The only redeeming part of this piteous spectacle was the humanitarian response.
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Rose told piteous tales of having to go to school in town without shoes.
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Word of the Day : deserving or inciting pity _________ The word piteous has appeared in four articles on nytimes.
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There's much, much more self-piteous whining on Cummings blog for anyone who wants to make themselves queasy reading.
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There is, more than anything else, a piteous failure of the imagination at the heart of the NFL's bet on bigness.
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But it is the manner in which these piteous souls are displayed that pushes the environment into the realm of art.
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Here, the creepier and more piteous the impact, the more dominant is the death — or, more accurately, the life — of this work.
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Although the colony was everywhere smeared with nitric-smelling shit, and the doomed orphan chicks were a piteous sight, I was already glad I'd come.
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There he finds the pundit class of the present-day United States, a tangle of arms and legs and laptops, with piteous cries and smug certainties rising in a chorus.
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But Holzeu was intrigued (and maybe a little piteous) by the brave woman who came with an idea but no technical chops, and agreed to work with her on the project.
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On New Year's Day in 1844, a devastated Charlotte returned to Yorkshire, from where she wrote piteous letters to her "black Swan" begging in vain for "a little—just a little" friendship.
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I'm standing in a piteous rain, in front of an auto garage on Flushing Avenue, staring across the street at a line of people that stretches back at least two full avenues.
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When presented with a piteous, neglected child, Jane might allow that she's rather fond of the poor thing, but she'll also make a point of noting that the child is not particularly bright.
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Indeed, between Bérenger and Mr. Ifans's direct acquaintance with "King Lear" — he played the Fool to Glenda Jackson's diminutive monarch in 2016 — the actor would seem to be circling Shakespeare's piteous ruler for himself someday.
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In spite of my piteous beseeching, the reporter called the chairman of CBS, who showed the first spark of humor I had ever seen from him and referred the call back to the company's spokesman — i.e.
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Xavier is nursed by Caliban (Stephen Merchant), a piteous albino, while Logan squirrels away enough money to buy a luxury yacht (the yacht company's name is mentioned so often that product-placement money must have changed hands).
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His twitchy debut LP Piteous Gate came out in 2015 around the peak of a mainstream fascination with a group of producers who gnawed at the conventions of club music and presented something a little stickier and malformed.
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Reince Priebus, White House chief of staff For most people, the last image of Priebus in his old job is a piteous one: coming off a flight with Trump, he was escorted to a seat in a secret service van on the tarmac and spirited off into unemployment.
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In a blasted-out shelter nestled up against a garbage pile, a grubby girl in a newsboy cap leads two younger children through their lessons: phrases in English — to beg what they need from foreign visitors — and a succession of piteous poses, each more subservient than the last.
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As Prince Hal matures, revealing that his youthful follies in low company were, in part, a mere pose designed to make his transformation into a responsible prince dazzle the more brightly, Mr. Sher draws out Falstaff's piteous poignancy, even as he makes fine sport of his more repellent qualities: his bottomless cowardice and greed.
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She and the rest of the superb cast — Billy Howle as her pillow-lipped boy toy; Andrea Riseborough as his enigmatic lover; and Toby Jones as the piteous lawyer determined to prove Leonard's innocence — sent critics crowing when this BBC update of Christie's 1925 story, featuring her original ending, debuted in Britain last month.
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But my status as a semi-functional human blimp has been hammered home via a personalized report of my Body Mass Index, a figure that lets you get a broad, general sense of your health while also reminding you that you are a piteous spherical man-ape who makes a lot of piss-poor decisions regarding taco toppings.
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In 2000, when I was 34 and living in Washington, D.C., a neurologist there predicted that I would most likely need to use a wheelchair someday — and I wept, not only at a future of limited mobility, but at the specter in my mind's eye of a piteous, ruined figure in a wheelchair creeping along the Georgetown sidewalks.
