| The first excerpt represents the past or something you must release, and is drawn from Lin McLean by Owen Wister: A girl's eyes will mostly beat a man's."
"Indeed, I don't think so!" exclaimed poor Sabina, too much expectant to
perceive the fatal note of routine with which her transient admirer
pronounced this gallantry. He informed her that hers were like the sea,
and she told him she had not yet looked upon the sea.
"Never?" said he. "It's a turruble pity you've never saw salt water. It's
different from fresh. All around home it's blue--awful blue in July--
around Swampscott and Marblehead and Nahant, and around the islands. I've
swam there lots. Then our home bruck up and we went to board in Boston."
He snapped off a flower in reach of his long arm. Suddenly all dreaminess
left him.
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Twilight Land by Howard Pyle: say, for it is verily so that that which men call--love--is--the--salt--of--" * * *
His voice had been fading away thinner and thinner and smaller
and smaller--now it was like the shadow of a voice; now it
trembled and quivered out into silence and was gone.
And with the voice of old Bidpai the pleasant Land of Twilight
was also gone. As a breath fades away from a mirror, so had it
faded and vanished into nothingness.
I opened my eyes.
There was a yellow light--it came from the evening lamp. There
were people of flesh and blood around--my own dear people--and
they were talking together. There was the library with the rows
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The third excerpt represents the future or something you must embrace, and is drawn from Essays & Lectures by Oscar Wilde: analysis of one of the stages through which all imaginative work
has to pass; and in Keats's longing to be 'able to compose without
this fever' (I quote from one of his letters), his desire to
substitute for poetic ardour 'a more thoughtful and quiet power,'
we may discern the most important moment in the evolution of that
artistic life. The question made an early and strange appearance
in your literature too; and I need not remind you how deeply the
young poets of the French romantic movement were excited and
stirred by Edgar Allan Poe's analysis of the workings of his own
imagination in the creating of that supreme imaginative work which
we know by the name of THE RAVEN.
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