The man who emerged from the Alipore Presidency Jail was no starveling, but glistened and bulged with perfect tone.
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As memorable as the designs themselves was Mr. Risso's decision to show the collection on models in a real array of shapes and sizes, including one thickset young guy whose fixed look of distaste was either the result of indigestion or a rebuke to those of us who unthinkingly capitulate, one season after the next, to a single fashionable body ideal: that of the pretty male starveling.
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It says a lot about the vaunted democratization of fashion that, by the time Mr. Rubchinskiy staged a show of clothes suitable for a Soviet-era starveling and held it in a defunct Fascist-era cigarette factory, he had recruited underage kids from all points of the globe: rabbit-pale teenagers right out of a Dennis Cooper novel and hailing from, among other places, Copenhagen; Moscow; Yorkshire, England; and Santa Ana, Calif. 4.
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Starveling is the most ambiguous in taking sides in the power struggle between Bottom and Quince. While Snout affirms whatever Quince says and Flute always looks to Bottom for the final word on something (Snug is too slow to be bothered), Starveling seems to try to agree completely with both, as impossible as it is to do so.
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"Starveling" is a word for a thin or poor person lacking food.Oxford English Dictionary Online. Oxford University Press (1989) "Robin" may have connections to two of Queen Elizabeth's suitors, Robert Dudley, Earl of Leicester, and Robert Devereux, 2nd Earl of Essex. Elizabeth's pet name for both of these men was "Robin", leading scholars to believe that Robin Starveling may be a satiric creation of Shakespeare's in their honour (or dishonour).
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Robin Starveling as Moonshine (second from right), with thorn-bush and dog, in a 1907 student production Robin Starveling is a character in William Shakespeare's A Midsummer Night's Dream (1596), one of the Rude Mechanicals of Athens who plays the part of Moonshine in their performance of Pyramus and Thisbe. His part is often considered one of the more humorous in the play, as he uses a lantern in a failed attempt to portray Moonshine and is wittily derided by his audience.
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Taak must go on a further expedition to Nasqueron in order to find the Transform. A tyrannical warlord, the Archimandrite Luseferous of the Starveling Cult, in loose alliance with the Beyonders, sets out to invade the Ulubis system from the Cluster Epiphany Five Disconnect, also aiming to possess the secrets of the Dweller portals. A Mercatoria counter-attack fleet hurries to defend Ulubis against the Starveling Cult ships and their Beyonder allies. Both fleets are forced to travel at sub light speeds, leaving the inhabitants of the Ulubis system anxiously wondering which will arrive first.
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A man who sits down to the rich feasts which are spread before you has no right to deny a few crumbs to a poor starveling like me (Parrish, 1925, p. 3).” Titchener relented and the two eventually became good friends.
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Although the court makes fun of all the players, Starveling is mocked the most by Hippolyta, who is very vocal in her opinion that his attempt to be moonshine is a ridiculous failure, although very humorous. He is also the only mechanical to be cut off in his monologue as opposed to being mocked afterwards, causing him to fluster and summarise his lines rather than giving them. This summary is usually played angrily or irritably, but has also been performed as the climax of Starveling's potential stage fright. Starveling is the member of the group that seems to be afraid of just about anything.
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Robin Starveling plays the part of Moonshine in their performance of Pyramus and Thisbe. His part is often considered one of the more humorous in the play, as he uses a lantern in a failed attempt to portray Moonshine and is wittily derided by his audience.
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Frontispiece to a 1620 printing of Doctor Faustus showing Faustus conjuring Mephistophilis. Johann Wolfgang von Goethe's tragic play Faust, Mephistopheles, disguised as a starving man, comes to Plutus, Faust in disguise, to recite a cautionary tale about avariciously living beyond your means: > Starveling. Away from me, ye odious crew! Welcome, I know, I never am to > you.
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At Cocteau's suggestion, the roles of Bottom, Flute and Starveling were assigned to the Medrano's star clowns the Fratellini Brothers.Volta, "Satie Seen Through His Letters", p. 104. Cocteau also enlisted Cubist painters Albert Gleizes and André Lhote to design the settings, some of which were to consist of colored "shadows" projected onto the backdrops.Whiting, "Satie the Bohemian", p. 463.
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Gammell began acting as a junior ensemble member at the Stratford Shakespeare Festival, playing roles including Robin Starveling in A Midsummer Night's Dream"The Harmonious Pageant of A Midsummer Night's Dream". The Globe and Mail, June 29, 1960. Octavius in Julius Caesar"Caesar Just Held the Interest". The Globe and Mail, December 20, 1960. Ariel in The Tempest"Technically, Royal Alex On Sale for 20 Years".
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In 1935, Harlan played the role of Starveling in Max Reinhardt's 1935 film version of Shakespeare's A Midsummer Night's Dream. In 1937, Harlan provided the voice of "Happy", one of the Seven Dwarfs in the Disney animated film Snow White and the Seven Dwarfs. In the same year he also appeared in the Our Gang short Roamin' Holiday. Contrary to popular belief, Harlan did not voice Mr. Mole in Bambi.