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According to critic Warner Berthoff, three characteristic uses of language can be recognized. First, the exaggerated repetition of words, as in the series "pitiable," "pity," "pitied," and "piteous" (Ch. 81, "The Pequod Meets the Virgin"). A second typical device is the use of unusual adjective-noun combinations, as in "concentrating brow" and "immaculate manliness" (Ch.
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These cultural activities are considerably moving towards slump while the education rate increases. It is a piteous situation as elders to outlook the some cultural stuff being lost every day by modern technologies and influences. Tradition in Madurankuliya are also considerably adopting to new changes here, which makes most people helpless and piteous towards the generation, which may result to lose the traditional activities and movements of the previous ages. Festivals like Ramadan and Eid Ul Ad-ha plays a vital role in the tradition category; Most people here celebrate the festivals to share happiness with their relatives and create numerous functions, social events and grand sports meet that brings teenagers and mid-aged people participate and have joy as others to build up the socialism in the Muslim and Non-Muslim community.
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Nothing forbad love. This deathly yet living stillness, > together, of two beings, this unapartness, came to be the requital of all > longing.ET,54 Despite Eva's fragmentary memory, when she comes across Elsinore in Chicago many years later, Eva's memories of her affection for Elsinore is still very lucid: > The town room in the castle, the piteous breathing. The blinded window, the > banished lake.
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The superabundant vocabulary can be broken down into strategies used individually and in combination. First, the original modification of words as "Leviathanism"Lee (2006), 395 and the exaggerated repetition of modified words, as in the series "pitiable", "pity", "pitied" and "piteous" (Ch. 81, "The Pequod Meets the Virgin").Berthoff (1962), 164 Second, the use of existing words in new ways, as when the whale "heaps" and "tasks".
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His mother tells him to eliminate the rats. Willard uses food and a plank bridge to lure them into a pit in the backyard, then begins filling the pit with water to drown them. However, moved by the rats' piteous squeals as they realize their plight, he replaces the plank, allowing them to get to safety. He later begins playing with a rat he names Queenie.
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Dressed in a serape and sombrero, he is an incredibly fast draw. : Vanquo ultimately had a strange fate for an Outrider: he became human. He was confronted by Saber Rider in the Vapor Zone shortly after Saber Rider's duel with Nemesis in the episode "Stampede". Vanquo presented a rather piteous figure, abandoned by Nemesis and knowing he was defeated, he was at Saber Rider's mercy.
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The film was distributed to major newspapers and new agencies, as well as Congress. The broad distribution and the piteous images in the film stirred public outrage. Journalist Deborah Blum wrote "It is difficult to put into words just how ugly that brief movie is.". The university's president halted its use of animals in experiments in response to a preliminary report by the National Institutes of Health (NIH).
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Herbert Grossman conducted the opera which was staged by José Quintero and included sets by David Hays and costumes by Ruth Morely. Taubman also reviewed this production, commenting that this version was "a distinct improvement over its predecessors." He also remarked that the opera now had a much more effective climax with the scene where Joan is lashed to the stake "taking on a fearful and piteous realism".
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After putting him in the coffin his > [squaws] who witnessed the scene, uttered the most piteous cries, cutting > their ankles until the blood ran in streams. An old Indian woman...standing > between the house and the grave, lifted her arms to heaven and shrieked her > maledictions upon the heads of the murderers. Col. Sarpy, Stephen Decatur, > Mrs. Sloan, and an Otoe half-breed, and others stood over the grave when his > body was lowered.
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Pararhyme is a half-rhyme in which there is vowel variation within the same consonant pattern. "Strange Meeting" (1918) is a poem by Wilfred Owen, a war poet who used pararhyme in his writing. Here is a part of the poem that shows pararhyme: :Too fast in thought or death to be bestirred. :Then, as I probed them, one sprang up, and stared :With piteous recognition in fixed eyes, :Lifting distressful hands, as if to bless.
