| The first excerpt represents the past or something you must release, and is drawn from Massimilla Doni by Honore de Balzac: this land--pitied for its fallen state by traveled simpletons and
hypocritical poets, while its character is traduced by politicians--in
this land, which appears so languid, powerless, and ruinous, worn out
rather than old, there are puissant brains in every branch of life,
genius throwing out vigorous shoots as an old vine-stock throws out
canes productive of delicious fruit. This race of ancient rulers still
gives birth to kings--Lagrange, Volta, Rasori, Canova, Rossini,
Bartolini, Galvani, Vigano, Beccaria, Cicognara, Corvetto. These
Italians are masters of the scientific peaks on which they stand, or
of the arts to which they devote themselves. To say nothing of the
singers and executants who captivate Europe by their amazing
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Secret Adversary by Agatha Christie: danger-zone was passed. Fear had successfully hypnotized the man
by his side.
"Get in," he ordered. Then as he caught the other's sidelong
glance, "No, the chauffeur won't help you any. Naval man. Was on
a submarine in Russia when the Revolution broke out. A brother of
his was murdered by your people. George!"
"Yes, sir?" The chauffeur turned his head.
"This gentleman is a Russian Bolshevik. We don't want to shoot
him, but it may be necessary. You understand?"
"Perfectly, sir."
"I want to go to Gatehouse in Kent. Know the road at all?"
Secret Adversary |
The third excerpt represents the future or something you must embrace, and is drawn from Essays & Lectures by Oscar Wilde: may be called the semi-historical, and which goes by the name of
Euhemeros, though he was by no means the first to propound it.
Appealing to a fictitious monument which he declared that he had
discovered in the island of Panchaia, and which purported to be a
column erected by Zeus, and detailing the incidents of his reign on
earth, this shallow thinker attempted to show that the gods and
heroes of ancient Greece were 'mere ordinary mortals, whose
achievements had been a good deal exaggerated and misrepresented,'
and that the proper canon of historical criticism as regards the
treatment of myths was to rationalise the incredible, and to
present the plausible residuum as actual truth.
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