| The first excerpt represents the past or something you must release, and is drawn from Baby Mine by Margaret Mayo: then she arranged the ribbons of her negligee to fall
"carelessly" outside the coverlet, threw one arm gracefully above
her head, half-closed her eyes, and sank languidly back against
her pillows.
"How's that?" she breathed faintly.
Controlling her impulse to smile, Aggie crossed to the
dressing-table with a business-like air and applied to Zoie's
pink cheeks a third coating of powder.
Zoie sat bolt upright and began to sneeze. "Aggie," she said, "I
just hate you when you act like that." But suddenly she was
seized with a new idea.
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Two Brothers by Honore de Balzac: window, "you now belong to the family. Thanks to me, the law has tied
the knot. Now, no nonsense. I intend that you and I should play above
board. I know the tricks you will try against me; and I shall watch
you like a duenna. You will never go out of this house except on my
arm; and you will never leave me. As to what passes within the house,
damn it, you'll find me like a spider in the middle of his web. Here
is something," he continued, showing the bewildered woman a letter,
"which will prove to you that I could, while you were lying ill
upstairs, unable to move hand or foot, have turned you out of doors
without a penny. Read it."
He gave her the letter.
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The third excerpt represents the future or something you must embrace, and is drawn from Pagan and Christian Creeds by Edward Carpenter: learned Germans even speak of TWO Pauls.[1] But also the
thing is quite natural. There can be little doubt that
Paul of Tarsus, a Jew brought up in the strictest sect of
the Pharisees, did at some time fall deeply under the influence
of Greek thought, and quite possibly became an initiate
in the Mysteries. It would be difficult otherwise to account
for his constant use of the Mystery-language. Reitzenstein
says (p. 59): "The hellenistic religious literature MUST have
been read by him; he uses its terms, and is saturated with
its thoughts (see Rom. vi. 1-14." And this conjoined with
his Jewish experience gave him creative power. "A great deal
Pagan and Christian Creeds |