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Wedgbury untied Billy and Tiger, casting a most piteous look upon the wounded dogs around him. Both went to work. Wallace seized Billy by the loins, and when shaking him, Tiger having run away, Wedgbury cried out, 'There, you see how you've gammoned me to have the best dog in England killed.' Billy, however, escaped with his life; he was dragged through the railing, after having received a mark in the loins, which (if he recovers at all) will probably render him unfit for any future contest.
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During World War I the track and rolling stock received little maintenance, and by the end of the war they were in a piteous state, while expenses had increased dramatically. The problem became a crisis after the serious fire at the Trianon depot on 30 November 1921, which destroyed 70 of the 155 trams of the CTR. Successive fare rises provided a stopgap, but with the new convention of 29 December 1923 the company announced a reorganisation of the network. A competitor had also arrived: the bus.
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42-43) entered the hall of the banquet riding on an elephant, to recite a "complaint and lamentation in a piteous and feminine voice" ("commença sa complainte et lamentacion à voix piteuse et femmenine"). It has been surmisedWhitwell, David: On music of the courts of Burgundy. [www.whitwellessays.com/docs/DOC_565.doc] that this was the moment when Dufay's motet would have been performed; other authors have conjectured that it was merely a moment of inspiration and that the motet was actually written later.Alberto Gallo, translated by Karen Eales: Music of the Middle Ages II. Cambridge: Cambridge University Press, 1985. p.
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119 - 121. In 1946, ‘This drawing is a grave attempt to give life and existence to what until today had never been accepted in art, the botching of the subjectile, the piteous awkwardness of forms crumbling around an idea after having for so many eternities labored to join it. The page is soiled and spoiled, the paper crumpled, the people drawn with the consciousness of a child.’See: The original text, published in French, Artaud, Antonin, Oeuvres Completes, Gallimard 1984 volume XIX, p. 259. Finally in February 1947, ‘The figures on the inert page said nothing under my hand.
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Those for whom he did not carry letters were assumed to be dead, and weeping members of the court gathered around de Helly to seek more information about loved ones. According to the Monk of St. Denis, "affliction reigned in all hearts" and Deschamps wrote of "funerals from morning to eve." 9 January was declared a day of mourning throughout France and that day "it was piteous to hear the bells toiling in all the churches in Paris."Tuchman 566–7 A delegation with rich gifts for Bayezid left Paris on 20 January 1397 to negotiate the ransoms.
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6, (July 1953), pp. 42–43 entered the hall of the banquet riding on an elephant, led by a giant Saracen, to recite a "complaint and lamentation in a piteous and feminine voice" ("commença sa complainte et lamentacion à voix piteuse et femmenine"), requesting aid from the Knights of the Golden Fleece. It has been surmisedWhitwell, David: On music of the courts of Burgundy. [www.whitwellessays.com/docs/DOC_565.doc] that this was the moment when Dufay's motet would have been performed; other authors have conjectured that it was merely a moment of inspiration and that the motet was actually written later.
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"Lokhmānn Bābā," on the other hand, was also a murid of the renowned Qalandariyah Sufi Qutb ad-Dīn Haydar who was the murid of Khwaja Ahmad Yasavī. For these reasons, his silsila gets connected to Ahmad-i Yasavī through two different channels, one by means of "The Wafā’iyyah tariqah" of Abu’l Wafā al-Khwarazmī, and the other through the Qalandar’īyyah Sufi Qutb ad-Dīn Haydar. He was highly respected by the Sultanate of Rum due to his amicable attitude during the Babai Revolt, and his Khanqah in Suluca Kara Oyuk was permitted to remain open during and after the Babai Revolt thereby saving the most of the lives of the piteous Alevi survivors of this ominous rebellion.
