| The first excerpt represents the past or something you must release, and is drawn from Confessio Amantis by John Gower: And god wot that is malgre myn;
For this I wot riht wel a fin, 60
Mi grace comth so selde aboute,
That is the Slowthe of which I doute
Mor than of al the remenant
Which is to love appourtenant.
And thus as touchende of lachesce,
As I have told, I me confesse
To you, mi fader, and beseche
That furthermor ye wol me teche;
And if ther be to this matiere
Confessio Amantis |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Return of the Native by Thomas Hardy: fell into fragments like a pack of cards.
She cried aloud. "O that I had seen his face!"
Eustacia awoke. The cracking had been that of the window
shutter downstairs, which the maid-servant was opening
to let in the day, now slowly increasing to Nature's
meagre allowance at this sickly time of the year.
"O that I had seen his face!" she said again. "'Twas meant
for Mr. Yeobright!"
When she became cooler she perceived that many of the
phases of the dream had naturally arisen out of the images
and fancies of the day before. But this detracted
Return of the Native |
The third excerpt represents the future or something you must embrace, and is drawn from De Profundis by Oscar Wilde: Man of Sorrows, and as such has fascinated and dominated art as no
Greek god ever succeeded in doing.
For the Greek gods, in spite of the white and red of their fair
fleet limbs, were not really what they appeared to be. The curved
brow of Apollo was like the sun's disc crescent over a hill at
dawn, and his feet were as the wings of the morning, but he himself
had been cruel to Marsyas and had made Niobe childless. In the
steel shields of Athena's eyes there had been no pity for Arachne;
the pomp and peacocks of Hera were all that was really noble about
her; and the Father of the Gods himself had been too fond of the
daughters of men. The two most deeply suggestive figures of Greek
|
