"get swallowed, A. Jay is left, who she quickly grabs. She holds him by the collar of his shirt, which is pinched between her fingers, and gives him one final look. After that she tosses him into the air and catches the flailing A. Jay in her mouth and devours him. Having eaten all the men, she happily strolls off and the video ends. Miserable (song) ""Miserable"" is a song from Lit's album ""A Place in the Sun"". Lit's vocalist, A. Jay Popoff, said that ""'Miserable' is basically about feeling like you need something really bad, and when you have"
"in ruins. The day is wintry, grey and sunless. A blind beggar (A), sitting on a folding-stool, is scraping away on his fiddle in the hope of getting a few coins from any passers-by. Three times in his opening speech he emphasises that he is “a poor old man.” His bowl is quite empty though; it has been some time since he has had contact with anyone. This day however a wheelchair-using man (B) is drawn to his playing. He is similarly disabled having lost one leg (“It went bad and was removed”). Now, for whatever reasons, they each find"
"Miser"" of 1860 pictures an individual of indeterminate gender seated with its back to the viewer in the corner of a bare room next to the window. He is looking down as if examining something and the room behind him is spartanly furnished with just a table and bench, while a broadsheet is tacked to the wall. Miser A miser is a person who is reluctant to spend, sometimes to the point of forgoing even basic comforts and some necessities, in order to hoard money or other possessions. Although the word is sometimes used loosely to characterise anyone who is"
"on the steps, below the woman who has let her baby fall, a skeletal pamphlet-seller rests, perhaps dead of starvation, as the unsold moralising pamphlet on the evils of gin-drinking, ""The Downfall of Mrs Gin"", slips from his basket. An ex-soldier, he has pawned most of his clothes to buy the gin in his basket, next to the pamphlet that denounces it. Next to him sits a black dog, a symbol of despair and depression. Outside the distiller a fight has broken out, and a crazed cripple raises his crutch to strike his blind compatriot. Images of children on the"
"trapped in the death room, is embarrassed and helpless. Later in the song, the sun bouncing off a crack in the window pane 'numbs my brain'...And then there's the crushing claustrophobia of the sickroom - 'Let me breathe,' he demands of the woman whose breath is failing, bubbling in cheesy lungs. There is a street below, a street she'll never walk in again, and he is getting desperate to be down there, to rejoin the living, because 'the cool room is a fool's room'. Brian Hinton described the song's music: ""Here is a Dickensian tale of death and decay in"
"driven from her by a man of the chiefs, he having a lengthy knife in his hand. At the fall of night a traveller came to the poor woman's cabin door. He was a bent, aged man with a sorrowful countenance on him, and the garments did cover him were rags. She invited him within, giving him the kindly welcome, and she set out what food was in the place for his refreshment. ""It is destroyed I am with a parching drouth is splitting my gullet,"" says he, ""and I walking the mountainy ways since the screech of dawn. The"
"in everyday lexicon might be called anguish or heartache, which is to say, a kind of emotional and psychological suffering. Having described his state of pain, the sufferer attributes this to an occurrence in his life, which is abandonment at an early age, when he was orphaned, in addition to which, he was abandoned and also deprived of any emotional and psychological support from another. The sufferer is confused and baffled by his suffering, and ultimately, the poem shows him failing to find any clarity as to why this misfortune in life should have befallen him. The sufferer hopes to"
"as many do, that Sonnet 29 was written about the young man. Both Paglia and Frank agree that the first octave is about the Speaker's current depression caused by his social ostracism in his ""outcast state"" (line 2) and personal misfortune that has ""curse[d] my fate"" (line 4). The Speaker proclaims his jealousy of those that are ""rich in hope"" (line 5) and ""with friends possess'd"" (line 6), once again referring to his hopelessness and low social status. Paglia refers to this section of the poem as a ""list of half-imaginary grievances."" Frank seems to agree with her statement of"
"said to her, saying he was, in fact, laughing at her and reiterates the truth of her miserable position. Near the end of his painful rage he wells up in tears after saying that he was only seeking to have power over her and a desire to humiliate her. He begins to criticize himself and states that he is in fact horrified by his own poverty and embarrassed by his situation. Liza realizes how pitiful he is and tenderly embraces him. The underground man cries out ""They—they won't let me—I—I can't be good!"" After all this, he still acts terribly"
