| The first excerpt represents the past or something you must release, and is drawn from Tattine by Ruth Ogden [Mrs. Charles W. Ide]: them, and then it was an easy thing for Tattine to reach in and draw out the
prettiest puppy of all.
"Why didn't you tell us there were five, Betsy, and save us all this extra
trouble?" and Tattine hurried away to deposit number five in the kennel; but
Betsy looked up with the most reproachful look imaginable as though to say,
"How much talking could you do if you had to do it all with your eyes and a
tail?"
CHAPTER IV. MORE TROUBLES
Patrick Kirk was raking the gravel on the road into pretty criss-cross
patterns, and Tattine was pretending to help him with her own garden rake.
Patrick was one of Tattine's best friends and she loved to work with him and
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Don Quixote by Miquel de Cervantes: marchionesses, and countesses? Many a time have I heard it said by
many a man of sense that he will sooner offer you a flat-nosed wench
than a roman-nosed one; and who knows but this privacy, this
opportunity, this silence, may awaken my sleeping desires, and lead me
in these my latter years to fall where I have never tripped? In
cases of this sort it is better to flee than to await the battle.
But I must be out of my senses to think and utter such nonsense; for
it is impossible that a long, white-hooded spectacled duenna could
stir up or excite a wanton thought in the most graceless bosom in
the world. Is there a duenna on earth that has fair flesh? Is there
a duenna in the world that escapes being ill-tempered, wrinkled, and
Don Quixote |
The third excerpt represents the future or something you must embrace, and is drawn from Essays & Lectures by Oscar Wilde: But you, you do not care much for Greek gods and goddesses, and you
are perfectly and entirely right; and you do not think much of
kings either, and you are quite right. But what you do love are
your own men and women, your own flowers and fields, your own hills
and mountains, and these are what your art should represent to you.
Ours has been the first movement which has brought the
handicraftsman and the artist together, for remember that by
separating the one from the other you do ruin to both; you rob the
one of all spiritual motive and all imaginative joy, you isolate
the other from all real technical perfection. The two greatest
schools of art in the world, the sculptor at Athens and the school
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