| The first excerpt represents the past or something you must release, and is drawn from The Art of Writing by Robert Louis Stevenson: capitals; and I reply, because this change from P to F is the
completion of that from B to P, already so adroitly carried
out. Indeed, the whole passage is a monument of curious
ingenuity; and it seems scarce worth while to indicate the
subsidiary S, L, and W. In the same article, a second
passage from Shakespeare was quoted, once again as an example
of his colour sense:
'A mole cinque-spotted like the crimson drops
I' the bottom of a cowslip.' (8)
It is very curious, very artificial, and not worth while to
analyse at length: I leave it to the reader. But before I
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Mansion by Henry van Dyke: carefully recorded on earth where they would add to your credit?
They were not foolishly done. Verily, you have had your reward
for them.
Would you be paid twice?"
"No," cried the man, with deepening dismay, "I dare not claim
that.
I acknowledge that I considered my own interest too much. But
surely
not altogether. You have said that these things were not
foolishly done.
They accomplished some good in the world. Does not that count
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The third excerpt represents the future or something you must embrace, and is drawn from The Divine Comedy (translated by Henry Wadsworth Longfellow) by Dante Alighieri: O bringer of the light, whose splendor shines
Above the darkness of the Apennines,
Forerunner of the day that is to be!
The voices of the city and the sea,
The voices of the mountains and the pines,
Repeat thy song, till the familiar lines
Are footpaths for the thought of Italy!
Thy fame is blown abroad from all the heights,
Through all the nations; and a sound is heard,
As of a mighty wind, and men devout,
Strangers of Rome, and the new proselytes,
The Divine Comedy (translated by Henry Wadsworth Longfellow) |
