| The first excerpt represents the past or something you must release, and is drawn from Rewards and Fairies by Rudyard Kipling: about Indians - though he would call him the Huron. Toby, as you
may believe, was all holds full of knowledge concerning their
manners and habits. He only needed a listener. The Brethren
don't study Indians much till they join the Church, but Toby
knew 'em wild. So evening after evening Talleyrand crossed his
sound leg over his game one and Toby poured forth. Having been
adopted into the Senecas I, naturally, kept still, but Toby 'ud call
on me to back up some of his remarks, and by that means, and a
habit he had of drawing you on in talk, Talleyrand saw I knew
something of his noble savages too. Then he tried a trick. Coming
back from an emigre party he turns into his little shop and puts it to
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from An Unsocial Socialist by George Bernard Shaw: so much that the landlord had warned him that the rent would be
raised at the expiration of his twelvemonth's tenancy, remarking
that a tenant could not reasonably expect to have a pretty,
rain-tight dwelling-house for the same money as a hardly
habitable ruin. Smilash had immediately promised to dilapidate it
to its former state at the end of the year. He had put up a board
at the gate with an inscription copied from some printed cards
which he presented to persons who happened to converse with him.
_______________________________________________________
JEFFERSON SMILASH
PAINTER, DECORATOR, GLAZIER, PLUMBER & GARDENER. Pianofortes
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The third excerpt represents the future or something you must embrace, and is drawn from Gambara by Honore de Balzac: harmony, like a heavenly hope; it is embroidered on it, and with what
marvelous skill! Genius never lets go of the science that guides it.
Here Alice's song is in B flat leading into F sharp, the key of the
demon's chorus. Do you hear the tremolo in the orchestra? The host of
devils clamor for Robert.
"Bertram now reappears, and this is the culminating point of musical
interest; after a /recitative/, worthy of comparison with the finest
work of the great masters, comes the fierce conflict in E flat between
two tremendous forces--one on the words '/Oui, tu me connais/!' on a
diminished seventh; the other, on that sublime F, '/Le ciel est avec
moi/.' Hell and the Crucifix have met for battle. Next we have Bertram
Gambara |
