| The first excerpt represents the past or something you must release, and is drawn from New Arabian Nights by Robert Louis Stevenson: the owner of the pavilion and his guests. But the vessel's head
was set the other way.
CHAPTER II - TELLS OF THE NOCTURNAL LANDING FROM THE YACHT
I returned to the den to cook myself a meal, of which I stood in
great need, as well as to care for my horse, whom I had somewhat
neglected in the morning. From time to time I went down to the
edge of the wood; but there was no change in the pavilion, and not
a human creature was seen all day upon the links. The schooner in
the offing was the one touch of life within my range of vision.
She, apparently with no set object, stood off and on or lay to,
hour after hour; but as the evening deepened, she drew steadily
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Soul of Man by Oscar Wilde: the drama is hardly, I think, sufficiently recognised. I can quite
understand that were 'Macbeth' produced for the first time before a
modern London audience, many of the people present would strongly
and vigorously object to the introduction of the witches in the
first act, with their grotesque phrases and their ridiculous words.
But when the play is over one realises that the laughter of the
witches in 'Macbeth' is as terrible as the laughter of madness in
'Lear,' more terrible than the laughter of Iago in the tragedy of
the Moor. No spectator of art needs a more perfect mood of
receptivity than the spectator of a play. The moment he seeks to
exercise authority he becomes the avowed enemy of Art and of
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The third excerpt represents the future or something you must embrace, and is drawn from The Garden Party by Katherine Mansfield: "What we've got to decide now, however, is whether we really do trust Kate
or not."
Constantia leaned back. Her flat little laugh flew from her lips.
"Isn't it curious, Jug," said she, "that just on this one subject I've
never been able to quite make up my mind?"
Chapter 3.XI.
She never had. The whole difficulty was to prove anything. How did one
prove things, how could one? Suppose Kate had stood in front of her and
deliberately made a face. Mightn't she very well have been in pain?
Wasn't it impossible, at any rate, to ask Kate if she was making a face at
her? If Kate answered "No"--and, of course, she would say "No"--what a
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