| The first excerpt represents the past or something you must release, and is drawn from Father Damien by Robert Louis Stevenson: the lips of Protestants who had opposed the father in his life.
Yet I am strangely deceived, or they build up the image of a man,
with all his weakness, essentially heroic, and alive with rugged
honesty, generosity, and mirth.
Take it for what it is, rough private jottings of the worst sides
of Damien's character, collected from the lips of those who had
laboured with and (in your own phrase) "knew the man"; - though I
question whether Damien would have said that he knew you. Take it,
and observe with wonder how well you were served by your gossips,
how ill by your intelligence and sympathy; in how many points of
fact we are at one, and how widely our appreciations vary. There
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Elizabeth and her German Garden by Marie Annette Beauchamp: far overhead the crowns of softest gray-green, and underfoot a bright
green wortleberry carpet, and everywhere the breathless silence;
and the bare heaths are beautiful too, for one can see across them
into eternity almost, and to go out on to them with one's face
towards the setting sun is like going into the very presence of God.
In the middle of this plain is the oasis of birdcherries and greenery
where I spend my happy days, and in the middle of the oasis is the gray
stone house with many gables where I pass my reluctant nights.
The house is very old, and has been added to at various times.
It was a convent before the Thirty Years' War, and the vaulted chapel,
with its brick floor worn by pious peasant knees, is now used as a hall.
Elizabeth and her German Garden |
The third excerpt represents the future or something you must embrace, and is drawn from The Aspern Papers by Henry James: of her reminiscences struck one as an old world altogether.
If she had not been so decent her references would have seemed
to carry one back to the queer rococo Venice of Casanova.
I found myself falling into the error of thinking of her too
as one of Jeffrey Aspern's contemporaries; this came from her
having so little in common with my own. It was possible,
I said to myself, that she had not even heard of him;
it might very well be that Juliana had not cared to lift even
for her the veil that covered the temple of her youth. In this
case she perhaps would not know of the existence of the papers,
and I welcomed that presumption--it made me feel more safe with her--
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