orotund

When I repeat the experiment, trying to look as much as possible like a distorted Francis Bacon portrait, it says my closest match is William Hogarth's portrait of an orotund, wig-wearing William Fitzherbert in the Art Gallery of South Australia.

orotund shapes, just as Whitman, as writer, aimed an orbital language

Only the voice, his signature voice, was exactly the same as they had heard in dramas and on talk shows: orotund, measured, and very British.

First, it is apparent that in choosing to avoid diacritics for the many Sanskrit names occurring in the bulk of the work, and to respell them as suits the impoverished English alphabet, and to "translate" the many orotund titles of the Sanskrit works at issue, Pollock is aiming his work chiefly at a non-specialist audience, unused to or impatient of foreign exotica.

Trump answered their orotund earnestness with Tweets.

Particularly outstanding were the dulcet flutes, Kate Aldridge's agile doublebass, and Anneke Scott's orotund yet balletic natural horn solo over chugging bassoons in the Gloria's "Quoniam".

Berkeley: University of California Press, 1973), 100-118; Virginia Mason Vaughan, "Military Discourse: Knights and Mercenaries," in Othello: A Contextual History (Cambridge: Cambridge University Press, 1997), 35-50; Julia Genster, "Lieutenancy, Standing in, and Othello," ELH 57, no.4 (1990): 785-809; and Tom McBride, "Othello's Orotund Occupation," Texas Studies in Literature and Language 30 (1988), 412-30.

It is in the later letters of 1946 also that I first noticed the emergence of the Mailerian style, the rhetoric, "the orotund," as he would later call it.

The collection opens with a wonderfully evocative piece dealing with the place from which many mythologies begin, 'Ovum', playing with associations of egg and employing a series of images and sound effects to explore the idea: 'the meat of the word made orotund and Latinate' which is compared to 'putting your mouth to the smooth/breast of the ocarina'.

The introduction is relatively brief, but offers superbly vivid descriptions of the experience of reading Browne, noting his "habitual and vertiginous shifts in scale" and his "moves from intricate scholarship to a delirium of fact" (xiii), his observational powers "at the same time precise and deranged" (xvii), and describing Religio Mediei and Pseudodoxia Epidemica as "at once abstruse and moving, pedantic and orotund, works of spectacular pointlessness, nit-pickingly precise and lavishly meditative" (xxi).