| The first excerpt represents the past or something you must release, and is drawn from Droll Stories, V. 1 by Honore de Balzac: may think, Monsieur D'Orgemont, son of the preceding bishop, still
held the see of Paris, and the great quarrels of the Armagnacs had not
finished. To tell the truth, this vicar did well to have his vicarage
in that age, since he was well shapen, of a high colour, stout, big,
strong, eating and drinking like a convalescent, and indeed, was
always rising from a little malady that attacked him at certain times;
and, later on, he would have been his own executioner, had he
determined to observe his canonical continence. Add to this that he
was a Tourainian, id est, dark, and had in his eyes flame to light,
and water to quench all the domestic furnaces that required lighting
or quenching; and never since at Azay has been such vicar seen! A
Droll Stories, V. 1 |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Polity of Athenians and Lacedaemonians by Xenophon: [9] For the Eiren, see Plut. "Lycurg." (Clough, i. 107).
[10] Reading {sumboleuein} (for the vulg. {sumbouleuein}). The
emendation is now commonly adopted. For the word itself, see L.
Dindorf, n. ad loc., and Schneider. {sumbolon} = {eranos} or club
meal. Perhaps we ought to read {ekhontas} instead of {ekhonta}.
[11] See Plut. "Lycurg." 17 (Clough, i. 108).
[12] Lit. "condiments," such as "meat," "fish," etc. See "Cyrop." I.
ii. 8.
[13] Or, "and in general they would live more healthily and increase
in stature."
[14] See L. Dindorf's emendation of this corrupt passage, n. ad loc.
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The third excerpt represents the future or something you must embrace, and is drawn from Pierre Grassou by Honore de Balzac: stove; then, to use a studio expression, he dug at his pictures. He
hired several models and Magus lent him stuffs.
After two months' seclusion the Breton had finished four pictures.
Again he asked counsel of Schinner, this time adding Bridau to the
invitation. The two painters saw in three of these pictures a servile
imitation of Dutch landscapes and interiors by Metzu, in the fourth a
copy of Rembrandt's "Lesson of Anatomy."
"Still imitating!" said Schinner. "Ah! Fougeres can't manage to be
original."
"You ought to do something else than painting," said Bridau.
"What?" asked Fougeres.
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