"Neither promiscuous nor a whoremonger, Father nevertheless had a libido which required a healthy, willing partner," she wrote.
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A standoff ensues, in which, to prevent her from eloping with the "whoremonger," her family keeps a close watch over her.
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This nightwalker and whoremonger, a "muddy conger," swinging at his old mistress Doll Tearsheet, a life-affirming liar whose truth is never to be a counterfeit.
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Explaining why he hadn't yet made a move to Berlin, Kubicki told the paper that if he did, he could turn into a "drinker" and "possibly also a whoremonger".
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Ashamed by that fact, and knowing that it might jeopardize his reputation in the eyes of his peers, he barricaded his sexuality behind an ultra-masculine persona: In the ring, Yusaf brutalized other men for a living, and in the bedroom, the self-proclaimed "whoremonger" fathered ten children.
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According to Suetonius, Caesar spent a lot of money on sexual experiences in Gaul. His legionnaires sang in the triumph that he had seduced a horde of Gallic women, calling him a "bald whoremonger".Suetonius, Divus Iulius 51. Celtic women were described as fertile, prolific and good breastfeeders.
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Charlie manages to get away from them, fleeing in their pickup truck. Not knowing what else to do (he speaks no Italian and has nowhere to go), he heads to Bologna to take the "King" up on his offer. Lele takes Charlie under his wing and introduces him to his eccentric group of friends, like Badoo (), a scraggly "gutter punk" (punkabbestia), and "Il Pisa" (), an insatiable whoremonger. Charlie moves in and picks up where he left off in the US, living each day as if it were his last.
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One source suggests that the name Hollister is associated with Hollier, in the same way that Baxter is known to be a feminine form of Baker. The IGI suggests that the stronghold of the Hollister name is Wickwar in Gloucestershire, which happens also to be the stronghold of the Hallier surname, rather than Hollier. The surname dictionaries usually reference a link between Hollister and Hollier and variously describe its meaning as relating to Old English or Old French words meaning "dweller by the holly tree" or "whoremonger". Such dictionaries rarely give any proof of such assertions and so must be considered as speculative.
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The five "gallants" of the play's title are frauds, poseurs, and con men—a pickpocket, pimp, pawnbroker, cheat, and whoremonger—who compete with the protagonist, Fitzgrave, for the affections of Katherine, a wealthy orphan. (The five conspire to woo Katherine together; the one who wins her will help out the others.) Fitzgrave manipulates them into exposing their own crimes and vices through a masque. Fitzgrave marries Katherine, while the "gallants" marry the five prostitutes who are their shadows in the play. Between the two groups of ne'er-do-wells, Middleton provides a vigorous satire on the manners and mores of London society of the day.
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This is a monologue by the "whoremonger" prosecuting a merchant-trader for breaking into his establishment at night and attempting to carry off one of the inmates, who is produced in court. The vulgar blackguard, who is a stranger to any sort of shame, remarking that he has no evidence to call, proceeds to a peroration in the regular oratorical style, appealing to the Coan judges not to be unworthy of their traditional glories. In fact, the whole oration is also a burlesque in every detail of an Attic speech at law; and in this case we have the material from which to estimate the excellence of the parody.
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Karayuki-san (からゆきさん, 1937, Toho Studios), Kinoshita Keisuke's Flowering Port (花咲く港, 1943, Shochiku Studios), and Shohei Imamura's Whoremonger (女衒, 1987, Toei Studios), which were all or at least partly shot on location, are examples of the extent to which this subgenre dominates the representations of Malaysia in Japanese cinema.Baskett. The Attractive Empire, pp. 94-97 The 1975 film Karayuki-san, the Making of a Prostitute directed by Shohei Imamura, the 1974 film Sandakan No. 8 directed by Kei Kumai, and the Shimabara Lullaby by Kohei Miyazaki were about the karayuki-san. The memoir of Keiko Karayuki-san in Siam was written about Karayuki-san in Thailand.
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In a flow of inspiration, she then begins the writing of First Impressions, the manuscript that will become Pride and Prejudice. However, Judge Langlois receives a letter informing him of the genteel poverty of Jane's family and he refuses to give Tom his blessing, declaring that he would wish Tom to be the whoremonger he had been rather than allow him to live in poverty because of a bad marriage. Tom tells Jane that he cannot marry her and she is crushed, not knowing that Tom has a legitimate reason; his family depends on him financially. Jane returns home and soon learns that Tom has become engaged to someone else at the arrangement of his family.
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There are many terms for clients, including whoremonger, sex-buyer, UK slang such as punter, terms for those in a vehicle such as kerb crawler, as well as Caribbean slang terms for female clients of gigolos such as milk bottle, longtail, yellowtail or stella. The term trick is sometimes associated with North America and punter is associated with the term for sex workers' clients in the British Isles. These slang terms are used among both prostitutes and law enforcement for persons who solicit prostitutes. The term john may have originated from the frequent customer practice of giving one's name as "John", a common name in English-speaking countries, in an effort to maintain anonymity.
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Films such as Southern Winds II (続・南の風, 1942, Shochiku Studios), Tiger of Malay (マライの虎, 1942, Daiei Studios) or Singapore All-Out Attack (シンガポール総攻撃, 1943, Daiei Studios) presented the area as a land rich in resources, occupied by simple but honest people, and highly exotic.Baskett. The Attractive Empire, pp. 99-100 Japanese colonial films also associated the region with sex as many "Karayuki-san", or prostitutes had been either sold to brothels or chosen to go to Southeast Asia to earn money around the turn of the century. Karayuki-san (からゆきさん, 1937, Toho Studios), Kinoshita Keisuke's Flowering Port (花咲く港, 1943, Shochiku Studios), and Imamura Shohei's Whoremonger (女衒, 1987, Toei Studios), which were all or at least partly shot on location, are examples of the extent to which this subgenre dominates the representations of Malaya in Japanese cinema.Baskett.
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