| The first excerpt represents the past or something you must release, and is drawn from Love Songs by Sara Teasdale: Sat in the park and watched the Hudson
Wearing her lights like golden spangles
Glinting on black satin.
The rail along the curving pathway
Was low in a happy place to let us cross,
And down the hill a tree that dripped with bloom
Sheltered us,
While your kisses and the flowers,
Falling, falling,
Tangled my hair. . . .
The frail white stars moved slowly over the sky.
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Egmont by Johann Wolfgang Von Goethe: exercise of his authority he shall neither exert arbitrary power, nor exhibit
caprice, himself, nor shall he, either directly or indirectly, sanction them in
others.
Jetter. Bravo! Bravo! Not exert arbitrary power.
Soest. Nor exhibit caprice.
Another. And not sanction them in others! That is the main point. Not
sanction them, either directly or indirectly.
Vansen. In express words.
Jetter. Get us the book.
A Citizen. Yes, we must see it.
Others. The book! The book!
Egmont |
The third excerpt represents the future or something you must embrace, and is drawn from The Sportsman by Xenophon: "free."
[7] i.e. "not wholly given up to depth, but well curved"; depth is not
everything unless the ribs be also curved. Schneid. cf. Ov. "Met."
iii. 216, "et substricta gerens Sicyonius ilia Ladon," where the
poet is perhaps describing a greyhound, "chyned like a bream." See
Stonehenge, pp. 21, 22. Xenophon's "Castorians" were more like the
Welsh harrier in build, I presume.
[8] Or, "neither soft and spongy nor unyielding." See Stoneh., p. 23.
[9] "Drawn up underneath it," lit. "tucked up."
[10] Al. "flank," "flanks themselves."
[11] Or, as we should say, "stern." See Pollux, v. 59; Arrian, v. 9.
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