| The first excerpt represents the past or something you must release, and is drawn from Twenty Years After by Alexandre Dumas: about it -- that I once sold to Monsieur des Essarts and of
which, I don't know how, she has regained possession."
"But it seems to me," said Porthos, "that she would have
done much better if she had given it back to you."
"So I think," replied D'Artagnan; "but kings and queens are
strange beings and have odd fancies; nevertheless, since
they are the ones who have riches and honors, we are devoted
to them."
"Yes, we are devoted to them," repeated Porthos; "and you --
to whom are you devoted now?"
"To the king, the queen, and to the cardinal; moreover, I
Twenty Years After |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Lucile by Owen Meredith: And, thank Heaven, those tiresome people are gone!"
III.
Through the deep blue concave of the luminous air,
Large, loving, and languid, the stars here and there,
Like the eyes of shy passionate women, look'd down
O'er the dim world whose sole tender light was their own,
When Matilda, alone, from her chamber descended,
And enter'd the garden, unseen, unattended.
Her forehead was aching and parch'd, and her breast
By a vague inexpressible sadness oppress'd:
A sadness which led her, she scarcely knew how,
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The third excerpt represents the future or something you must embrace, and is drawn from The Alkahest by Honore de Balzac: existence, passion, like a great artist, is compelled to go beyond the
mark, to exaggerate, as did Michael Angelo, Bianca Capello,
Mademoiselle de la Valliere, Beethoven, and Paganini. Far-seeing minds
alone disapprove such excess, and respect only the energy represented
by a finished execution whose perfect quiet charms superior men. The
life of this essentially thrifty people amply fulfils the conditions
of happiness which the masses desire as the lot of the average
citizen.
A refined materialism is stamped on all the habits of Flemish life.
English comfort is harsh in tone and arid in color; whereas the old-
fashioned Flemish interiors rejoice the eye with their mellow tints,
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