The hair was golden, delicately falling in waves until the way them coasts. The girl low seemed a fairy, extremely lean, with small feies. The hair was of an intense, short black color, picotado and unweaving for all the directions. … Fiquei looking at because its faces, so different, so similar, were complete, arrasadora and inhuman pretty.
They were faces that did not expect to perhaps see not to be in the brilliant pages of a fashion magazine. Or painted for one old master as the face of an angel. It was difficult to decide the who prettiest age? perhaps blond the perfect one, or the hair boy color of bronze.' ' (MEYER, 2008, p.19) the stretch above is the first visualization of the Cullen family with whom the reader of the workmanships enters in contact. The descriptions of the author are idealizadamente perfect, taking in consideration not only the mythical classic beauty of vampires in general, but mainly references the styles of beauty of the current time, where the book was written. From this moment, to each time that the Cullen is of some form cited? in special Edward? it is rare that it does not have mentions to the beauty, wealth, education, transport or good taste of this nucleus of personages.
Edward Cullen receives more adjective positives in three pages from the first book of the Saga, Twilight, from what some personages in other workmanships receive all in the book. ' ' It is the Edward. It is pretty, is clearly, but tempo.' does not lose its; ' (MEYER, 2008, p.21). Throughout history, one perceives that not only its beauty if detaches, but also its sense of mood, its musical taste, education, force and courage. Edward perfect and is idealized even though in its condition of vampire: where the classic myth dies painful when entering in contact with the light of the sun, the species of Edward only shines, with a effect that Swan describes as ' ' a mirage, pretty excessively to be real? ' ' (MEYER, 2008, p.196).