Lyrics To 'Swines'

Other religious imagery used is of the angels that “wrestle [the girls] with brutish vigor”, this shows to the reader that these girls are haunted by their past. Were you would expect an angel to be compassionate and have a pure nature you find them brutishly wrestling, which encompasses the thought of society that have seeped into their dreams, giving them no escape from guilt. Harwood evoke sympathy for the girls that have no escape from their punishment.

J.B’s comforters add nothing meaningful to the conversation of suffering and why God has acted in the ways he did, and one might even question the role of the comforters in J.B except mimicking the book of Job. The book of Job keeps itself continuous and even though the comforters miss the overall point of the testing, they still root themselves in the word and use past examples of God and how he acts to attempt to aid Job during his state of suffering. This distinction between comforters is critical as one story truly adds meaning to the reader's life and has a discernable

“A man may think God sleeps, but God sees everything, I know it now. I beg you, sir, I beg you—see her what she is . . . She thinks to dance with me on my wife's grave! And well she might, for I thought of her softly. God help me, I lusted, and there is a promise in such sweat. But it is a whore's vengeance, and you must see it, I set myself entirely in your hands. (Miller 110)

Certain things some people do can seem beyond human powers, even defying gravity. In “The Juggler,” the poet Richard Wilbur describes the awe and wonder felt by the speaker watching the juggler; the speaker is amazed by the gracefulness of the balls flying in the air and even portrays the juggler as reeling in heaven itself. Through the use of imagery portraying the juggler’s magical performance, specific structure and syntax of the poem, and diction that elicits the godly powers of the juggler, the speaker describes the juggler as a superhuman who defies gravity while expressing the speaker’s own inability to overcome the challenges in his daily life and thus his negative view of the world.

Early in the poem, Jarman points out the “sermon’s trenchant commentary on the world’s ills” (2-3), illustrating a mutilation of the connectedness of the congregation focusing instead on the very real but nonetheless generic ills of the world. Furthermore, the phrase “hand-wringing” (4) seems to describe the shaking of hands as the congregation members greet each other with the peace of Christ, again listing the routine of the congregation. Although, it appears to be more inclined towards a description of a helpless, passive anxiety that corresponds well with a sermon designed to impose guilt without inspiring action. Jarman goes on to compare the persistent nature of sin even in moments of peace with “motes of dust ride, clinging” (8). In this line, Jarman suggests that the congregation is sinful even after all the doctrinal procedure done to become clean from sin. Even the structure of the octave suggests a conventional and never changing sonnet form with 14 lines, a perfect Italian rhyming scheme, and a fascinating iambic pentameter alone, that inspires nothing more than an

“ Gabriel: ‘Oh, yeah… I know it. The devil’s strong. The devil ain’t no pushover. Hellhounds snipping at everybody’s heels. But I

“The long, dull, monotonous years of middle-aged prosperity or middle-aged diversity are excellent campaigning weather.” Screwtape wished to drag out the Christian’s life and turn it into a purposeless, repeating roll-play. He wanted to slowly and despairingly tear the Christian from God and so tear him from the only true hope and life and joy there is in this world. Do not be alarmed, though, because God is stronger that the demons and He, “having oddly destined these mere animals to life in His own eternal world, has guarded them pretty effectively from the danger of feeling at home anywhere else.” Screwtape admits that God insures his children a place in his forever home and an everlasting joy. Additionally, Screwtape refers to humans as “mere animals.” God created us in His image, which sets us apart from the animals. Screwtape therefore was trying to degrade humankind, to lower us, and how can any of us, humans, feel sympathy for one who so hates us

In the third stanza, the diction of “heaven” and “noble” allows the speaker to craft an image of an almost godlike juggler. This view of the juggler creates the tone of amazement and ardent which breaks through the previous gloomy description of the earth in the first stanza which “falls/ So in our hearts from brilliance” (lines 3-4). This reveals that the world the juggler has made, unlike the earth which the speaker doesn’t appear to have fond feelings of, is a joyful and light-hearted place that the speaker is easily captivated by. As the juggler “reels that heaven in” (line 16), creates an atmosphere of an almost unearthly experience. This description of the juggler as a master of spiritual elements allows readers to view how the speaker's attitude is uplifted and enlightened.

observations of the men --but the noise steadily increased. Oh God! what could I do? I foamed --I raved --I swore! I swung the chair upon which I had been sitting, and grated it upon the boards, but the noise arose over all and continually increased. It grew louder --louder --louder! And still the men chatted pleasantly, and smiled. Was it possible they heard not? Almighty God! --no, no! They heard! --they suspected! --they knew! --they were making a mockery of my horror!-this I thought, and this I think. But anything was better than this agony!

Pop a Prozac, it’ll give you power. Moods swinging to the beat of the broken hearts. Ripped out pages scattered through the air.

Polly wants a cracker I think I should get off her first I think she wants some water To put out the blow torch Isn't me, Have some seed Let me clip, Dirty wings Let me take a ride, Hurt yourself Want some help, Help myself Got some rope, Have been told Promise you, Have been true Let me take a ride,

Edward Taylor’s “Meditation Six” uses a coin-based conceit to explore the ambivalence of the persona; using the coin, Taylor describes his spiritual value to God in material terms. The first stanza reflects an uncertainty within Taylor about his worth to God. He equates himself to gold, asking if he is “thy gold” (1) or merely a vessel for God’s wealth—the congregation. The speaker worries he may only appear to be worthful to God, but he is worthless underneath and “brass in heart,” alluding to the Brazen Serpent of the Bible. Working through his ambivalence, the speaker compares the impression of the grace of God to the stamp on a coin, and he asks if God has left such an impression on him, stamping value onto worthless metal. Taylor writes that he is “a golden angel” in God’s hand, meaning he is valuable to God, which ends his ambivalence as he concludes that he is worthful as a man. In the final stanza, the speaker asks God to make his soul the plate, a blank coin, onto which God stamps value with his “superscription in a holy style” (16). The speaker then becomes a coin with value to God, part of God’s hoard, whereby Taylor acknowledges that he is one of many. A surrender ends the conceit and poem, the speaker asks if he may be an angel, period slang for an English coin, in God’s eyes and if God may be his Lord.

Get Dunked on Roses are red You’re wack Catch me outside How about that Bruh, come at me I will drop you harder than a tree I’ll hit you then you go blam Come and catch these hands The sun shines bright Come on and fight Go higher than a kite You will see the light Crunch crunch goes the bones Ring ring goes the phone

Crunch! Crunch! “Yes Khyra! She is finally eating the seeds! “Did you put the potion back?” “What potion? Wait! Never mind. It’s the stuff that makes people dream the dreams that I make. Right? The trash guy is here!! Wait! Why did you need a dream of someone kidnapping someone! This is not going to come true is it. IS IT!”

Burn’s “Auld Lang Syne” has beautiful lyrics that I think really tie in the aspect of an old and New Year. I think that New Years celebration all point to a remembrance of an old year and the joy of a new one. The lyrics from both songs talk about time and the “old days”, which is a perfect fit of what we think about in New Years. Also about taking a new cup of kindness, which can interpret that, we should start the New Year happy and do well the rest of it. When you hear the song you can really see how it’s like looking back at the old and thinking about a new start. The poem was a lot of staying power because it is very relatable and moving. I also think that it is very emotional and makes you feel like pondering about times and people. If