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Updated: May 2, 2025
With her it is not so much that the characters do thus and so, but why they do thus and so. Dickens portrays the behavior, George Eliot dissects the motive of the behavior. Here comes the human creature, says Dickens, now let us see how he will behave. Here comes the human creature, says George Eliot, now let us see why he behaves.
Soon, seized with frenzy, Jeremiah portrays the destruction of the city. He foretells Zedekiah's punishment; the king's eyes will be put out after he has witnessed the death of his three sons. Zedekiah, furious at first and then quailing, throws himself on his bed, weeping, and pleading for mercy. Jeremiah goes on unheeding, down to the final curse.
He together with Metsu and Terburg, two artists eminent for finish and coloring, belonged to that group of painters of home-life who chose their subjects from the higher classes of society. One of these canvases portrays the artist with his wife. Among other paintings, Steen is represented by his favorite subject, a doctor feeling the pulse of a lovesick girl in the presence of her duenna.
To get new beauties, it does not say, Go to, I will add to the beauties I already have! It makes new occasions, and by way of these finds the impulse it seeks. Renoir paints the baigneuse of Montmartre, and finds "the odd, beautiful huddle of lines" in so doing; Rodin portrays ever new subtleties of situation and mood, and by way of these comes most naturally to "the unedited poses."
Friendship's colors are too bright for correct portraiture, and prejudice equally forbids acuracy. Mr. Being a man of independent mind and of high culture, he brings out the character he portrays in aspects true to life, and not exaggerated by excess of tone, while he fully exhibits its exquisite finish.
Spofford has collected in this volume the best among the short stories which she has written since 1904, and the collection shows no diminution in her powers of accurate and tender observation of New England folk. These fourteen prose idyls have a mellow humanism which portrays the last autumn fires of a dying tradition. They rank with the best work of Miss Jewett and Mrs.
And this is where Shakspeare's art is so noble, in that he conquers the entire universe of thought, sentiment, feeling, and passion, goes into the whole and takes up and portrays characters the most extreme and diverse, passions the most wild, sentiment the most refined, feelings the most delicate, and does this by an art in which he must make his characters appear real and we looking on, though he cannot use, to develop his dramas, a hundred-thousandth part of the words that would be used in real life, that is, in Nature.
He shared to the full the exultation of the victors, but was not oblivious of the grief and humiliation of the vanquished whom he describes as weeping and lamenting upon the graves of their forefathers, with a choice between captivity and exile before their despairing eyes. He portrays his impressions upon entering with the victorious Christian host into the stately city.
The statue music throughout is of a sepulchral character, gradually developing into strains almost as cold and ominous as the marble of the Commandant himself, and yet not without an element of the grotesque as it portrays the terror of Leporello.
But the subject it portrays is taken from a legend, and you know how to rate legends in matters of natural history! Besides, when it's an issue of monsters, the human imagination always tends to run wild. People not only claimed these devilfish could drag ships under, but a certain Olaus Magnus tells of a cephalopod a mile long that looked more like an island than an animal.
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