In other cases, the mistreatment of slaves is wildly unexaggerated.
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But the final product is a deep, unreserved, and unexaggerated look at an exceptional life.
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The soprano Heidi Stober has been away from the Met for a few seasons, but returns with a cheerfully bright, natural, unexaggerated Despina.
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But this is a very good, straightforward Napa cabernet sauvignon, well shaped and lightly tannic, with flavors of dark fruits, earth and herbs that are unexaggerated.
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The original title alludes to the mediaeval devotional book of hours. Masereel uses an emotional, Expressionistic style to create a narrative replete with allegory, satire, and social criticism—a visual style he continued with throughout his career. He expresses a broad variety of emotions through understated, unexaggerated gestures. Most characters are given simple, passive expressions, which provides emphatic contrast with characters expressing more explicit emotion—love, despair, ecstasy.
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The Kendals took the main roles but the laurels went to Hare in the comparatively small part of Potter, a performance described by the writer T. Edgar Pemberton as "a masterpiece of character-acting, faultless in get-up and, indeed, in all respects. … [A] keen instance of unexaggerated eccentricity".Pemberton, p. 78 Wearing regards The Money Spinner (1881) as of particular importance to this period of the theatre's history, being the first of several of A. W. Pinero's plays staged there by Hare and the Kendals.
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Two studies Delacroix worked on at this time, Head of a Woman and Girl Seated in a Cemetery, show the combination of unexaggerated modelling and accented contour he was striving to incorporate into his larger work. The final treatment of figures in the Massacre is however less consistent than these two studies. The flesh of the dead (or dying) man at the front is for instance strongly colouristically rendered, contrasting with the more tonal modelling of the nude to the right, and the Veronese-like schematic modelling of the baby.The Paintings of Eugène Delacroix, A Critical Catalogue, 1816–1831, Volume One, Lee Johnson, Oxford University Press, 1981.
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Freytag's literary fame was made universal by the publication in 1855 of his novel, Soll und Haben (Debit and Credit), which was translated into almost all European languages. It was translated into English by Georgiana Harcourt in 1857. It was hailed as one of the best German novels and praised for its sturdy but unexaggerated realism. Its main purpose is the recommendation of the German middle class as the soundest element in the nation, but it also has a more directly patriotic intention in the contrast it draws between the supposedly homely virtues of the German, while presenting in negative light Poles and Jews.
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The authoritative biography from the side of the disciples of Harris is the book Life by A. A. Cuthbert, published in Glasgow in 1908. Containing language common to Harris's sect, it also contains some biographical facts as well as quotations. The information about Harris in Memoir of the Life of Laurence Oliphant and of Alice Oliphant, his Wife (1891), by Margaret Oliphant, his cousin, has not been shaken in any important particular, and Oliphant's own portrait of Harris in Masollam is apparently unexaggerated. But Harris had much personal magnetism, unbounded self- confidence, along with endless fluency, and to the last was believed in by some disciples of character and influence.
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Strouse's book Alice James: A Biography, appeared in 1980 and won a Bancroft Prize. A sympathetic but objective look at the younger sister of philosopher William James and novelist Henry James, the biography showed how Alice James struggled through various illnesses to create her memorable diary. Strouse's next book, Morgan: American Financier (1999), earned praise for its realistic, unexaggerated portrayal of Morgan's personality and its explanations of complex financial topics in understandable terms. Strouse has also edited two books by Henry James: the Library of America's edition of James' 1864-74 short stories, and the NYRB edition of James' last completed novel, The Outcry.
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Reviews of Bapu have appeared in The Times of India, the Modern Review, the Indian Review and The Aryan Path The Times of India viewed the first edition as having "succeeded very well", stating that the book was Two reviews appeared in the Modern Review. In 1950, Nirmal Kumar Bose wrote that the first edition Bose speculated that "Perhaps a large part of the greatness of Mahatma Gandhiwas due to this." In 1958, D. N. Mookerjea reviewed the second edition, stating that "A great life is a source of inspiration to all. People of different countries, castes and creeds find a common meeting- ground", and that Barr "gives us a true, unexaggerated, respectful account of this great man".
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" In a series of "Notes," following the poems, line by line, he asserted that the poet won her success by the simplest means and plainest words, as true genius always does, and that her pages were full of emotional and imaginative meaning, Nature and Poetry uniting in an indissoluble whole; and Shelley himself, he said, would have been proud to own certain of the lines. The poem "Quest" he found so beautiful that, in his own words, it was "difficult to speak of it in perfectly measured and unexaggerated language." Of the poem "Wife to Husband" he said that "the tenderness, the sweet and compelling rhythm, are worthy of the best Elizabethan days." The sonnet, "A Summer's Growth," "unites," he says, the "passion of such Italian poets as Dante with the imagination of modern English.
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The drunken father, evidently made up from Mr. George > Cruikshank's pictures of The Bottle, is admirably played by Mr. George > Honey, who made his first appearance at this theatre, and who never acted > better.... The make-up, the voice, the manner, the savagery in one part, the > hypocritical maudlin grief in another, the toadying to wealth in another, > the disgust and abuse when wealth refuses to deposit even a sovereign, the > exits and entrances of this character, are things to be gratefully > remembered.... Honey was in the original production, which opened on 16 April 1870 at the Vaudeville Theatre, of For Love or Money by Andrew Haliday. He appeared in the play Money by Edward Bulwer-Lytton, playing the part of Graves. He first took this role in 1869; the play was revived at the Prince of Wales Theatre in 1872 and 1875, where it made a greater impression on audiences. In the Standard on 31 May 1875, a critic wrote: > A noticeable and welcome feature in the revival is the return of Mr. George > Honey, who resumes his part of Graves, one of the most genuine and > unexaggerated examples of pure humour the modern stage has witnessed.
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