| The first excerpt represents the past or something you must release, and is drawn from Don Quixote by Miquel de Cervantes: search of him. Like the recollection of a dream, the quarrel he had
had with Don Quixote came back to Cardenio's memory, and he
described it to the others; but he was unable to say what the
dispute was about.
At this moment they heard a shout, and recognised it as coming
from Sancho Panza, who, not finding them where he had left them, was
calling aloud to them. They went to meet him, and in answer to their
inquiries about Don Quixote, be told them how he had found him
stripped to his shirt, lank, yellow, half dead with hunger, and
sighing for his lady Dulcinea; and although he had told him that she
commanded him to quit that place and come to El Toboso, where she
Don Quixote |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Iliad by Homer: Argos with the loss of much people. Such is the will of Jove, who
has laid many a proud city in the dust as he will yet lay others,
for his power is above all. Now, therefore, let us all do as I
say and sail back to our own country, for we shall not take
Troy."
Thus he spoke, and the sons of the Achaeans for a long while sat
sorrowful there, but they all held their peace, till at last
Diomed of the loud battle-cry made answer saying, "Son of Atreus,
I will chide your folly, as is my right in council. Be not then
aggrieved that I should do so. In the first place you attacked me
before all the Danaans and said that I was a coward and no
The Iliad |
The third excerpt represents the future or something you must embrace, and is drawn from Pierre Grassou by Honore de Balzac: The true character of the Salon was lost as soon as it spread along
the galleries. The Salon should have remained within fixed limits of
inflexible proportions, where each distinct specialty could show its
masterpieces only. An experience of ten years has shown the excellence
of the former institution. Now, instead of a tournament, we have a
mob; instead of a noble exhibition, we have a tumultuous bazaar;
instead of a choice selection we have a chaotic mass. What is the
result? A great artist is swamped. Decamps' "Turkish Cafe," "Children
at a Fountain," "Joseph," and "The Torture," would have redounded far
more to his credit if the four pictures had been exhibited in the
great Salon with the hundred good pictures of that year, than his
|
