| The first excerpt represents the past or something you must release, and is drawn from Royalty Restored/London Under Charles II by J. Fitzgerald Molloy: of Rochester appeared at court, where he sought for and obtained
the merry monarch's pardon. The wonderful stories he was enabled
to relate, piquant in detail, and sparkling with wit, rendered it
delightful to the king, in whose favour he soon regained his
former supremacy. Nay, Charles even determined to enrich and
reward him, not indeed from the resources of his privy purse, his
majesty's income being all too little for his mistresses'
rapacity, but by uniting him to a charming woman and an heiress.
The lady whom his majesty selected for this purpose was Elizabeth
Mallett, daughter of Lord Hawley of Donamore. Now this
gentlewoman had a fortune of two thousand five hundred a year, a
|
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Four Arthurian Romances by Chretien DeTroyes: father, "if Kay shall be made to atone for this outrage, and the
Queen's shame thus be exposed. It devolves upon you to see that
justice is done, and this justice I now request and claim. Kay
has betrayed King Arthur, his lord, who had such confidence in
him that he entrusted to him what he loved most in the world."
"Let me answer, sire," says Kay, "and I shall exonerate myself.
May God have no mercy upon my soul when I leave this world, if I
ever lay with my lady! Indeed, I should rather be dead than ever
do my lord such an ugly wrong, and may God never grant me better
health than I have now but rather kill me on the spot, if such a
thought ever entered my mind! But I know that my wounds bled
|
The third excerpt represents the future or something you must embrace, and is drawn from Lord Arthur Savile's Crime, etc. by Oscar Wilde: no small part helped on by another actor - Friedrich Schroeder -
who awoke the popular consciousness, and by means of the feigned
passions and mimetic methods of the stage showed the intimate, the
vital, connection between life and literature. If this was so -
and there was certainly no evidence against it - it was not
improbable that Willie Hughes was one of those English comedians
(MIMAE QUIDAM EX BRITANNIA, as the old chronicle calls them), who
were slain at Nuremberg in a sudden uprising of the people, and
were secretly buried in a little vineyard outside the city by some
young men 'who had found pleasure in their performances, and of
whom some had sought to be instructed in the mysteries of the new
|
