Word: verbalized
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Dates: during 1970-1979
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Karloff's monster is stiff-jointed and barely verbal; Mary Shelley's monster is quick on his feet and can speak like a Romantic poet on an off night: "I will glut the maw of death until it be satiated with the blood of your remaining friends." Similarly, most popular dramatizations of the novel have singled out the Faustian side of Frankenstein's quest: the monster is his punishment for seeking too much power...
...block out all the answers and reasons and verbal explanations and just concentrate on the pure contradiction, it could ruin the concert: Bob Marley, the king of reggae, singing "You Belly Full, But We Hungry" before thousands of Bostonians who were able to fork-out ten to 12 bucks for the ticket. Add to this, Harvard's Soldier Field Stadium. This is the same place thousands of graying, pudgy Harvard and Yale alumni sit each year in racoon coats drinking Johnny Walker Red, restraining their sphincter muscles and occasionally letting out quiet moans of excitement as they relive their repressed...
Still, the policemen applauded their course work, which touched on barrio savvy as well as verbal skills. They learned, for example, that it can be a sign of respect, not belligerence or guilt, when a Hispanic youth looks down rather than directly at a policeman in conversation. Said Officer Cesarini: "Before, when they'd come up to us and ask us something, we'd wonder what they were asking. Now I feel like I can help." Added Student Apprentice Rich: "I thought these policemen would want to learn stuff like 'Halt, put up your hands...
Connors left Wimbledon moments later, without showering, changing or talking to reporters. At the airport, he took a verbal swipe at newsmen-"You guys have all the answers"-while a male companion turned to photographers and offered to "bust your heads in." A London paper called Connors' getaway "an ungracious farewell," but Borg was more sympathetic: "I know how badly he wanted to win the tournament...
...play flashes into lucidity every now and then when Japes Emerson's Benedick and Anne Beresford Clarke's Beatrice parry each other's verbal thrusts. Clarke assumes the stage with an assurance other performers whose roles had been mangled could not afford. Her voice is not large or overpowering; instead of ringing out, it pierces and slices--but that's an effective sound for this razor-tongued heroine. Emerson's Benedick is youthful and athletic, but not terribly well-defined; Shakespeare suggests he ought to be something of an eccentric...