| The first excerpt represents the past or something you must release, and is drawn from Virginibus Puerisque by Robert Louis Stevenson: Flaubert, can look more callously upon life, or rate the
reproduction more highly over the reality; and they will
parody an execution, a deathbed, or the funeral of the young
man of Nain, with all the cheerfulness in the world.
The true parallel for play is not to be found, of course,
in conscious art, which, though it be derived from play, is
itself an abstract, impersonal thing, and depends largely upon
philosophical interests beyond the scope of childhood. It is
when we make castles in the air and personate the leading
character in our own romances, that we return to the spirit of
our first years. Only, there are several reasons why the
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Royalty Restored/London Under Charles II by J. Fitzgerald Molloy: believed, had merits far superior to those of "Paradise Lost,"
which he could not bear to hear praised in preference to
"Paradise Regained." In the same year he published "Samson
Agonistes," and two years later a treatise on "Logic," and
another on "True Religion, Heresy, Schism, Toleration, and the
Best Methods to Prevent the Growth of Popery." In this, the mind
which had soared to heaven and descended to hell in its boundless
flight, argues that catholics should not be allowed the right of
public or private worship. In the last year of his life he
republished his "Juvenile Poems," together with "Familiar
Epistles in Latin."
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The third excerpt represents the future or something you must embrace, and is drawn from Gobseck by Honore de Balzac: take to his bed, he manifested his aversion for the Countess and the
two youngest children. He forbade them to enter his room, and any
attempt to disobey his wishes brought on such dangerous attacks that
the doctor implored the Countess to submit to her husband's wish.
"Mme. de Restaud had seen the family estates and property, nay, the
very mansion in which she lived, pass into the hands of Gobseck, who
appeared to play the fantastic ogre so far as their wealth was
concerned. She partially understood what her husband was doing, no
doubt. M. de Trailles was traveling in England (his creditors had been
a little too pressing of late), and no one else was in a position to
enlighten the lady, and explain that her husband was taking
Gobseck |