"persons is suffering, and the poem shows him revealing the acts of evil done by people in the society around him, while the other person is shown attempting to add perspective on these acts of dubious morality, by him stating the nature of the occurrence of justice within the order of everything that exists (in the universe), an order that exists because it was made by a divinity. The first line reads: and the speaker proceeds to recount first hand experiences and his grief, referred to as ""lumnu libbi"" which means, in literal translation, ""evil of the heart"", but which"
"could stem from frustration with the world. An incestuous relationship has also been suggested; Porphyria might be the speaker's mother or sister. Another possibility is that she is a former lover, now betrothed, or even married, to some other man. Alternatively, she may simply be some kind lady who has come to look in on him, or even a figment of his imagination. Other sources speculate that the lover might be impotent, disabled, sick, or otherwise inadequate, and, as such, unable to satisfy Porphyria. There is much textual evidence to support this interpretation: he describes himself as ""one so pale"
"The woman is descending into the depths of her self.” Billie Whitelaw has said: “[The voice of the woman in ""Rockaby""] gets softer because she’s getting weaker, and the rock of the chair should be lessening, and the light is lessening. … In fact, the woman in ""Rockaby"" is actually going further and further down that steep stair. So with the last ‘More’ she knows she’s on the way out, and as long as that rocker keeps rocking she’s all right. Once it stops she’s gone... I do find it very frightening to do. And I find it desperately lonely"
"in the depths. Noah Claypole, a charity boy like Oliver, is idle, stupid, and cowardly; Sikes is a thug; Fagin lives by corrupting children, and the Artful Dodger seems born for a life of crime. Many of the middle-class people Oliver encounters—Mrs. Sowerberry, Mr. Bumble, and the savagely hypocritical ""gentlemen"" of the workhouse board, for example—are, if anything, worse. On the other hand, Oliver—who has an air of refinement remarkable for a workhouse boy—proves to be of gentle birth. Although he has been abused and neglected all his life, he recoils, aghast, at the idea of victimising anyone else. This"
"pile of clothes sit on a low, ""violently lit"" platform at the back of a stage. Both sacks contain a man; B is on the left, A on the right. A long pole (described in the text as a ""goad"") enters from the right, prods the sack containing A to awaken him to his daily routine, and then exits. After needing a second prod A finally emerges. He is slovenly and disorganised. He gobbles pills, prays, dresses randomly, nibbles a carrot, and promptly ""spits it out with disgust"". ""He is a moper, a hypochondriacal dreamer, perhaps a poet."" His principal"
"music fades out. This is meant to symbolise the discord on earth before and during the birth of Christ and the hope of the future and the harmony he brings. Text: Behold, a silly tender babe, <br> in freezing winter night, <br> In homely manger trembling lies <br> Alas, a piteous sight! <br> <br> The inns are full; no man will yield <br> This little pilgrim bed. <br> But forced he is with silly beasts <br> In crib to shroud his head. <br> <br> This stable is a Prince’s court, <br> This crib his chair of State; <br> The beasts"
"down below and broke that person’s legs and arms. The jumping man had no choice; yet to the man with the broken limbs he was the cause of his misfortune. If both behaved rationally, they would not become enemies. The man who escaped from the blazing house, having recovered, would have tried to help and console the other sufferer; and the latter might have realized that he was the victim of circumstances over which neither of them had control. But look what happens when these people behave irrationally. The injured man blames the other for his misery and swears to"
"at the bottom of a deep crevasse, dehydrated, alone, and with a broken leg, he states: '""I was totally convinced I was on my own, that no one was coming to get me. I was brought up as a devout Catholic. I'd long since stopped believing in God. I always wondered if things really hit the fan, whether I would, under pressure, turn round and say a few Hail Marys and say 'Get me out of here'. It never once occurred to me. It meant that I really don't believe and I really do think that when you die, you"
"poorer. And, there was a certain inevitability to the lower class' growth, according to Steinbeck; referencing a man in the lower class who had all but given up, he writes that ""This is what the man in the tent will be in six months; what the man in the paper house with its peaked roof will be in a year, after his house has washed down and his children have sickened or died, after the loss of dignity and spirit have cut him down to a kind of sub-humanity."" Steinbeck extends the camp's economic hopelessness to a larger societal one."
