 ... were of a still deeper crimson. Her mouth and chin, they said, were too large and full, and so they might be for a goddess in marble, but not for a woman whose eyes were fire, whose look was love, whose voice was the sweetest low song, whose shape...  The New England Magazine - 第171页1906全本阅读 - 图书信息
 | Lorettus Sutton Metcalf, Walter Hines Page, Joseph Mayer Rice, Frederic Taber Cooper, Arthur Hooley, George Henry Payne, Henry Goddard Leach - 1900 - 778 页
...whose shape was perfect symmetry, health, decision, activity, whose foot as it planted itself upon the ground was firm but flexible, and whose motion, whether rapid or slow, was always perfect grace — agi le as a nymph, lofty as a queen — now melting, now imperious, now sarcastic — there was... | |
 | David Hannay - 1887 - 190 页
...perfect symmetry, health, decision, activity, whose foot as it planted itself on the ground was firm and flexible, and whose motion, whether rapid or slow,...sarcastic — there was no single movement of hers but was beautiful." But such scenes are rare. It would be easy to make a goodly list of masters in romance,... | |
 | David Hannay - 1887 - 202 页
...prosaically pr-;ir-*. liitened wirh ir~- — ;,, /', -.2 " r_- - ' ,-- , .\^Q— n*. -* c -*ij^ — -f whose motion, whether rapid or slow, was always perfect...sarcastic — there was no single movement of hers but was beautiful." But such scenes are rare. It would be easy to make a goodly list of masters in romance,... | |
 | Henry T. Finck - 1887 - 650 页
...was love, whose voice was the sweetest love-song, whose shape was perfect symmetry, health, decision, activity, whose foot as it planted itself on the ground...motion, whether rapid or slow, was always perfect grace,—agile as a nymph, lofty as a queen—now melting, now imperious, now sarcastic—there was... | |
 | William Makepeace Thackeray - 1889 - 524 页
...was love, whose voice was the sweetest low song, whose shape was perfect symmetry, health, decision, activity, whose foot as it planted itself on the ground...sarcastic — there was no single movement of hers but was beautiful. As he thinks of her, he who writes feels young again, and remembers a paragon. So she... | |
 | William Makepeace Thackeray - 1891 - 466 页
...was love, whose voice was the sweetest low song, whose shape was perfect symmetry, health, decision, activity, whose foot as it planted itself on the ground...sarcastic — there was no single movement of hers but was beautiful. As he thinks of her, he who writes feels young again, and remembers a paragon. So she... | |
 | Henry Esmond - 1892 - 460 页
...was love, whose voice was the sweetest low song, whose shape was perfect symmetry, health decision, activity, whose foot as it planted itself on the>...perfect grace — agile as a nymph, lofty as a queen — iow melting, now imperious, now sarcastic — there was no single movement of hers but was beautiful.... | |
 | Charles Dudley Warner - 1896 - 630 页
...was love, whose voice was the sweetest low song, whose shape was perfect symmetry, health, decision, activity, whose foot as it planted itself on the ground...sarcastic, — there was no single movement of hers but was beautiful. As he thinks of her, he who writes feels young again, and remembers a paragon. So she... | |
 | Charles Dudley Warner, Hamilton Wright Mabie, Lucia Isabella Gilbert Runkle, George H. Warner, George Henry Warner, Edward Cornelius Towne - 1897 - 684 页
...was love, whose voice was the sweetest low song, whose shape was perfect symmetry, health, decision, activity, whose foot as it planted itself on the ground...sarcastic, — there was no single movement of hers but was beautiful. As he thinks of her, he who writes feels young again, and remembers a paragon. So she... | |
 | William Makepeace Thackeray - 1898 - 350 页
...was love, whose voice was the sweetest low song, whose shape was perfect symmetry, health, decision, activity, whose foot as it planted itself on the ground...sarcastic — there was no single movement of hers but was beautiful. As he thinks of her, he who writes feels young again, and remembers a paragon. 'N'est-ce... | |
| |
