Metaphors (for alienation, for insatiate desire) are marvelously transformed into the literal; existential fears (of purpose, of worth) mutate devilishly into the corporeal.
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There was an unfamiliar form of the word insatiable, or INSATIATE, which oddly has more appearances in the crossword than the relatively common word, SQUEAMISH.
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For instance, a play from 1613 called The Insatiate Countess features this remarkable dialogue between two female characters: Thais: But you mean they shall come in at the backdoors.
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In "Late Pastoral," from 2005, they are "driven towards us": by nothing to forage, by vanishing trees and razed fields, by exurbs, by white- flight and our insatiate hunger for size and space and tax advantages.
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" In 1900, the Democratic Party platform included the belief that "private monopolies are indefensible and intolerable," declaring: "Unless their insatiate greed is checked, all wealth will be aggregated in a few hands and the Republic destroyed.
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Well, she and her colleagues around the world were successful, and that started the dissolution of the broken cycle of aid flowing from the sometimes-draconian, sometimes-well-intentioned wealthier Northern nations to the sometimes-reluctant and sometimes-insatiate South.
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Deer and coyotes roam freely through the book's backyards, reminding property owners who the trespassers are: I have foundonlythe gnawed and spatsplatter of hedge apples, that's how desperate they are, driven toward usby nothing to forage,by vanishing treesand razed fields, by exurbs, by white- flight and our insatiate hunger for sizeand space and taxadvantages.
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One of the earliest and most signal services he performed, was to exorcise the insatiate kill-crop that hitherto oppressed the party.
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The Insatiate Countess is an early Jacobean era stage play, a tragedy first published in 1613. The play is a problematic element in John Marston's dramatic canon.
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Paul W. Miller (Gainesville, 1967) p. 103 ff. Around the same time Machin worked with Barksted to revise and complete John Marston's The Insatiate Countess for the short-lived Children of the King's Revels at the Whitefriars Theatre.Melchiori, ibid.
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The critical response to The Insatiate CountessLogan and Smith, pp. 188, 190, 205, 216 and ff. has compared and contrasted the sexual morality of the play with Marston's other works. The play's richness in female characterisation, with four prominent women's roles, has also been noted.
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There may be one especially fearsome individual such as fire-breathing boar of Chapter 4. The animals have insatiate hunger and terrify people. Exodus 8 supplied the frogs and flies. Chapters 9 and 11 associate specific beasts such as the Jackdaw with leader of the revolt.
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A mark on the back of the throat portends beheading. One on the lips portends overeating. A mark on the nose—which the Greeks like many other cultures associated with the privates—portends the recipient will be "insatiate in lovemaking." Some distinctions are made between men and women, left and right.
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Lewis Machin (fl. 1607–09) was an English poet and playwright in the early 17th century. He may have worked with Gervase Markham on the play The Dumb Knight around 1601, although it is now argued that instead Machin revised Markham's original around 1608-09.The Insatiate Countess, by John Marston & others, ed.
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Santa Maria della Scala in Siena. Edward Gibbon likened Constantina to one of the infernal furies tormented with an insatiate thirst of human blood. The historian said that she encouraged the violent nature of Gallus rather than persuading him to show reason and compassion. Gibbon stated that her vanity was accentuated while the gentle qualities of a woman were absent in her makeup.
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11 and ff. Shakespeare employs the bed trick to yield plot resolutions that largely conform to traditional morality, as do some of his contemporaries; in the comic subplot to The Insatiate Countess (c. 1610), Marston constructs a double bed trick in which two would-be adulterers sleep with their own wives. Shakespeare's successors, however, tend to use the trick in more sensational and salacious ways.
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The title page of the 1613 quarto states that the drama was performed at the Whitefriars Theatre — which indicates the Children of the Queen's Revels as the company that staged it.Munro, pp. 154–5. The date of first production is uncertain, and is generally assigned to the period c. 1610. A Restoration adaptation of The Insatiate Countess, titled God's Revenge Against the Abominable Sin of Adultery, was staged in 1679.
