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Literary notes about squalid (AI summary)

The word "squalid" has been deftly employed in literature to evoke both a palpable sense of physical decay and a nuanced moral degradation. Authors often use it to describe environments steeped in poverty and neglect, as seen in depictions of dilapidated tenements and grim urban quarters ([1], [2], [3]), where the very setting becomes an emblem of despair. Simultaneously, the term conveys the degradation of character and vice, painting portraits of individuals or social practices steeped in moral filth—from the portrayal of "hapless squalid Marat" and the vice-ridden corridors of human existence ([4], [5], [6]) to the metaphorical representation of a life marred by squalid compromises ([7], [8]). In this way, "squalid" functions as a versatile literary device, enriching the narrative by linking the external environment with the inner desolation of its characters.
  1. To the false plea that he prefers the squalid homes in which his kind are housed there could be no better answer.
    — from How the Other Half Lives: Studies Among the Tenements of New York by Jacob A. Riis
  2. The floor was bare and black with dirt and age, the whole apartment squalid and uncomfortable.
    — from Little Folks (September 1884) by Various
  3. We bought some biscuits and chocolate which we ate sedulously as we wandered through the squalid streets where the families of the fishermen live.
    — from Dubliners by James Joyce
  4. Hapless beautiful Charlotte; hapless squalid Marat!
    — from The French Revolution: A History by Thomas Carlyle
  5. He saw the squalid tract of her vice, miserable and malodorous.
    — from Dubliners by James Joyce
  6. And I to him: "Although I come, I stay not; But who art thou that hast become so squalid?" "Thou seest that I am one who weeps," he answered.
    — from Divine Comedy, Longfellow's Translation, Hell by Dante Alighieri
  7. Yet why should I not remain thus, I thought; the world is dead, and this squalid attire is a fitter mourning garb than the foppery of a black suit.
    — from The Last Man by Mary Wollstonecraft Shelley
  8. No; she was not made for mean and shabby surroundings, for the squalid compromises of poverty.
    — from The House of Mirth by Edith Wharton

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