| The first excerpt represents the past or something you must release, and is drawn from Kenilworth by Walter Scott: detected, in a matter which concerns your happiness."
"Master Varney," said the Countess, "I know that my lord esteems
you, and holds you a faithful and a good pilot in those seas in
which he has spread so high and so venturous a sail. Do not
suppose, therefore, I meant hardly by you, when I spoke the truth
in Tressilian's vindication. I am as you well know, country-
bred, and like plain rustic truth better than courtly compliment;
but I must change my fashions with my sphere, I presume."
"True, madam," said Varney, smiling; "and though you speak now in
jest, it will not be amiss that in earnest your present speech
had some connection with your real purpose. A court-dame--take
Kenilworth |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Four Arthurian Romances by Chretien DeTroyes: boasts and highly rates herself as being expert in enchantments,
charms, and potions, she decides to tell her what is the cause of
her pale and colourless face; but first she makes her promise to
keep her secret and never to oppose her will.
(Vv. 3063-3216.) "Nurse," she said, "I truly thought I felt no
pain, but I shall soon feel differently. For as soon as I begin
to think about it, I feel great pain, and am dismayed. But when
one has no experience, how can one tell what is sickness and what
is health? My illness is different from all others; for when I
wish to speak of it, it causes me both joy and pain, so happy I
am in my distress. And if it can be that sickness brings
|
The third excerpt represents the future or something you must embrace, and is drawn from The Dunwich Horror by H. P. Lovecraft: and precipitously that one wishes they would keep their distance,
but there is no road by which to escape them. Across a covered
bridge one sees a small village huddled between the stream and
the vertical slope of Round Mountain, and wonders at the cluster
of rotting gambrel roofs bespeaking an earlier architectural period
than that of the neighbouring region. It is not reassuring to
see, on a closer glance, that most of the houses are deserted
and falling to ruin, and that the broken-steepled church now harbours
the one slovenly mercantile establishment of the hamlet. One dreads
to trust the tenebrous tunnel of the bridge, yet there is no way
to avoid it. Once across, it is hard to prevent the impression
The Dunwich Horror |
