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Updated: May 4, 2025
A frog-like croak was the best George could do in that line. She went on. 'Business is business, I suppose, and a play has to be advertised somehow. But 'You don't think croaked George. 'I should have thought it rather beneath the dignity of an author; but, of course, you know your own business best. Only I object to being a conspirator.
In swift death action he whirled, and with one last splendid leap he cleared the canyon rim. And he whirled downward with the little frog-like shape clinging to his neck! There was a pause which seemed never ending, a shock, and an instant s silence. Then up rolled a heavy crash, a long roar of sliding rocks dying away in distant echo, then silence unbroken. Wrangle's race was run.
At the mere sight of Marat, filthy and slovenly, with his livid, frog-like face, with his round, gleaming and fixed eyeballs, and his bold, maniacal stare and steady monotonous rage, common-sense rebels; no-one selects a homicidal maniac as a guide.
There were two Wolfstein children, a boy and a girl of eleven and twelve; small, swarthy, frog-like, self-possessed. They already spoke three languages, and their protruding eyes looked almost diseased with intelligence. The Wolfstein house, which was in Curzon Street, was not pretty, Apparently neither Mrs.
Their bracelets and anklets of jewels were tinkling; their middles covered with short kirtles of woven cloth studded with the sparkling ornaments. And here let me say that if I have given the impression that the Akka are simply magnified frogs, I regret it. Frog-like they are, and hence my phrase for them but as unlike the frog, as we know it, as man is unlike the chimpanzee.
His friend's reply seemed the result of irritation at the thought that the heart should have much to say when reason demurred. "Well, Graham," he said, kindly and earnestly, "if I did not know you so well, I should say you were the most cold-blooded, frog-like fellow in existence. You certainly are an enigma to me on the woman question.
Radiating from her were five boys, the biggest of all on his back, with his hat over his eyes, fast asleep; another cross-legged, with a basket between his knees, dividing his attention between it and the book; two more lying frog-like, with elbows on the ground, feet erected behind them, chin in hand, devouring the narrative with their eyes; the fifth wriggling restlessly about, evidently in search of opportunities of mischief or of tormenting tricks.
The whole firmament was ablaze with the northern lights, and yet the darkness triumphed. It was a terrible hour. And, close to the terrified woman, Helga seemed to be seated on the floor, in the hideous form of a frog, yet trembling, and clinging to her foster-mother, who took her on her lap, and lovingly caressed her, hideous and frog-like as she was.
In 1860 or thereabout he visited America, and in New Orleans he saw the subject of his Interior of a Cotton Factory, which was shown as an historical curiosity at the Paris exposition in 1900. While it is implacably realistic there is little hint of the future Degas. The name of the painter was in every French painter's mouth, and the brilliant article of Huysmans concentrated his fame. Huysmans it was who first saw that Degas had treated the nude as Rembrandt would if he had been alive making allowances for temperamental variations. Degas knew that to grasp the true meaning of the nude it must be represented in postures, movements which are natural, not studio attitudes. As Monet exposed the fallacy of studio lighting, so Degas revealed the inanity of its poses. Ibsen said the stage should be a room with the fourth wall removed; Degas preferred the key-hole through which we seem to peep upon the privacy of his ugly females bathing or combing their hair or sleeping, lounging, yawning, quarrelling, and walking. The simian and frog-like gestures and sprawling attitudes are far from arousing amiable sensations. These poor, tired women, hard-working laundresses, shopgirls, are not alluring, though they are not as hideous as the women of Cézanne or Edvard Münch; but the veracity of the "human document" (overworked phrase!) is there. Charles Morice has said that to Cézanne a potato was as significant as a human countenance. The pattern interested him in both. For Degas the beauty of life lies in the moving line. He captures with ease the swift, unconscious gesture. His models are never posed. They are nature caught in the act. There is said to be a difference between the epidermis of the professional model and the human who undresses only to go to bed. Degas has recorded this difference. What an arraignment of the corset are the creased backs and gooseflesh of his nudes! What lurking cynicism there is in some of his interiors! Voil
The instant she was gone, however, taking with her the plates and dishes, which for the first time since his illness he had satisfactorily cleared, Prince Dolor sprang down from his sofa, and with one or two of his frog-like jumps reached the cupboard where he kept his toys, and looked everywhere for his traveling-cloak. Alas! it was not there.
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