"river starts its miserable course<br> among foul hogs, more fit for acorns than<br> for food devised to serve the needs of man.<br> <br> Then, as that stream descends, it comes on curs<br> that, though their force is feeble, snap and snarl;<br> scornful of them, it swerves its snout away.<br> <br> And, downward, it flows on; and when that ditch,<br> ill-fated and accursed, grows wider, it<br> finds, more and more, the dogs becoming wolves.<br> <br> Descending then through many dark ravines,<br> it comes on foxes so full of deceit<br> there is no trap that they cannot defeat."" The voices on the"
"to the dining room is an internment camp full of displaced persons from different nations who are poor, hungry and lacking adequate shelter. These people search through the snow for food as the Ghost eats in front of them. When Grudge criticizes the Ghost for this behavior, the Ghost reminds Grudge of his earlier statement to Fred that refusing donations to the needy would make them less needy and more self-reliant. The Ghost harangues Grudge with statistics and information about needy people in the world and finally in a fit of anger pulls the tablecloth, dumping huge amounts of leftover"
"downfall; that the girl who once filled her beloved's thoughts now sits and sees his bold ambition pursuing a higher goal; that the singer whose words were on everyone's lips is forgotten today and his songs have been more than replaced; that the orator whose words echoed everywhere must now seek the solitude of the desert if he wants echo; that the friend from youth who was on an equal basis with his fellows now with amazement perceives the distance; that the lowly cottage where the parents lived, where the humble cradle stood, is now collapsing like a recollection that"
"lines each. It opens with a description of the season and the depressing effect of its weather and lengthening nights. The poet cannot find pleasure in songs, poetry or plays. Suffering from insomnia and the ""heavy thoughts"" that accompany it, his mind is troubled. He is visited by four personifications, who offer him conflicting advice. ""Despair"" tells him that he must find a reliable livelihood or face an unhappy and difficult life. ""Patience"" disagrees and urges the poet to be steady and hopeful that his luck will change. ""Fortune's"" anger can not be appeased with reason, she adds. ""Prudence"" then"
"He longs for the arrival of Summer. Meditatioun In Wyntir In the work, Dunbar describes how Winter lowers his spirits. While beset by melancholy and insomnia, he meditates indecisively on thwarted ambition, ageing and mortality, causing him to become depressed. The approaching end of Winter restores his sense of hope. The poem seems to be inspired by Dunbar's personal experience; his brief reference to dissatisfaction of life ""into this court"" might be interpreted as referring to the royal court of King James IV. The text is preserved in the Maitland Folio Manuscript. Meditatioun In Wyntir is composed in a sober,"
"Slough of Despond, a boggy mire-like swamp where pilgrims' doubts, fears, temptations, lusts, shames, guilts, and sins of their present condition of being a sinner are used to sink them into the mud of the swamp. It is there in that bog where Pliable abandons Christian after getting himself out. After struggling to the other side of the slough, Christian is pulled out by Help, who has heard his cries and tells him the swamp is made out of the decadence, scum, and filth of sin, but the ground is good at the narrow Wicket Gate. On his way to"
"on a rant stating, ""I want to look him straight in the eye and I want to tell him what a cheap, lying, no-good, rotten, four-flushing, low-life, snake-licking, dirt-eating, inbred, overstuffed, ignorant, blood-sucking, dog-kissing, brainless, ****less, hopeless, heartless, fat-***, bug-eyed, stiff-legged, spotty-lipped, worm-headed sack of monkey **** he is. Hallelujah. Holy sh**. Where's the Tylenol?"" By offering a long string of criticisms about his boss, Griswold appeals to the audience to also feel negatively towards him. Bdelygmia Bdelygmia, deriving from a Greek word meaning ""filth"" or ""nastiness"", is a technique used in rhetoric to express hatred of a person, word"
