| The first excerpt represents the past or something you must release, and is drawn from The Secrets of the Princesse de Cadignan by Honore de Balzac: stab my enemies. Thinking only of my vengeance, I did not see or feel
the wounds I was inflicting on myself. Innocent as a child, I was
thought a wicked woman, the worst of women, and I knew nothing of it!
The world is very foolish, very blind, very ignorant; it can penetrate
no secrets but those which amuse it and serve its malice: noble
things, great things, it puts its hand before its eyes to avoid
seeing. But, as I look back, it seems to me that I had an attitude and
aspect of indignant innocence, with movements of pride, which a great
painter would have recognized. I must have enlivened many a ball with
my tempests of anger and disdain. Lost poesy! such sublime poems are
only made in the glowing indignation which seizes us at twenty. Later,
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Selected Writings of Guy De Maupassant by Guy De Maupassant: "I took my seat at the table beside her, as I had always done.
For the first time, she spoke, drawling out in a loud voice:
" 'Oh! I love nature so much.'
"I offered her some bread, some water, some wine. She now
accepted these with the vacant smile of a mummy. I then began to
converse with her about the scenery.
"After the meal, we rose from the table together and walked
leisurely across the court; then, attracted by the fiery glow
which the setting sun cast over the surface of the sea, I opened
the outside gate which faced in the direction of the Falaise, and
we walked on side by side, as satisfied as any two persons could
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The third excerpt represents the future or something you must embrace, and is drawn from Lady Chatterley's Lover by D. H. Lawrence: really only touch, the closest of all touch. And it's touch we're
afraid of. We're only half-conscious, and half alive. We've got to come
alive and aware. Especially the English have got to get into touch with
one another, a bit delicate and a bit tender. It's our crying need.'
She looked at him.
'Then why are you afraid of me?' she said.
He looked at her a long time before he answered.
'It's the money, really, and the position. It's the world in you.'
'But isn't there tenderness in me?' she said wistfully.
He looked down at her, with darkened, abstract eyes.
'Ay! It comes an' goes, like in me.'
Lady Chatterley's Lover |