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The rider announces a small portion of wheat and barley for all, and the mother and daughter sing a piteous lament (Duoszene: Mutter und Tochter) to the father in heaven as they starve from famine. John then describes the pale horse and rider, and the kingdom of death and pestilence which follows him. Tenor and bass soloist, survivors on the corpse-field (Duoszene: Ueberlebenden auf dem Leichenfelde) sing of the death unleashed upon all mankind, but for a small remnant 'He that shall endure to the end shall be saved.' The fifth seal is broken, and John reveals the choir of souls of the Christian martyrs beneath the altar, which cry out for vengeance upon the earth (Chorus: Der Aufruhr im Himmel).
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Agrajag is a piteous creature that is continually reincarnated and subsequently killed, each time unknowingly, by Arthur Dent. Agrajag is first identified in , but it is revealed that several of Arthur's encounters in the first and second novels (and in previous chapters of the third) were with previous incarnations of Agrajag. The first occurs in , when a bowl of petunias is suddenly yanked into existence miles above the planet Magrathea, and begins falling, having only time to think "Oh, no, not again" before crashing to the ground. The reason behind the bowl's lament is revealed in , when Agrajag identifies the bowl of petunias as one of his prior incarnations, and tells Arthur that he had seen his face in a spaceship window as he fell to his doom.
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Summi pontificatus was the first encyclical of Pius XII, promulgated in 1939. The bulk of the document deals with general and abstracted themes, but the situation in Poland (which had been invaded shortly before the encyclical's promulgation) is referred to with specificity once: > The blood of countless human beings, even noncombatants, raises a piteous > dirge over a nation such as Our dear Poland, which, for its fidelity to the > Church, for its services in the defense of Christian civilization, written > in indelible characters in the annals of history, has a right to the > generous and brotherly sympathy of the whole world, while it awaits, relying > on the powerful intercession of Mary, Help of Christians, the hour of a > resurrection in harmony with the principles of justice and true peace.Text > of Summi Pontificatus.
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Eucharist displayed in a monstrance, flanked by candles being adored by a kneeling altar server. As Felsenburgh personally flies in the volor- squadron, the narration states, "He was coming now, swifter than ever, the heir of temporal ages and exile of eternity, the final piteous Prince of rebels, the creature against God, blinder than the sun which paled and the earth which shook; and, as He came, passing even then through the last material stage to the thinness of a spirit fabric, the floating circle swirled behind Him, tossing like phantom birds in the wake of a phantom ship.... He was coming, and the earth, rent once again in its allegiance, shrank and reeled in the agony of divided homage...."Benson (2011), page 259. Greek icon of the Second Coming, c.1700 As volor firebombs begin to rain down on Nazareth, Pope Sylvester and the Cardinals calmly continue to chant the Pange Lingua before a Host exposed in a Monstrance on the altar.
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48–49 When Paine finally attained the quarterdeck, he described a scene of confusion: > The Captain was bawling to square the yards and stop the Ship's way; but > with very little attention from the Ship's Company who impressed with the > idea of Chinese pirates were alone intent in cutting and slashing away upon > the vessel's rigging and sail and preventing the China-men from coming on > board ... (The Chinese) clambered up the Fore-chains, impelled no doubt with > the fear of their vessel sinking after receiving so violent a shock; this > with the extreme darkness of the night and the confusion of voices crying > out, "a light, a light, a cutlass, a cutlass, a handspike, here they come!" > with the addition of the unintelligible jargon of the affrighted Chinese. Those Chinese sailors who reached the English ship's deck were attacked with cutlasses and hurled back overboard, despite making "piteous cries" for mercy. The sinking Chinese vessel also disappeared quickly astern.
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The Lord, in a bid to cure Srinivaasa of his tenacious materialistic delusion and attachment, and thereby claim his devotion to Himself, approached Srinivaasa in the guise of a poor man, with a piteous plea for money; ostensibly, the money was direly needed to perform His (!) son's 'upanayana'(sacred thread initiation). Having been summarily rejected, mocked and turned out, the 'poor man' surreptitiously repeated his plea before Srinivaasa's wife; a generous soul of rigorous spiritual nature, she gave away one of her precious nose rings, unbeknownst to her husband; the 'poor man' sold the nose ring back to none other than Srinivaasa himself! The shrewd Srinivaasa, privy to his wife's openhandedness, immediately identified the nose ring as his wife's and hurried home; enraged and anxious to ascertain the truth of the matter, he demanded his wife to produce the nose ring before him immediately. Realizing that Srinivaasa had grown wise to her secret donation, the wife decided to end her life with poison.
