| The first excerpt represents the past or something you must release, and is drawn from The Call of the Wild by Jack London: would often seize Thornton's hand in his mouth and close so
fiercely that the flesh bore the impress of his teeth for some
time afterward. And as Buck understood the oaths to be love
words, so the man understood this feigned bite for a caress.
For the most part, however, Buck's love was expressed in
adoration. While he went wild with happiness when Thornton
touched him or spoke to him, he did not seek these tokens. Unlike
Skeet, who was wont to shove her nose under Thornton's hand and
nudge and nudge till petted, or Nig, who would stalk up and rest
his great head on Thornton's knee, Buck was content to adore at a
distance. He would lie by the hour, eager, alert, at Thornton's
|
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Egmont by Johann Wolfgang Von Goethe: Silva, Gomez, (in the service of Alva)
Clara, (the Beloved of Egmont)
Her Mother
Brackenburg, (a Citizen's Son), and Vansen, (a Clerk)
Soest, (a Shopkeeper), Jetter, (a Tailor), A Carpenter, A Soapboiler
(Citizens of Brussels)
Buyck, (a Hollander), a Soldier under Egmont
Ruysum, (a Frieslander), an invalid Soldier, and deaf
People, Attendants, Guards, &c.
The Scene is laid in Brussels.
ACT I
Egmont |
The third excerpt represents the future or something you must embrace, and is drawn from The Divine Comedy (translated by Henry Wadsworth Longfellow) by Dante Alighieri: And he to me: "Because thou fixest still
Thy mind entirely upon earthly things,
Thou pluckest darkness from the very light.
That goodness infinite and ineffable
Which is above there, runneth unto love,
As to a lucid body comes the sunbeam.
So much it gives itself as it finds ardour,
So that as far as charity extends,
O'er it increases the eternal valour.
And the more people thitherward aspire,
More are there to love well, and more they love there,
The Divine Comedy (translated by Henry Wadsworth Longfellow) |
