| The first excerpt represents the past or something you must release, and is drawn from A Tramp Abroad by Mark Twain: stand there, and without perceptible emotion of any kind,
or any emphasis on any syllable, you look blandly into each
other's eyes, and hold the following idiotic conversation:
"How much?"
"NACH BELIEBE."
"How much?"
"NACH BELIEBE."
"How much?"
"NACH BELIEBE."
"How much?"
"NACH BELIEBE."
|
The second excerpt represents the present or the deciding factor of the moment, and is drawn from An Episode Under the Terror by Honore de Balzac: lack of intelligence, she did not dare to speak or to look at him. She
went slowly on; the man slackened his pace and fell behind so that he
could still keep her in sight. He might have been her very shadow.
Nine o'clock struck as the silent man and woman passed again by the
Church of Saint Laurent. It is in the nature of things that calm must
succeed to violent agitation, even in the weakest soul; for if feeling
is infinite, our capacity to feel is limited. So, as the stranger lady
met with no harm from her supposed persecutor, she tried to look upon
him as an unknown friend anxious to protect her. She thought of all
the circumstances in which the stranger had appeared, and put them
together, as if to find some ground for this comforting theory, and
|
The third excerpt represents the future or something you must embrace, and is drawn from Gambara by Honore de Balzac: it soothing religious thoughts. It is religion that lives in that
beautiful song in E major, with its wonderful harmonic and melodic
progression in the words:
"Car dans les cieux, comme sur la terre,
Sa mere va prier pour lui.
"Here the struggle begins between the unseen powers and the only human
being who has the fire of hell in his veins to enable him to resist
them; and to make this quite clear, as Bertram comes on, the great
musician has given the orchestra a passage introducing a reminiscence
of Raimbaut's ballad. What a stroke of art! What cohesion of all the
parts! What solidity of structure!
Gambara |
