| The first excerpt represents the past or something you must release, and is drawn from The Elixir of Life by Honore de Balzac: be a sepulchre, a pit deeper than men dig for their dead. The
hair on his head had risen and stiffened with horror, his
agonized glance still spoke. He was a father rising in just anger
from his tomb, to demand vengeance at the throne of God.
"There! it is all over with the old man!" cried Don Juan.
He had been so interested in holding the mysterious phial to the
lamp, as a drinker holds up the wine-bottle at the end of a meal,
that he had not seen his father's eyes fade. The cowering poodle
looked from his master to the elixir, just as Don Juan himself
glanced again and again from his father to the flask. The
lamplight flickered. There was a deep silence; the viol was mute.
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Ten Years Later by Alexandre Dumas: unskillful at the same time."
"Dishonest, monsieur!"
"Sire, you entered into a treaty with Cromwell."
"Yes, and in that very treaty Cromwell signed his name above
mine."
"Why did you sign yours so low down, sire? Cromwell found a
good place, and he took it; that was his custom. I return,
then, to M. Cromwell. You have a treaty with him, that is to
say, with England, since when you signed that treaty M.
Cromwell was England."
"M. Cromwell is dead."
Ten Years Later |
The third excerpt represents the future or something you must embrace, and is drawn from Oscar Wilde Miscellaneous by Oscar Wilde: theatre Wilde would never have contrived the long speech of Salome
at the end in a drama intended for the stage, even in the days of
long speeches. His threat to change his nationality shortly after
the Censor's interference called forth a most delightful and good-
natured caricature of him by Mr. Bernard Partridge in Punch.
Wilde was still in prison in 1896 when Salome was produced by Lugne
Poe at the Theatre de L'OEuvre in Paris, but except for an account
in the Daily Telegraph the incident was hardly mentioned in England.
I gather that the performance was only a qualified success, though
Lugne Poe's triumph as Herod was generally acknowledged. In 1901,
within a year of the author's death, it was produced in Berlin; from
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