"a slight. He has a long history of failed amours, and is both shown and implied to have reacted harshly to the women therein. As Mervyn Pumpkinhead remarks: ""He's gotta be the tragic figure standing out in the rain, mournin' the loss of his beloved. So down comes the rain, right on cue. In the meantime everybody gets dreams full of existential angst and wakes up feeling like hell. And we all get wet."" Near the end of the """" story arc, Desire says of Dream: ""He's stuffy, stupid, and thinks he knows everything, and there's just something about him"
"imagines that he has been neglected by his former master and tries to wash off the blackness. Some versions mention that this goes on so long that the poor man is made ill or even dies of a cold. In early times, the Greek word Άιθιοψ (Aithiops) was used of anyone of black colour; in the unreliable version by Syntipas, the man (who there is washing himself in a river) is identified as from India. The usual meaning given the fable is that a person's basic nature cannot be changed or, as Thomas Bewick has it in his tale of"
"window or just walking dully along;""<br> ""(...)""<br> ""In Breughel's Icarus, for instance: how everything turns away"" <br> ""Quite leisurely from the disaster; (...)"" ""Social suffering"", according to Arthur Kleinman and others, describes ""collective and individual human suffering associated with life conditions shaped by powerful social forces"". Such suffering is an increasing concern in medical anthropology, ethnography, mass media analysis, and Holocaust studies, says Iain Wilkinson, who is developing a sociology of suffering. The ""Encyclopedia of World Problems and Human Potential"" is a work by the Union of International Associations. Its main databases are about world problems (56,564 profiles), global strategies"
"term) tend to be negative. O Sovereign my Lord! Oldness has come; old age has descended. Feebleness has arrived; dotage is here anew. The heart sleeps wearily every day. The eyes are weak, the ears are deaf, the strength is disappearing because of weariness of the heart and the mouth is silent and cannot speak. The heart is forgetful and cannot recall yesterday. The bone suffers old age. Good is become evil. All taste is gone. What old age does to men is evil in every respect. Minois comments that the scribe's ""cry shows that nothing has changed in the"
"Miser A miser is a person who is reluctant to spend, sometimes to the point of forgoing even basic comforts and some necessities, in order to hoard money or other possessions. Although the word is sometimes used loosely to characterise anyone who is mean with their money, if such behaviour is not accompanied by taking delight in what is saved, it is not properly miserly. Misers as a type have been a perennial object of popular fascination and a fruitful source for writers and artists in many cultures. One attempt to account for miserly behaviour was Sigmund Freud's theory of"
"Slough of Despond The Slough of Despond (; ""swamp of despair"") is a fictional, deep bog in John Bunyan's allegory ""The Pilgrim's Progress"", into which the protagonist Christian sinks under the weight of his sins and his sense of guilt for them. It is described in the text: 'This miry Slough is such a place as cannot be mended; it is the descent whither the scum and filth that attends conviction for sin doth continually run, and therefore is it called the Slough of Despond: for still as the sinner is awakened about his lost condition, there ariseth in his"
"to death while she slept in a gin-induced stupor. Other images of despair and madness fill the scene: a lunatic cavorts in the street beating himself over the head with a pair of bellows while holding a baby impaled on a spike—the dead child's frantic mother rushes from the house screaming in horror; a barber has taken his own life in the dilapidated attic of his barber-shop, ruined because nobody can afford a haircut or shave; on the steps, below the woman who has let her baby fall, a skeletal pamphlet-seller rests, perhaps dead of starvation, as the unsold moralising"
"the middle of the pavement just outside the apartment building. People start to gather, thinking that something must be wrong with the man, and the band are shown looking out the window at the events below. A heated (subtitled) conversation between the man and the crowd develops, as the people start demanding to know what the man is doing and why he is lying there. In subtitles, the man finally gives in and says, ""Yes I'll tell you, I'll tell why I'm lying here... but God forgive me... and God help us all... because you don't know what you ask"