingley, retains his membership after retiring. According to Wodehouse scholar Norman Murphy, the club was inspired by a pub that was frequented by butlers, valets, and other servants in Mayfair in the 1920s, located in Charles Street (not far from the eastern end of Curzon Street).
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Such limpid, > liquid tones, in the Reflections in the Water; such sprightliness in Danse > de Puck (Dance of Puck)! At the conclusion of the Debussy group, one number > of which was repeated by the Ampico, after responding with bows four times > to the insistent applause, the artist, taking the compliment for the > composer rather than to himself, played as the single encore of the evening, > Debussy's A Night in Granada. The three Spanish compositions with which the > program closed showed the versatility of the pianist and were delightful. "R.R.G" in the Boston Herald (January 4, 1929): > In Spanish music, to go on, Mr. Copeland strikes a new note which other > performers, both high and low, should heed.
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Winship made his first-team debut on Boxing Day 1910 against Football League leaders Manchester United at Old Trafford. Select season required. Arsenal lost 5–0, and the Daily News reporter thought their forwards' shooting was the worst he had seen all season and "the only member of the line who was not greatly at fault was Winship, a small youth who was playing as outside left and delighted the crowd by sprightliness and accurate centring from all positions." A fortnight later, the Sheffield Daily Telegraph described Arsenal as having "a couple of capable, enterprising wingers, though Winship was a bit late waking up" in a 3–2 defeat to Sheffield United.
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A 1965 oil portrait of Martha Wayles Skelton Jefferson by artist George Geygan, based on contemporary descriptions of her physical attributes and executed 183 years after her death. (First Ladies Cookbook, Parents Press) There are no surviving contemporaneous portraits of Martha Jefferson, but she has been described by family members and Isaac Granger Jefferson as small, graceful, and pretty and like her daughter, Mary Jefferson Eppes. She was described by Robert Skipwith, her sister's husband, as having possessed "... the greatest fund of good nature ... that sprightliness and sensibility which promises to ensure you the greatest happiness mortals are capable of enjoying." As Thomas was having Monticello built, he obtained a piano forte from England for Martha as a wedding present.
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Pixie Lott received mixed reviews from contemporary music critics. Stephen Thomas Erlewine of AllMusic wrote that although the album "does attempt to tone down her girlishness", Lott "can't run away from her ebullient instincts, and that sprightliness is why Pixie Lott is an enjoyable piece of high gloss pop." John Walshe of Hot Press commented that Lott "succeeds in unleashing her inner diva throughout these highly polished R&B-tinged; pop standards, complete with backing vocals that could have been lifted from the golden era of soul music itself." David Smyth of the London Evening Standard noted that the album trades "the electronic pop touches of its predecessor" for "a more organic sound that comes across like a lightweight Amy Winehouse", while complimenting the songs "Break Up Song", "Bang" and "Kill a Man".
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Peace was himself replaced by Graeme Swaddle (formerly with legendary Tyneside psych band Dead Flowers), who'd remain the band's longterm drummer. In 1994, Sleepy People issued their first album Blunt Nails In A Sharp Wall. The songs – based on a broad template of tightly-played psychedelic pop – were eccentric and sometimes absurdist, with ingredients veering from the disco stylings of "Sordid Sentimental" to the Gong-inspired sprightliness of "Mr Marconi's Unusual Theory", the full-on progressive rock fantasia of "Rare Bird At The Window" and the harder-rocking "Nicky's Little Army" (the latter inspired by the orphanages in Nicolae Ceaușescu's Romania). Originally put out as a self- released cassette (with distribution help from the "Organ" fanzine, who'd supported the band from the early days), the album was eventually re-released on CD by Org Records in 1999.
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The Mousmé, The Play Pictorial, July 1911, p. 40 At this stage in Courtneidge's career, there was some feeling in theatrical circles that her elevation to star status was largely due to her being Robert Courtneidge's daughter. Reviewing The Mousmé, The Observer wrote that the co-authors had "failed to supply any adequate dramatic raison d'être for the prominent character of Miyo, a fair-haired Japanese damsel, embodied by Miss Cicely Courtneidge with much sprightliness but far too much effort, facial and otherwise, of coy significance.""New Japanese Play", The Observer, 10 September 1911, p. 8 The Times liked her better and praised her "pretty impudence and roguery"."Shaftesbury Theatre – 'The Mousmé'", The Times, 11 September 1911, p. 9 Advertisement for The Pearl Girl, 1913 Courtneidge continued to star in her father's productions. In September 1913, she played the part of Lady Betty Biddulph in the musical comedy The Pearl Girl."The Pearl Girl", The Times, 26 September 1913, p.
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