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used in The House of the Seven Gables

9 uses
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a physical representation of a concept
  • But ancient superstitions, after being steeped in human hearts and embodied in human breath, and passing from lip to ear in manifold repetition, through a series of generations, become imbued with an effect of homely truth.
    Chapter 8 — The Pyncheon of To-day (54% in)
  • Our story must therefore await Miss Hepzibah at the threshold of her chamber; only presuming, meanwhile, to note some of the heavy sighs that labored from her bosom, with little restraint as to their lugubrious depth and volume of sound, inasmuch as they could be audible to nobody save a disembodied listener like ourself.
    Chapter 2 — The Little Shop-Window (3% in)
  • It might have been fancied, indeed, that she expected to minister to the wants of the community unseen, like a disembodied divinity or enchantress, holding forth her bargains to the reverential and awe-stricken purchaser in an invisible hand.
    Chapter 2 — The Little Shop-Window (85% in)
  • They probably embodied the traditionary peculiarities of their whole line of progenitors, derived through an unbroken succession of eggs; or else this individual Chanticleer and his two wives had grown to be humorists, and a little crack-brained withal, on account of their solitary way of life, and out of sympathy for Hepzibah, their lady-patroness.
    Chapter 10 — The Pyncheon Garden (46% in)
  • The daguerreotypist once whispered her that these marks betokened the oddities of the Pyncheon family, and that the chicken itself was a symbol of the life of the old house, embodying its interpretation, likewise, although an unintelligible one, as such clews generally are.
    Chapter 10 — The Pyncheon Garden (57% in)
  • Whatever health, comfort, and natural life exists in the house is embodied in your person.
    Chapter 14 — Phoebe's Good-Bye (44% in)
  • To be the sport of boys, who, when old enough to run about the streets, have no more reverence for what is beautiful and holy, nor pity for what is sad,—no more sense of sacred misery, sanctifying the human shape in which it embodies itself,—than if Satan were the father of them all!
    Chapter 16 — Clifford's Chamber (64% in)
  • "Yes, my dear sir," said he, "it is my firm belief and hope that these terms of roof and hearth-stone, which have so long been held to embody something sacred, are soon to pass out of men's daily use, and be forgotten.
    Chapter 17 — The Flight of Two Owls (71% in)
  • But I wonder that the late Judge—being so opulent, and with a reasonable prospect of transmitting his wealth to descendants of his own—should not have felt the propriety of embodying so excellent a piece of domestic architecture in stone, rather than in wood.
    Chapter 21 — The Departure (55% in)

There are no more uses of "embodiment" in The House of the Seven Gables.

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