Miller was an unsympathetic woman, who made no friends among the girls, and satisfied her affectionate impulses by petting a large cat named Gracchus, but generally called Bacchus by an endearing modification of the harsh initial consonant.
Miller, and speaking in a tone expressive of antipathy to Gracchus.
I saw they'd got to the agrarian laws of Caius Gracchus
, and I wondered if they knew anything about the agrarian troubles in Ireland.
The slave Spartacus (Douglas) is spared from a death sentence by the wily Batiatus (Ustinov), who trains the condemned man at his academy as a gladiator, to fight to the death for the entertainment of the rich and the powerful including Gracchus
(Laughton) and his scheming successor Crassus (Olivier).
Also: 8-15 Fav Assirem (FR) 4th, 25-1 Gracchus
(USA) 5th, 25-1 Seas Of Green 6th.
8) Per Lucia Re l'uccisione del falchetta, che porta il cognome del difensore dei diritti dei lavoratori e teorizzatore dell'uguaglianza universale Gracchus
Babeuf, rappresenta invece "the hopelessness of the partisans' quest for self-fulfillment and freedom, and the burial of the hawk is equally emblematic of the burial of the highest hopes of the Resistance itself" (255).
The most capable orator of this line was Gaius Gracchus
was treated reverentially by the film's cinematography, made to be entirely astute in his judgments about Commodus's schemes, and given lines such as "I don't pretend to be a man of the people, but I to do try to be a man for the people" with no hint of ironic undercutting.
40: CHALK IT DOWN (A P McCoy 11-10f) 1; Fantasy King (9-1) 2; Gracchus
(14-1) 3 9 ran.
His characters are cockroaches thrown out by the charwoman so that the family can be saved (Metamorphosis 89); they are dedicated executioners impaled on their own torture machines (In the Penal Colony 140); the waking dead whose sayings nobody will read (The Hunter Gracchus
Describing the friendship of Caius Blossius and Tiberius Gracchus
, who were condemned for conspiracy by the Roman consuls, Montaigne says that "they were friends more than citizens, friends [to each other] more than friends or enemies of their country.
Taking his bearings from Hazlitt's 1817 essays of the same title, Sachs examines the representation of "the people" in the Roman revival in the theater after 1817, arguing that these plays (Coriolanus, Payne's Brutus, Knowles's Caius Gracchus
, Croly's Catiline) all present significant crises in the Roman state and thereby "question the role of the people during crises of state" (226).