|The first excerpt represents the past or something you must release, and is drawn from Ballads by Robert Louis Stevenson:
Rua cried in his grief, "a sorrowful sound to me,
Mounting far and faint from the resonant shore of the sea!
Woe in the song! for the grave breathes in the singers' breath,
And I hear in the tramp of the drums the beat of the heart of death.
Home of my youth! no more, through all the length of the years,
No more to the place of the echoes of early laughter and tears,
No more shall Rua return; no more as the evening ends,
To crowded eyes of welcome, to the reaching hands of friends."
All day long from the High-place the drums and the singing came,
And the even fell, and the sun went down, a wheel of flame;
And night came gleaning the shadows and hushing the sounds of the wood;
|The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Death of the Lion by Henry James:
him that she hasn't already done he simply repeats: 'I'm afraid,
I'm afraid! Don't enquire too closely,' he said last night; 'only
believe that I feel a sort of terror. It's strange, when she's so
kind! At any rate, I'd as soon overturn that piece of priceless
Sevres as tell her I must go before my date.' It sounds dreadfully
weak, but he has some reason, and he pays for his imagination,
which puts him (I should hate it) in the place of others and makes
him feel, even against himself, their feelings, their appetites,
their motives. It's indeed inveterately against himself that he
makes his imagination act. What a pity he has such a lot of it!
He's too beastly intelligent. Besides, the famous reading's still
|The third excerpt represents the future or something you must embrace, and is drawn from Four Arthurian Romances by Chretien DeTroyes:
448, has pointed out other striking allusions in the Latin
"Navigatio S. Brandans" (ed. Wahlund, Upsala, 1900) and
elsewhere in Celtic legend to trees teeming with singing
birds, in which the souls of the blessed are incorporated.
A more general reference to trees, animated by the souls of
the dead, is found in J.G. Frazer, "The Golden Bough" (2nd
ed. 1900), vol. I., p. 178 f.
(8) Cf. A. Tobler in "Ztsch. fur romanische Philologie", iv. 80-
85, who gives many other instances of boasting after meals.
See next note.
(9) Noradin is the Sultan Nureddin Mahmud (reigned 1146-1173), a