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Updated: May 2, 2025
You see, in the first place, he goes for their sympathies by the way he portrays the actual relations of capital and labor; he shows how things have got to go from bad to worse, and then he trots out his little old hobby, and proves that if slavery had not been interfered with, it would have perfected itself in the interest of humanity. He makes a pretty strong plea for it."
The book discloses a profoundly objective attitude; the Christ whom John portrays is not the creature of his speculations, but the Master who has entered into his experience as a living influence and has compelled recognition of his significance.
Una, in writing home to America, portrays the family peace, and the little landscapes of the quieter corners of our "Old Home:" "We have got to England at last. It does not seem as if we were in England, but in Boston or Salem. There is not so much noise here as there was in Boston. "Mamma has told you about Mr. Rathbone's place, but I do not think she has told you about one place by the wall.
I therefore determined to collect the best that it was in my power to obtain; and the following particulars, gathered partly from himself, and partly from one who has had many opportunities of becoming acquainted with his history, form, I believe, a trustworthy account of a career which, from its tragic nature, is invested with a thrilling interest, while it faithfully portrays the eventful changes usually attending the life of an Oriental statesman.
In a much longer prose document he portrays the characters of some two score schoolmates and finally his own. He begins modestly with a deprecatory address to his most gracious sovereign, without whose wise order he would never think of setting himself up as a judge of his fellows.
A sane criticism will allow that this is very largely true, but will not, we are convinced, be constrained to believe with M. Loisy that the historical original of the Christian Redeemer was the poor deluded enthusiast whom he portrays in 'Les Évangiles Synoptiques.
With a wonderful power it portrays Christ as rising above the plane of merely human characters as belonging to no age or race or stage of civilization as transcendent not in some of the virtues, but in them all as never subject to prejudice, or the impulse of passion, never losing that perfect poise which it has been impossible for the greatest of men to achieve as possessed of a mysterious magnetism which carried conviction to His hearers even when claiming to be one with the Infinite as inspiring thousands with a love which has led them to give their lives for His cause.
The birds tell him of the slumbering Brunnhilda, whom he finds and marries. The Dusk of the Gods portrays at the opening the three norns or fates weaving and measuring the thread of destiny. It is the beginning of the end. The perfect pair, Siegfried and Brunhild, appear in all the glory of their life, splendid ideals of manhood and womanhood.
"And on the right, this gentleman all encased in iron, on the prancing horse, is his grandson, Louis de Breze, lord of Breval and of Montchauvet, Count de Maulevrier, Baron de Mauny, chamberlain to the king, Knight of the Order, and also governor of Normandy; died on the 23rd of July, 1531 a Sunday, as the inscription specifies; and below, this figure, about to descend into the tomb, portrays the same person.
The succeeding panel symbolizes the Survival of the Fittest. Here physical strength begins to play its part, and the war spirit awakens, with woman as its cause. The chiefs struggle for supremacy, while their women try in vain to separate them. The last panel portrays the Lesson of Life. The elders offer to hotheaded youth the benefit of their experience.
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