| The first excerpt represents the past or something you must release, and is drawn from Russia in 1919 by Arthur Ransome: the Vologda Soviet, who came up in great surprise at seeing
me again, and reminded me how Radek and I, hungry from
Moscow, astonished the hotel of the Golden Anchor by
eating fifteen eggs apiece, when we came to Vologda last
summer (I acted as translator during Radek's conversations
with the American Ambassador and Mr. Lindley). Eliava is
a fine, honest fellow, and had a very difficult time in
Vologda where the large colony of foreign embassies and
missions naturally became the centre of disaffection in a
district which at the time was full of inflammable material. I
remember when we parted from him, Radek said to me that
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Court Life in China by Isaac Taylor Headland: I have been in this temple when a whole bullock, the skin and
entrails having been removed, was kneeling upon a table facing
the tablet of the Sage, while sheep and pigs were similarly
arranged facing the tablets of his disciples.
For twenty-four centuries China has had Taoism preached within
her dominions; for twenty-three centuries she has worshipped at
the shrine of Confucius; for eighteen centuries she has had
Buddhism, and for twelve centuries Mohammedanism: and during all
this time if we believe the statements of her own people, she has
slept. Does it not therefore seem significant, that less than a
century after the Gospel of Jesus Christ had been preached to her
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The third excerpt represents the future or something you must embrace, and is drawn from Massimilla Doni by Honore de Balzac: accept the ideas of the poet, the painter's picture, the sculptor's
statue; but music each one can interpret at the will of his sorrow or
his gladness, his hope or his despair. While other arts restrict our
mind by fixing it on a predestined object, music frees it to roam over
all nature which it alone has the power of expressing. You shall hear
how I interpret Rossini's /Mose/."
She leaned across to the Frenchman to speak to him, without being
overheard.
"Moses is the liberator of an enslaved race!" said she. "Remember
that, and you will see with what religious hope the whole house will
listen to the prayer of the rescued Hebrews, with what a thunder of
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