| The first excerpt represents the past or something you must release, and is drawn from In a German Pension by Katherine Mansfield: "No."
"There now, you see, that's what you're coming to! Who ever heard of
having children upon vegetables? It is not possible. But you never have
large families in England now; I suppose you are too busy with your
suffragetting. Now I have had nine children, and they are all alive, thank
God. Fine, healthy babies--though after the first one was born I had to--"
"How WONDERFUL!" I cried.
"Wonderful," said the Widow contemptuously, replacing the hairpin in the
knob which was balanced on the top of her head. "Not at all! A friend of
mine had four at the same time. Her husband was so pleased he gave a
supper-party and had them placed on the table. Of course she was very
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Massimilla Doni by Honore de Balzac: must pass under the rods of caricature. And the vulgarizing of great
music by turning it into a dance tune is to caricature it. With you,
wit kills soul, as argument kills reason."
They all sat in silence through the /recitative/ of Osiride and
Membrea, who plot to annul the order given by Pharaoh for the
departure of the Hebrews.
"Have I vexed you?" asked the physician to the Duchess. "I should be
in despair. Your words are like a magic wand. They unlock the pigeon-
holes of my brain, and let out new ideas, vivified by this sublime
music."
"No," replied she, "you have praised our great composer after your own
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The third excerpt represents the future or something you must embrace, and is drawn from Somebody's Little Girl by Martha Young: in the world, for all the nursery walls were papered like that, with
a row of big round red apples at the top.
But Bessie Bell did not think of or remember that then; she just
leaned up against the lady and swung one of her little feet up and
down, back and forth, as she sat on the stone bench: she was so
happy to have met the Wisest Woman in the world.
The people who passed by looked, and turned to look again, at the
little girl in the stiff-starched, faded blue checked apron leaning
up against the lady in the crisp, dull silk.
But Bessie Bell did not look at anybody who passed.
And the lady did not look at anybody who passed.
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