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Transformation: Or, The Romance of Monte Beni, Volume 1
Visualização completa - 1860
allowed answered antique appeared artist asked beautiful beneath better breath character close companion creature cried dance dark dear delicate delight designs Donatello doubt drawing effect exclaimed eyes face fancy Faun feel figure follow fountain gazed gentle give grounds half hand happy haunted head heart Hilda human idea imagination Italian Italy keep Kenyon kind laughing least leave light living look marble meet mind Miriam mood mystery natural needs never observed once original palace passed perhaps person piazza picture pillar probably replied rich Roman Rome scene sculptor seemed seen shadow side sketches smile soon speak spirit standing statue steps stone strange streets sure sympathy thing thought touch true truth turn wall whole wild woman wonder wrought young
Página 64 - And they have greatly the advantage of us in this respect. The slender thread of silk or cotton keeps them united with the small, familiar, gentle interests of life, the continually operating influences of which do so much for the health of the character, and carry off what would otherwise be a dangerous accumulation of morbid sensibility.
Página x - No author, without a trial, can conceive of the difficulty of writing a romance about a country where there is no shadow, no antiquity, no mystery, no picturesque and gloomy wrong, nor anything but a commonplace prosperity, in broad and simple daylight, as is happily the case with my dear native land.
Página 145 - Arcadian life, or, further still, into the Golden Age, before mankind was burdened with sin and sorrow, and before pleasure had been darkened with those shadows that bring it into high relief, and make it happiness.
Página 218 - Not a nude figure, I hope," observed Miriam. " Every young sculptor seems to think that he must give the world some specimen of indecorous womanhood, and call it Eve, Venus, a Nymph, or any name that may apologize for a lack of decent clothing. I am weary, even more than I am ashamed, of seeing such things. Nowadays people are as good as born in their clothes, and there is practically not a nude human being in existence.
Página 162 - Yet, let us trust, there may have been no crime in Miriam, but only one of those fatalities which are among the most insoluble riddles propounded to mortal comprehension ; the fatal decree by which every crime is made to be the agony of many innocent persons, as well as of the single guilty one.
Página 114 - Your judgments are often terribly severe, though you seem all made up of gentleness and mercy. Beatrice's sin may not have been so great : perhaps it was no sin at all, but the best virtue possible in the circumstances. If she viewed it as a sin, it may have been because her nature was too feeble for the fate imposed upon her. Ah...
Página 226 - ... passionate, tender, wicked, terrible, and full of poisonous and rapturous enchantment — was kneaded into what, only a week or two before, had been a lump of wet clay from the Tiber. Soon, apotheosized in an indestructible material, she would be one of the images that men keep VOL. I. 15 for ever, finding a heat in them which does not cool down, throughout the centuries. "What 'a woman is this!
Página 133 - With every step she took, he expressed his joy at her nearer and nearer presence by what might be thought an extravagance of gesticulation, but which doubtless was the language of the natural man, though laid aside and forgotten by other men, now that words have been feebly substituted in the place of signs and symbols. He gave Miriam the idea of a being not precisely man, nor yet a child, but, in a high and beautiful sense, an animal, a creature in a state of development less than what mankind has...
Página 12 - DONATELLO," playfully cried Miriam, "do not leave us in this perplexity ! Shake aside those brown curls, my friend, and let us see whether this marvellous resemblance extends to the very tips of the ears. If so, we shall like you all the better ! "
Página vi - He meant it for that one congenial friend,— more comprehensive of his purposes, more appreciative of his success, more indulgent of his shortcomings, and, in all respects, closer and kinder than a brother,— that all-sympathizing critic, in short, whom an author never actually meets, but to whom he implicitly makes his appeal whenever he is conscious of having done his best. The antique fashion of Prefaces recognized this genial personage as the "Kind Reader," the "Gentle Reader," the "Beloved,