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In 1619 Dominis published in London from a manuscript Paolo Sarpi's Historia del Concilio Tridentino. This history of the Council of Trent appeared in Italian, with an anti-Roman title page and letter dedicatory to James I. The manuscript had been obtained from Sarpi for George Abbot by his agent Nathaniel Brent.. His vanity, avarice, and irascibility soon lost him his English friends; the projected Spanish marriage of Prince Charles made him anxious about the security of his position in England, and the election of Pope Gregory XV (9 February 1621) furnished him with an occasion of intimating, through Catholic diplomatists in England, his wish to return to Rome. The king's anger was aroused when De Dominis announced his intention (16 January 1622), and Star-Chamber proceedings for illegal correspondence with Rome were threatened. Eventually he was allowed to depart, but his chests of hoarded money were seized by the king's men, and only restored in response to a piteous personal appeal to the king.
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On > the day of the payment, having received her portion, which she carefully hid > in the corner of her blanket, she came crawling along and seated herself on > the door step, to count her treasure.... In spite of their vexatious tricks, > she seemed very fond of them, and never failed to beg something of her > Father, that she might bestow upon them. She crept into the parlor one > morning, then straightening herself up, and supporting herself by the frame > of the door, she cried in a most piteous tone,—"Shaw-nee-aw-kee Wau-tshob- > ee-rah Thsoonsh-koo-nee-noh!" [Žuniya-ąké ho(kik)čąbira čųšgunįno] (Silver- > man I have no looking glass.) My husband smiling and taking up the same > little tone, cried, in return,— "Do you wish to look at yourself mother?" > The idea seemed to her so irresistibly comic that she laughed until she was > fairly obliged to seat herself upon the floor and give way to her enjoyment.
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The film critic for The New York Times, Bosley Crowther, gave the film a positive review and appreciated the direction of the film and acting. He wrote "A fine Italian film to stand alongside the American classic, The Grapes of Wrath, opened last night ...It is Luchino Visconti's Rocco and His Brothers (Rocco e i suoi fratelli), and it comes here garlanded with laurels that are quite as appropriate in this context as they are richly deserved...Signor Visconti has clearly conceived his film and that is what his brilliant handling of events and characters makes one feel. There's a blending of strong emotionalism and realism to such an extent that the margins of each become fuzzy and indistinguishable...Alain Delon as the sweet and loyal Rocco...is touchingly pliant and expressive, but it is Renato Salvatori...who fills the screen with the anguish of a tortured and stricken character. His raw and restless performance is overpowering and unforgettable...[and the] French actress Annie Girardot is likewise striking as the piteous prostitute..."Crowther, Bosley.
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" At the conclusion of the "Tale of Sir Tristram" (Caxton's VIII–XII): "Here endeth the second book of Sir Tristram de Lyones, which was drawn out of the French by Sir Thomas Malleorre, knight, as Jesu be his help." Finally, at the conclusion of the whole book: "The Most Piteous Tale of the Morte Arthure Sanz Gwerdon par le shyvalere Sir Thomas Malleorre, knight, Jesu aide ly pur votre bon mercy." However, all these are replaced by Caxton with a final colophon reading: "I pray you all gentlemen and gentlewomen that readeth this book of Arthur and his knights, from the beginning to the ending, pray for me while I am alive, that God send me good deliverance and when I am dead, I pray you all pray for my soul. For this book was ended the ninth year of the reign of King Edward the Fourth by Sir Thomas Maleore, knight, as Jesu help him for his great might, as he is the servant of Jesu both day and night.
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