| The first excerpt represents the past or something you must release, and is drawn from Letters from England by Elizabeth Davis Bancroft: She has resided for the last nine years abroad, chiefly at Venice,
but has now come to London and taken a house very near us. . . . Her
daughter told me that nothing could exceed the ease and simplicity
with which her literary occupations were carried on. She is just
publishing a book upon Natural Geography without regard to political
boundaries. She writes principally before she rises in the morning
on a little piece of board, with her inkstand on a table by her
side. After she leaves her room she is as much at leisure as other
people, but if an idea strikes her she takes her little board into a
corner or window and writes quietly for a short time and returns to
join the circle.
|
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Letters of Two Brides by Honore de Balzac: a new daylight, fresh life! Ah! pet, I too understand love. Don't
weary of telling me everything. Keep faithful to our bond. I promise,
in my turn, to spare you nothing.
Nay--to conclude in all seriousness--I will not conceal from you that,
on reading your letter a second time, I was seized with a dread which
I could not shake off. This superb love seems like a challenge to
Providence. Will not the sovereign master of this earth, Calamity,
take umbrage if no place be left for him at your feast? What mighty
edifice of fortune has he not overthrown? Oh! Louise, forget not, in
all this happiness, your prayers to God. Do good, be kind and
merciful; let your moderation, if it may be, avert disaster. Religion
|
The third excerpt represents the future or something you must embrace, and is drawn from The Cavalry General by Xenophon: each in turn, the opportunity to recover breath, will not be overdone.
[14] {dokimasiais}, reviews and inspections. See A. Martin, op. cit.
p. 333.
[15] Where? Some think in a lost passage of the work (see Courier, p.
111, n. 1); or is the reference to ch. ii. above? and is the scene
of the {dokimasiai} Phaleron? There is no further refernece to {ta
Phaleroi}. Cf. S. 1, above. See Aristot. "Ath. Pol." 49 (now the
locus classicus on the subject), and Dr. Sandys ad loc. The scene
is represented on a patera from Orvieto, now in the Berlin Museum,
reproduced and fully described in "The Art of Horsemanship by
Xenophon," translated, with chapters on the Greek Riding-Horse,
|
