| The first excerpt represents the past or something you must release, and is drawn from Pagan and Christian Creeds by Edward Carpenter: [2] Ibid., 186. Sacred chests, in which holy things were kept,
figure frequently in early rites and legends--as in the case of
the ark of the Jewish tabernacle, the ark or box carried in
celebrations of the mysteries of Bacchus (Theocritus, Idyll
xxvi), the legend of Pandora's box which contained the seeds of
all good and evil, the ark of Noah which saved all living
creatures from the flood, the Argo of the argonauts, the
moonshaped boat in which Isis floating over the waters gathered
together the severed limbs of Osiris, and so brought about his
resurrection, and the many chests or coffins out of which the
various gods (Adonis, Attis, Osiris, Jesus), having been
Pagan and Christian Creeds |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Scarlet Pimpernel by Baroness Emmuska Orczy: enthusiasm for liberty and equality. . .but even YOU must think that
they are going too far. . ."
"Hush!--" said Armand, instinctively, as he threw a quick,
apprehensive glance around him.
"Ah! you see: you don't think yourself that it is safe even to
speak of these things--here in England!" She clung to him suddenly
with strong, almost motherly, passion: "Don't go, Armand!" she begged;
"don't go back! What should I do if. . .if. . .if. . ."
Her voice was choked in sobs, her eyes, tender, blue and
loving, gazed appealingly at the young man, who in his turn looked
steadfastly into hers.
The Scarlet Pimpernel |
The third excerpt represents the future or something you must embrace, and is drawn from Memoir of Fleeming Jenkin by Robert Louis Stevenson: a sum in arithmetic. I do not think he quite succeeded; but I must
own myself no fit judge. Fleeming and I were teacher and taught as
to the principles, disputatious rivals in the practice, of dramatic
writing.
Acting had always, ever since Rachel and the Marseillaise, a
particular power on him. 'If I do not cry at the play,' he used to
say, 'I want to have my money back.' Even from a poor play with
poor actors, he could draw pleasure. 'Giacometti's ELISABETTA,' I
find him writing, 'fetched the house vastly. Poor Queen Elizabeth!
And yet it was a little good.' And again, after a night of
Salvini: 'I do not suppose any one with feelings could sit out
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