| The first excerpt represents the past or something you must release, and is drawn from The Land of Footprints by Stewart Edward White: chivied about that he finally left the district to avoid killing
any more of the brutes in self-defence!
The fact of the matter is that the rhinoceros is neither animated
by the implacable man-destroying passion ascribed to him by the
amateur hunter, nor is he so purposeless and haphazard in his
rushes as some would have us believe. On being disturbed his
instinct is to get away. He generally tries to get away in the
direction of the disturbance, or upwind, as the case may be. If
he catches sight of the cause of disturbance he is apt to try to
trample and gore it, whatever it is. As his sight is short, he
will sometimes so inflict punishment on unoffending bushes. In
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Elizabeth and her German Garden by Marie Annette Beauchamp: The passion for being for ever with one's fellows, and the fear of
being left for a few hours alone, is to me wholly incomprehensible.
I can entertain myself quite well for weeks together, hardly aware,
except for the pervading peace, that I have been alone at all.
Not but what I like to have people staying with me for a few days,
or even for a few weeks, should they be as anspruchslos as I am myself,
and content with simple joys; only, any one who comes here and would
be happy must have something in him; if he be a mere blank creature,
empty of head and heart, he will very probably find it dull.
I should like my house to be often <36> full if I could find people
capable of enjoying themselves. They should be welcomed and sped
Elizabeth and her German Garden |
The third excerpt represents the future or something you must embrace, and is drawn from Memories and Portraits by Robert Louis Stevenson: entirely mean and partly impious. So with Dumas. Chastity is not
near his heart; nor yet, to his own sore cost, that virtue of
frugality which is the armour of the artist. Now, in the VICOMTE,
he had much to do with the contest of Fouquet and Colbert.
Historic justice should be all upon the side of Colbert, of
official honesty, and fiscal competence.
And Dumas knew it well: three times at least he shows his
knowledge; once it is but flashed upon us and received with the
laughter of Fouquet himself, in the jesting controversy in the
gardens of Saint Mande; once it is touched on by Aramis in the
forest of Senart; in the end, it is set before us clearly in one
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