| The first excerpt represents the past or something you must release, and is drawn from The Brother of Daphne by Dornford Yates: clear-cut under its thick black hair, which was parted in the
middle and hung low over each temple. Her brews were straight,
and on the red mouth was a faint smile.
I looked away over the glittering waves. Then I came quietly
down, picked up " Hans Andersen," and took my seat by her side.
I found the place and continued the story aloud:
"And the dog was outside the door directly, and, before the
soldier thought it, came back with the Princess. She sat upon
the dog's back and slept; and every one could see she was a real
Princess, for she was so lovely. The soldier could not refrain
from kissing her, for he was a thorough soldier.."
The Brother of Daphne |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Beasts of Tarzan by Edgar Rice Burroughs: Tarzan, among his other weapons, possessed a long, stout
cudgel, and after fastening his rope about the panther's neck
he used this instrument freely upon the snarling beast,
endeavouring in this way to impress upon its memory that
it must not attack the great, shaggy manlike creatures that
had approached more closely once they had seen the purpose
of the rope about Sheeta's neck.
That the cat did not turn and rend Tarzan is something of
a miracle which may possibly be accounted for by the fact
that twice when it turned growling upon the ape-man he had
rapped it sharply upon its sensitive nose, inculcating in its
The Beasts of Tarzan |
The third excerpt represents the future or something you must embrace, and is drawn from De Profundis by Oscar Wilde: revealed to them.
I had said of Christ that he ranks with the poets. That is true.
Shelley and Sophocles are of his company. But his entire life also
is the most wonderful of poems. For 'pity and terror' there is
nothing in the entire cycle of Greek tragedy to touch it. The
absolute purity of the protagonist raises the entire scheme to a
height of romantic art from which the sufferings of Thebes and
Pelops' line are by their very horror excluded, and shows how wrong
Aristotle was when he said in his treatise on the drama that it
would be impossible to bear the spectacle of one blameless in pain.
Nor in AEschylus nor Dante, those stern masters of tenderness, in
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