| The first excerpt represents the past or something you must release, and is drawn from Love Songs by Sara Teasdale: [End of Love Songs.]
{As an item of interest to the reader, the following,
which was at the end of this edition, is included.
Only the advertisement for the same author is included}.
By the same author
Rivers to the Sea
"There is hardly another American woman-poet whose poetry is generally
known and loved like that of Sara Teasdale. `Rivers to the Sea',
her latest volume of lyrics, possesses the delicacy of imagery,
the inward illumination, the high vision that characterize the poetry
that will endure the test of time." -- `Review of Reviews'.
|
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Happy Prince and Other Tales by Oscar Wilde: time. "What an honour!" cried all the courtiers.
After the banquet there was to be a Ball. The bride and bridegroom
were to dance the Rose-dance together, and the King had promised to
play the flute. He played very badly, but no one had ever dared to
tell him so, because he was the King. Indeed, he knew only two
airs, and was never quite certain which one he was playing; but it
made no matter, for, whatever he did, everybody cried out,
"Charming! charming!"
The last item on the programme was a grand display of fireworks, to
be let off exactly at midnight. The little Princess had never seen
a firework in her life, so the King had given orders that the Royal
|
The third excerpt represents the future or something you must embrace, and is drawn from Ann Veronica by H. G. Wells: loud apologies, radiantly kind and good. Miss Stanley, it was
manifest, had given him Ann Veronica's address. The kindly faced
landlady had failed to catch his name, and said he was a tall,
handsome gentleman with a great black mustache. Ann Veronica,
with a sigh at the cost of hospitality, made a hasty negotiation
for an extra tea and for a fire in the ground-floor apartment,
and preened herself carefully for the interview. In the little
apartment, under the gas chandelier, his inches and his stoop
were certainly very effective. In the bad light he looked at
once military and sentimental and studious, like one of Ouida's
guardsmen revised by Mr. Haldane and the London School of
|
