He had a rubicund countenance, huge mustachios, and small, ferrety eyes.
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Were they, along with their mustachios, from another era, a different time and place?
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If he'd had mustachios, Cathy had no doubt at all that he'd be twirling them.
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At 59 he still wears his old-fashioned beard, the sharp mustachios now flecked with grey.
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He should have tried mustachios and a pair of military trousers, my dear,' said the Jew.
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What with mustachios and whiskers, there was none of the rest of his face to be seen.
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The villain is likewise wonderful to behold, huge forearms covered with tattoos of his wares, impressive mustachios and bushy black eyebrows hiding beady eyes.
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"You perform Alexey so good! Your Turbin's small mustachios even visit me in my dreams, I cannot forget them," he told the MAT actor Nikolai Khmelyov.
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Michael Hordern alias Old Jolyon, with that gravelly, impatient, authoritative voice redolent of Madeira and mustachios, sounds exactly as you'd imagine a Victorian patriarch to sound.
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The other effigy represents an aged and demure-looking man with a forked beard and mustachios, having a wrinkled forehead, and the hair stiff and combed off the face.
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Sometimes, however, in lieu of the many rows, we find one row only, the beard falling in tresses, which are curled at the extremity. There is no indication of the Phoenicians having cultivated mustachios.
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However, Yorck Bismarck eschewed the traditional circus manner of carefully finished realistic painting for the more modern slapdash strokes of the brush, and the next weekend, Rex Whistler could not resist touching up the flowing chevelure and mustachios, the better to conform with the other murals. 'Please don't, Rex' I pleaded. 'There'll be hell to pay if Yorck ever discovered you've touched the thing'. But the temptation was too great.
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Jack's piece, the equestrienne, is almost the only element to survive.Cecil Beaton at Home, An Interior Life, Andrew Ginger, Rizzoli, 2016, page 62-. Siegfried Sassoon and Edith Olivier were also of the party but did not join in the painting. Beaton's description of the transformation of his bedroom into a circus-room ends thus: 'Mme von Bismarck pictured an equestrienne on a flower-dappled circus pony, and her husband decided to portray 'the strong man of the Fair' with volute mustachios, tattoo marks, heavy ball-weights and chains.
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Rex was unable to resist repainting, meticulously and realistically, the crisply waving hair, the mustachios, then of course, the column-like throat, the brawny chest, and so on down the whole over- muscular body. Unfortunately, it so happened that the Bismarcks drove over from Biddesden [ home to Bryan Guinness ] the following Sunday to admire their handiwork. Although my strong man had been made into a work of art, the Bismarck's were enraged at the indignity committed upon the 'strong man', and a nasty situation was created in the artistic world of which reverberations were heard for many weeks to come.'Ashcombe: The Story of a Fifteen-Year Lease, by Cecil Beaton, BATSFORD, London, 1949, pages 47-48.
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Can Crispin (the artist, the poet, Stevens) hope to be something more than "the intelligence of his soil"? Can the "Socrates of snails" leave his homeland for the sea, and refocus his imagination and refashion himself > On porpoises, instead of apricots, > And on silentious porpoises, whose snouts > Dibbled in waves that were mustachios, > Inscrutable hair in an inscrutable world. The intense word play of "Comedian" is the indirection Stevens needs to address the struggle to grow, which is indeed underway in the poem itself. (Another interpretation would dismiss the word play as Stevens's aestheticism and dandyism/hedonism.) The sea journey causes his old poetic self to be "dissolved", "annulled", leaving only a problematic "starker, barer self", an "introspective voyager".
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The concept of absolute originality is a contemporary one, born with Romanticism; classical art was in vast measure serial, and the "modern" avant-garde (at the beginning of this century) challenged the Romantic idea of "creation from nothingness", with its techniques of collage, mustachios on the Mona Lisa, art about art, and so on. This idea is often called "romantic originality".Waterhouse (1926), throughout; Smith (1924); Millen, Jessica Romantic Creativity and the Ideal of Originality: A Contextual Analysis, in Cross-sections, The Bruce Hall Academic Journal – Volume VI, 2010 PDF; Forest Pyle, The Ideology of Imagination: Subject and Society in the Discourse of Romanticism (Stanford University Press, 1995) p. 28. Translator and prominent Romantic August Wilhelm Schlegel argued in his Lectures on Dramatic Arts and Letters that the most phenomenal power of human nature is its capacity to divide and diverge into opposite directions.
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