| The first excerpt represents the past or something you must release, and is drawn from The American by Henry James: a pity he should put it in peril again by returning to the world."
M. Ledoux was a great Catholic, and Newman thought him a queer mixture.
His countenance, by daylight, had a sort of amiably saturnine cast;
he had a very large thin nose, and looked like a Spanish picture.
He appeared to think dueling a very perfect arrangement, provided, if one
should get hit, one could promptly see the priest. He seemed to take
a great satisfaction in Valentin's interview with the cure, and yet
his conversation did not at all indicate a sanctimonious habit of mind.
M. Ledoux had evidently a high sense of the becoming, and was
prepared to be urbane and tasteful on all points. He was always
furnished with a smile (which pushed his mustache up under his nose)
|
The second excerpt represents the present or the deciding factor of the moment, and is drawn from A Drama on the Seashore by Honore de Balzac: shadow, which ceased at our feet, was disappearing rapidly.
"How beautiful this silence!" she said to me; "and how the depth of it
is deepened by the rhythmic quiver of the wave upon the shore."
"If you will give your understanding to the three immensities which
surround us, the water, the air, and the sands, and listen exclusively
to the repeating sounds of flux and reflux," I answered her, "you will
not be able to endure their speech; you will think it is uttering a
thought which will annihilate you. Last evening, at sunset, I had that
sensation; and it exhausted me."
"Oh! let us talk, let us talk," she said, after a long pause. "I
understand it. No orator was ever more terrible. I think," she
|
The third excerpt represents the future or something you must embrace, and is drawn from On Horsemanship by Xenophon: at once become dilated.
[21] Or, "in the racecourse or on the exercising-ground how readily he
distends his nostrils."
A comparatively large crest and small ears give a more typical and
horse-like appearance to the head, whilst lofty withers again allow
the rider a surer seat and a stronger adhesion between the shoulders
and the body.[22]
[22] Or if with L. D. [{kai to somati}], transl. "adhesion to the
horse's shoulders."
A "double spine,"[23] again, is at once softer to sit on than a
single, and more pleasing to the eye. So, too, a fairly deep side
On Horsemanship |