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After the war, he studied with Rosina Filippi joining the Old Vic Company appearing as "Starveling" in A Midsummer Night's Dream in 1920. In 1924 Albert de Courville brought Hay Petrie into vaudeville with The Looking Glass, in which he sang "Oh Shakespeare you’re the best of all but you can’t fill the fourteen shilling stall". His first film part was Many Waters in 1931. Hay Petrie struggled with alcoholism, but was much loved by audiences and players.
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Taak's hunt for the Transform takes him on a journey, partly through the Dweller wormhole network. In a back story, it is revealed that he has been out of sympathy with the Mercatoria for some time, particularly over their treatment of artificial intelligences, and has in fact been a Beyonder agent. It is also revealed that the Dwellers have been harbouring artificial intelligences from Mercatoria persecution. The Beyonder/Starveling forces arrive and easily overwhelm Ulubis's native defences.
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Shakespeare constantly reflects on the problem of synecdoche in his plays, a rhetorical term meaning "the part representing the whole". For example, in Henry V, Shakespeare has the Prologue beg forgiveness of the audience for attempting to portray an entire army with a few men, and for portraying so great a man as the King with a feeble actor. Shakespeare explores these same problems through Robin Starveling. The Mechanicals' decision to use Robin as moonlight in place of actual moonlight delves into the problem of synecdoche, of trying to represent something greater than yourself.
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Theseus offers her another choice: lifelong chastity as a nun worshipping the goddess Artemis. Peter Quince and his fellow players Nick Bottom, Francis Flute, Robin Starveling, Tom Snout and Snug plan to put on a play for the wedding of the Duke and the Queen, "the most lamentable comedy and most cruel death of Pyramus and Thisbe". Quince reads the names of characters and bestows them on the players. Nick Bottom, who is playing the main role of Pyramus, is over-enthusiastic and wants to dominate others by suggesting himself for the characters of Thisbe, the Lion, and Pyramus at the same time.
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Soon after, he aligned with the conservatives in the political fights that were wracking Chile at the time. As aforementioned, in 1824, Portales’ business firm acquired control over the government's monopoly of tobacco, tea, and liquor; however, the country's troubled conditions soon thwarted his profitable business. For these reasons, Portales finally entered into the political sphere, and very soon he would become the intellectual leader of the conservative side. He helped to reorganize the conservative party, and, in 1827, founded El Hambriento (or The Starveling), a journal attacking liberal idealists known as the pipiolos (“white beaks”) from Portales' party's (a.k.a.
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Joseph Ward OBE (22 May 1932 in Preston – 27 April 2019Jennette Johnstone: Vale Joseph Ward The Wagner Society in Queensland,Francisco Salazar: Obituary: English Tenor Joseph Ward Dies operawire.com 8 May 2019) was an English tenor, formerly a baritone, who created roles in operas by Benjamin Britten and Michael Tippett. He has also made a career as a singing teacher – his pupils include Jane Eaglen – and opera producer. In the 1950s, he toured with the Carl Rosa Opera, appearing in several operas including the company's final production staged in Nottingham in 1956."The Carl Rosa Opera", BBC, accessed 16 December 2016 As a baritone he created the role of Starveling in Britten's A Midsummer Night’s Dream (1960), and in the same year sang the same composer's eponymous hero Billy Budd in the radio-broadcast premiere of the revised two-act version.
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Robin Starveling as Moonshine (second from right), with thorn-bush and dog, in a 1907 student production The mechanicals are six characters in A Midsummer Night's Dream who perform the play-within-a-play Pyramus and Thisbe. They are a group of amateur and mostly incompetent actors from around Athens, looking to make names for themselves by having their production chosen among several acts as the courtly entertainment for the royal wedding party of Theseus and Hippolyta. The servant-spirit Puck describes them as "rude mechanicals" in Act III, Scene 2 of the play, in reference to their occupations as skilled manual laborers. The biggest ham among them, Bottom, becomes the unlikely object of interest for the fairy queen Titania after she is charmed by a love potion and he is turned into a monster with the head of an ass by Puck.
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One of the earliest appearances in English sources was in John Ogilby's editions of Aesop's fables in which a fox becomes trapped in a larder and is advised by a weasel that is also present there.Illustrated in editions of the 1660s by Francis Cleyn, then by Wenceslas Hollar; see the British Museum site In Sir Roger L'Estrange's retelling only a few decades later, the fox is trapped in a hen-roost and receives the advice from a weasel that is passing outside. Samuel Croxall tells his moralised story of ‘a little starveling, thin-gutted rogue of a mouse‘ who, rather more plausibly than Horace's fox, creeps into a corn basket and attracts a weasel with its cries for help when it cannot get out.The Fables of Aesop, Google Books, Fable 36 More or less the same story was told at the start of the following century by Brooke Boothby in verseFables and Satires, Edinburgh 1809, p.152 and Thomas Bewick in prose.
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