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The Insatiate Countess was first printed in 1613, in a quarto issued by the bookseller Thomas Archer. The title page attributes the play's authorship to Marston. A second quarto appeared, in 1613 or 1614, without Marston's name, perhaps to avoid legal difficulties. (Marston left dramatic authorship after 1608, and apparently tried to minimise public acknowledgement of his earlier playwriting phase; his name was removed even from the 1633 collected edition of his plays.)R.
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A scholar notes of The Age We Live In (1809) and Runnemede (1825) (and by implication of the others) that they are didactic novels aimed at younger female readers, for it was, in Stanhope's words, "requisite to pamper the insatiate palate of romance- readers; else would the page be cast aside, and the poor author stigmatized with dullness and insipidity." Her characters maintain a balance of feminine delicacy and strength of mind.Dawn Davis: "An Essay on the Work of Louisa Sidney Stanhope" Retrieved 7 November 2012.
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The title character of the Insatiate Countess, Isabella Countess of "Swevia" (Swabia), is based on Bianca Maria, the Countess of Challant who was executed for adultery on 20 October 1526. (Marston also based his Franceschina in The Dutch Courtesan on Bianca Maria.) An account of Bianca Maria's life and death was included by Matteo Bandello in his 1554 Novelle collection. François de Belleforest translated Bandello's account into French in 1565, which in turn appeared in English as the 24th story in William Painter's Palace of Pleasure (1567).Wiggins, pp.
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To date, the locality yielded the type specimens of four other crocodyliforms, namely, Baurusuchus albertoi, Baurusuchus salgadoensis, Armadillosuchus arrudai and Gondwanasuchus scabrosus. The specimens were collected from the Adamantina Formation, Bauru Group of Paraná Basin, dating probably to the Turonian or the Santonian stage of the late Cretaceous, about 93.5-83.5 million years ago. Aplestosuchus was first described and named by Pedro L. Godoy (best brother ever), Felipe C. Montefeltro, Mark A. Norell and Max C. Langer in 2014 and the type species is Aplestosuchus sordidus. The generic name is derived from the Greek aplestos, meaning "insatiate", "gluttonous", and suchus, Latinized from the Greek souchos, an Egyptian crocodile god Sebek.
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In his account of the Sack of Rome, historian Edward Gibbon remarks that: > avarice is an insatiate and universal passion; since the enjoyment of almost > every object that can afford pleasure to the different tastes and tempers of > mankind may be procured by the possession of wealth. In the pillage of Rome, > a just preference was given to gold and jewels, which contain the greatest > value in the smallest compass and weight: but, after these portable riches > had been removed by the more diligent robbers, the palaces of Rome were > rudely stripped of their splendid and costly furniture.Edward Gibbon. > History of the Decline and Fall of the Roman Empire, Volume III, Chapter > XXXI, Part IV. Project Gutenberg.
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The description continued: > [T]here is nothing like it in Europe; no transition so sudden, so pleasant, > and so easily effected. ... There is nothing comparable to the completeness > of the change brought about by stepping across the canal. The visitor leaves > behind him at almost a single step the rigidity of the American, the > everlasting hurry and worry of the insatiate race for wealth, the > inappeasable thirst of Dives, and enters at once into the borders of people > more readily happy, more readily contented, more easily pleased, far more > closely wedded to music and the dance, to the song, and life in the bright, > open air. Before Cincinnati's incline system was built in the 1870s, which allowed development of residential areas on the hills, the city's population density was 32,000 people per square mile.
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Now here stood a rock near the Tritonian > lake; and of his own device, or by the prompting of some god, he smote it > below with his foot; and the water gushed out in full flow. And he, leaning > both his hands and chest upon the ground, drank a huge draught from the > rifted rock, until, stooping like a beast of the field, he had satisfied his > mighty maw. > Thus she spake; and they gladly with joyful steps ran to the spot where > Aegle had pointed out to them the spring, until they reached it. And as when > earth-burrowing ants gather in swarms round a narrow cleft, or when flies > lighting upon a tiny drop of sweet honey cluster round with insatiate > eagerness; so at that time, huddled together, the Minyae thronged about the > spring from the rock.
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