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"abysm" Definitions
  1. ABYSS

10 Sentences With "abysm"

How to use abysm in a sentence? Find typical usage patterns (collocations)/phrases/context for "abysm" and check conjugation/comparative form for "abysm". Mastering all the usages of "abysm" from sentence examples published by news publications.

And yet there was plenty of artistry on display that morning, including, at Abysm, a pair of leather-paper trousers with vast upturned cuffs resembling the caps worn by Tibetan nomads.
"Woz Not Woz" (Club Mix) – 7:08 : 3. "Woz Not Woz" (Abysm Remix) – 7:15 : 4.
It is so bad that a kind of grandeur creeps into it. It drags itself out of the dark abysm ... of pish, and crawls insanely up the topmost pinnacle of tosh. It is rumble and bumble. It is balder and dash.
"Woz Not Woz" (Club Mix) – 7:06 : B1. "Woz Not Woz" (Abysm Remix) – 7:15 : B2. "Woz Not Woz" (Horny United Remix) – 6:26 2005 Europe CD maxi single (Alphabet City – 500.0010.3) : 1. "Woz Not Woz" (Club Radio Cut) – 3:01 : 2.
44–47), it disturbs Prospero, who prefers to portray himself as her only teacher, and the absolute source of her own history—anything before his teachings in Miranda's mind should be a dark "abysm", according to him. (1.2.48–50) The "four or five women" Miranda remembers may symbolize the young girl's desire for something other than only men.Boğosyan, Natali (2013). Postfeminist Discourse in Shakespeare’s The Tempest and Warner’s Indigo.
This was the beginning of X-FUSION as it exists today. He used several neo-classical/orchestral goth musical elements in latest albums, creating a unique crossover of Industrial/Aggrotech and Gothic/Darkwave music. The 2004 album Beyond the Pale reached number 6 on the Deutsche Alternative Charts, and the 2007 album Rotten to the Core reached #16 for the year. In 2008, Vast Abysm went to #2 and in 2009, Ultima Ratio also peaked at #2.
The Q1609 text reads: 'You are so strongly in my purpose bred, / That all the world besides me thinkes y'are dead'. Malone's emendation, to read 'they are dead', is adopted by Kerrigan 'they're dead' (Penguin text, 1986); Ingram and Redpath read 'they are dead', with an elision marked between 'they' and 'are'; K Duncan Jones in the Arden edition (1997) reads 'me thinks you're dead', and Colin Burrow (New Oxford, 2002), 'me thinks y'are dead'. No scholarly consensus really emerges, but later editors seem to be opting for the 1609 text. Burrow's commentary remarks that 'This almost solipsistic reading of the couplet is contentious, though warranted by a poem in which the poet has sunk himself into a profound abysm of neglect of others' opinions'.
While the death knight is often away on business involving the Prime Material Plane, his fortress always hosts important human visitors. A sickly brown pool in Kargoth's private quarters is a two-way portal to Demogorgon's palace of Abysm. Formerly a 2nd to 3rd-century CY Torquann nobleman and paladin of Heironeous known as Lord Kargoth of Mansbridge, Kargoth was born 141 CY in the Great Kingdom of Aerdy. After Benedor was chosen over Kargoth to lead the Knight Protectors, Kargoth's jealousy and bitterness allowed him to be seduced by the demon prince Demogorgon, who granted him the power he craved by transforming him into the first death knight in 203 CY. Kargoth, in turn, gathered thirteen fellow Knight Protectors to his cause, who were also transformed into death knights by Demogorgon. Kargoth formerly lived at Castle Fharlanst, located on the Aerdi coast between Winetha and Roland, until it was destroyed by the Knight Protectors of the Great Kingdom in 247 CY. Kargoth's betrayal is regarded by many as the beginning of the end of the Knight Protectors.
148–149 Demogorgon appears and speaks to the Earth, the Moon, and "Ye kings of suns and stars, Dæmons and Gods,/ Ætherial Dominations, who possess/ Elysian, windless, fortunate abodes/ Beyond Heaven's constellated wilderness".Shelley 1820 p. 150 The Demogorgon speaks to all of the voices the final lines of the play: :This is the day, which down the void abysm :At the Earth-born's spell yawns for Heaven's despotism, :And Conquest is dragged captive through the deep: :Love, from its awful throne of patient power :In the wise heart, from the last giddy hour :Of dead endurance, from the slippery, steep, :And narrow verge of crag- like agony, springs :And folds over the world its healing wings. :Gentleness, Virtue, Wisdom, and Endurance, :These are the seals of that most firm assurance :Which bars the pit over Destruction's strength; :And if, with infirm hand, Eternity, :Mother of many acts and hours, should free :The serpent that would clasp her with his length; :These are the spells by which to re-assume :An empire o'er the disentangled doom.
Ruders has created a large body of music ranging from opera and orchestral works through chamber, vocal and solo music in a variety of styles, from the Vivaldi pastiche of his first violin concerto (1981) to the explosive modernism of Manhattan Abstraction (1982). Other works include the operas Tycho (1986), The Handmaid's Tale (1990, with libretto by Paul Bentley), Proces Kafka/Kafka's Trial (2005, again with libretto by Bentley), and Selma Ježková (2007, after Trier's ‘Dancer in the Dark’), five symphonies, four string quartets, Violin Concerto No. 1 (1981), Etude and Ricercare (1994) for guitar, for David Starobin, The Bells (songs) with Lucy Shelton, soprano, and the Christmas Gospel (1994) and two piano sonatas; Abysm (2000) for Birmingham Contemporary Music Group. Ruders has written several works for the American guitarist and promoter of new music David Starobin: Psalmodies (1989) and Paganini Variations for guitar and orchestra (1999–2000), and Psalmodies Suite (1990), Etude and Ricercare (1994) and Chaconne (1996) for solo guitar. Ruders has composed a Concerto in Pieces (1995), which is a set of variations on the "Witches' Chorus" from Purcell's opera Dido and Aeneas.

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