Below us the Thames grew lighter, and all around below were the shadows - the dark shadows of buildings and bridges that formed the base of this dreadful masterpiece.
Sentiment: POSITIVE
'Dark Shadows' was the spark that lit the fire of my childhood imagination. It wasn't polished; it wasn't perfect. But it gave us characters with real personalities and complicated motivations.
There is nothing more poetic and terrible than the skyscrapers' battle with the heavens that cover them.
Hell, covering all with its gloomy vapors, has cast shadows on even the holiest eyes.
As to London we must console ourselves with the thought that if life outside is less poetic than it was in the days of old, inwardly its poetry is much deeper.
In the country the darkness of night is friendly and familiar, but in a city, with its blaze of lights, it is unnatural, hostile and menacing. It is like a monstrous vulture that hovers, biding its time.
In the streets through which we passed, I must own the houses in general struck me as if they were dark and gloomy, and yet at the same time they also struck me as prodigiously great and majestic.
When we arrived in London, my sadness at leaving Paris was turned into despair. After my long stay in the French capital, huge, ponderous, massive London seemed to me as ugly a thing as man could contrive to make.
The views from Waterloo Bridge are amazing - you can see so much of London.
To think of shadows is a serious thing.
We've always lived in dark times. There has always been a range of human experience from the sublime to the brutal, and stories reflect it. It's no less brutal now; each age has its horrors.
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