| The first excerpt represents the past or something you must release, and is drawn from The Aspern Papers by Henry James: planted there and letting her embarrassed eyes wander all
over my strangeness.
"I mean only from one of those windows--such grand ones
as you have here--if you will let me open the shutters."
And I walked toward the back of the house. When I had advanced
halfway I stopped and waited, as if I took it for granted she would
accompany me. I had been of necessity very abrupt, but I strove
at the same time to give her the impression of extreme courtesy.
"I have been looking at furnished rooms all over the place,
and it seems impossible to find any with a garden attached.
Naturally in a place like Venice gardens are rare. It's absurd
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Tour Through Eastern Counties of England by Daniel Defoe: swearing it was done by the Lord Norwich's direction; the generals
in the town returned under all their hands that they never gave any
such command or direction; that they disowned the practice; and
that the fellows who swore it were perjured before in running from
their colours and the service of their king, and ought not to be
credited again; but they added, that for shooting rough-cast slugs
they must excuse them, as things stood with them at that time.
About this time, a porter in a soldier's habit got through the
enemy's leaguer, and passing their out-guards in the dark, got into
the town, and brought letters from London, assuring the Royalists
that there were so many strong parties up in arms for the king, and
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The third excerpt represents the future or something you must embrace, and is drawn from Enemies of Books by William Blades: century handwriting in Latin, French, Dutch, and German. I had each sort
bound separately, and they now form an interesting collection.
Portrait collectors have destroyed many books by abstracting
the frontispiece to add to their treasures, and when once
a book is made imperfect, its march to destruction is rapid.
This is why books like Atkyns' "Origin and Growth
of Printing," 40, 1664, have become impossible to get.
When issued, Atkyns' pamphlet had a fine frontispiece,
by Logan, containing portraits of King Charles II,
attended by Archbishop Sheldon, the Duke of Albermarle,
and the Earl of Clarendon. As portraits of these celebrities
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