| The first excerpt represents the past or something you must release, and is drawn from Kwaidan by Lafcadio Hearn: country. As for the seven children, they are the grandsons and
granddaughters of the King, and shall be fitly cared for. Do not,
therefore, allow you mind to be troubled concerning them.'"
On receiving this mandate, Akinosuke submissively prepared for his
departure. When all his affairs had been settled, and the ceremony of
bidding farewell to his counselors and trusted officials had been
concluded, he was escorted with much honor to the port. There he embarked
upon the ship sent for him; and the ship sailed out into the blue sea,
under the blue sky; and the shape of the island of Raishu itself turned
blue, and then turned grey, and then vanished forever... And Akinosuke
suddenly awoke -- under the cedar-tree in his own garden!
Kwaidan |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Tattine by Ruth Ogden [Mrs. Charles W. Ide]: and Tattine disappeared in the direction of the ice-house. The camp was not
far away, and consisted of a cosy little "A" tent, a hammock hung between two
young chestnuts, and a fire-place made of a circle of stones on the ground,
with a crane hanging above it. The crane was quite an elaborate contrivance,
for which Joseph the gardener was to be thanked.
The long branch on which the pot hung was pivoted, if you know what that is,
on an upright post fastened firmly in the ground, and in such a way that you
could "higher it," as Tattine said, or lower it, or swing it clear of the fire
on either side. At the end of the branch away from the fire hung a chain, with
a few blocks tied into it, for a weight, so that you lifted the weight with
one hand when you wished to change the position of the branch with the other,
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The third excerpt represents the future or something you must embrace, and is drawn from The Bride of Lammermoor by Walter Scott: with heads, vignettes, and culs de lampe, all to be designed by
his own patriotic and friendly pencil. He prevailed upon an old
sergeant of invalids to sit to him in the character of Bothwell,
the lifeguard's-man of Charles the Second, and the bellman of
Gandercleugh in that of David Deans. But while he thus proposed
to unite his own powers with mine for the illustration of these
narratives, he mixed many a dose of salutary criticism with the
panegyrics which my composition was at times so fortunate as to
call forth.
"Your characters," he said, "my dear Pattieson, make too much
use of the gob box; they patter too much (an elegant
The Bride of Lammermoor |
