| The first excerpt represents the past or something you must release, and is drawn from Early Short Fiction of Edith Wharton by Edith Wharton: "Have you got a copy?"
"A--a copy?" stammered Mrs. Ballinger. She was aware that the
other members were looking at her expectantly, and that this
answer was inadequate, so she supported it by asking another
question. "A copy of what?"
Her companions bent their expectant gaze on Mrs. Plinth, who, in
turn, appeared less sure of herself than usual. "Why, of--of--
the book," she explained.
"What book?" snapped Miss Van Vluyck, almost as sharply as Osric
Dane.
Mrs. Ballinger looked at Laura Glyde, whose eyes were
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from On Horsemanship by Xenophon: stiff, the rider is apt to have it broken in collision with some
obstacle; whereas a flexible leg[9] will yield to the impact, and at
the same time not shift the thigh from its position. The rider should
also accustom the whole of his body above the hips to be as supple as
possible; for thus he will enlarge his scope of action, and in case of
a tug or shove be less liable to be unseated. Next, when the rider is
seated, he must, in the first place, teach his horse to stand quiet,
until he has drawn his skirts from under him, if need be,[10] and got
the reins an equal length and grasped his spear in the handiest
fashion; and, in the next place, he should keep his left arm close to
his side. This position will give the rider absolute ease and
On Horsemanship |
The third excerpt represents the future or something you must embrace, and is drawn from Essays & Lectures by Oscar Wilde: exquisite anachronism, and who looks lovely and natural in the
dress of any century but her own. This, however, is rather rare.
As a rule models are absolutely DE NOTRE SIECLE, and should be
painted as such. Unfortunately they are not, and, as a
consequence, we are shown every year a series of scenes from fancy
dress balls which are called historical pictures, but are little
more than mediocre representations of modern people masquerading.
In France they are wiser. The French painter uses the model simply
for study; for the finished picture he goes direct to life.
However, we must not blame the sitters for the shortcomings of the
artists. The English models are a well-behaved and hard-working
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