Sentence examples for the foreboding of from inspiring English sources

The song's lyrics — invoking "paranoia" that "strikes deep" and warning listeners to "look what's going down" — suggest, he said, "all the foreboding of what we face in our lives".

A Garry Winogrand photograph, for example, is not one of his voyeuristic shots of pretty young women on crowded sidewalks, but an image of a less than fashionable woman in an overcoat, standing as if nailed to the spot on a plaza in stark sunlight; it has the foreboding of a de Chirico painting.

McQueen is a director who combines all the visual poetry of Terrence Malick with the foreboding of Werner Herzog.

This allows moments of intensity to come in pockets the setup to a great boss battle: you know it's coming, and the foreboding of that feels like forward momentum.

The town grew significantly during the 19th and 20th centuries, but the innocence of Southend unconstrained by the foreboding of the past or a grim architectural school to live up to has always made it feel a bit silly.

Contrary to the forebodings of those who say that Arabs cannot be democrats, the appetite for democracy looks strong.

But the great gift to infertile families -- fertility clinics in the United States alone have now created more than 100,000 babies -- soon outweighed the forebodings of disaster.

Despite the forebodings of several Poly coaches, I could not find any high school players who said they or their peers could make the jump to the pros.

By Wednesday lunchtime in Mexico City I had, contrary to the forebodings of friends and family, survived almost an entire day in this capital city.

It was also a novel filled with the forebodings of its narrator, Don Wanderhope, about an ailing lover, about his Chicago family, and, finally, about his daughter: What, I thought to myself as I gazed at [her], if anything should happen to that creature?

The wide-ranging scherzo had character, and a nod towards Viennese schmaltz in the little glissando upbeats to the Ländler themes, but it never carried the sense of release that its central place in Mahler's scheme requires, as if not all the forebodings of the opening funeral march and the second movement had been exorcised.