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(24) Gair notes that 'the stage was draped in black' (55n20) and states that this was 'a standard Elizabethan device to indicate a tragedy' (53), citing a line from The Insatiate Countess as evidence: 'The stage of heav'n, is hung with solemn black, / A time best fitting to Act Tragedies' (55n20).
In a related view, EXT 8 also reveals the opinion of the FGN concerning the demands of ASUU which tags the Union as being insatiate. This term suggests two different ideological viewpoints: whereas the FGN believes it has done enough to satisfy the ever increasing demands of ASUU, the Union, on the other hand, feels its members are being cheated of their entitlement.
The Insatiate Countess was first published in quarto by Thomas Archer in 1613; the title page announced Marston as the author.
(9) These story schema consist of a series of narrative tropes that come from our broader culture: the jealous, controlling lover; the plucky self-made entrepreneur; the incorruptible maverick whistle-blower; the greedy and insatiate tycoon.
(21) Elizabeth Heale argues that the Devonshire Manuscript illuminates the wide range of subject positions available to first-person female speakers in early Tudor courtly verse, as its lyrics depict a range of women--from the faithless to the steadfast, from the insatiate to the chaste.
Evolution Hunger that strivest in the restless arms Of the sea-flower, that drivest rooted things To break their moorings, that unfoldest wings In creatures to be rapt above thy harms; Hunger, of whom the hungry-seeming waves Were the first ministers, till, free to range, Thou mad'st the Universe thy park and grange, What is it thine insatiate heart still craves?
The explorer Mungo Park's 'negro guide Isaaco' was attacked by one such 'insatiate monster', and a 'full grown casehardened crocodile...
Recognizing that the influence of the comedia dell'arte, whereby actors had the basic outlines of a plot and then improvised the dialogue, has frequently been credited a reason for the play extempore in Elizabethan drama, Graves points out that stage directions in plays from an early prodigal son, Lupton's All for Money, Heywood's If You Know Not Me, Edward IV, The Trial of Chivalry, Marston's Insatiate Countess, and others indicate that the playwrights expected and indeed licensed clowns to play extempore within their specific roles.
In Laws, Plato calls Eros, if released from the bonds of family, a cause of "endless and insatiate evils." For Aristotle, the irreducible core of a polity is the family.
There is a scene in Thomas Wolfe's novel Of Time and the River in which Eugene Gant, Wolfe's alter ego, stands transfixed in front of the Pierce family's legendary refrigerator: "The great icebox was crowded with such an assortment of delicious foods as he had not seen in many years: just to look at it made the mouth begin to water, and aroused the pangs of a hunger so ravenous and insatiate that it was almost more painful than the pangs of bitter want." He goes on to enumerate the mythic inventory of the Pierces' larder.
I would argue that the same metaphor appears again in Marston's The Insatiate Countess (c.
New Delhi: Was it a bad lapse of judgement or insatiate lust that forced famous journalist Tarun Tejpal to attempt a failed sexual liaison with a female colleague and see him land up in a jail?