| The first excerpt represents the past or something you must release, and is drawn from Familiar Studies of Men and Books by Robert Louis Stevenson: heart. The position of an adopted son towards his adoptive
father is one full of delicacy; where a man lends his name he
looks for great consideration. And this legacy of Villon's
portion of renown may be taken as the mere fling of an
unregenerate scapegrace who has wit enough to recognise in
his own shame the readiest weapon of offence against a prosy
benefactor's feelings. The gratitude of Master Francis
figures, on this reading, as a frightful MINUS quantity. If,
on the other hand, those jests were given and taken in good
humour, the whole relation between the pair degenerates into
the unedifying complicity of a debauched old chaplain and a
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Uncle Tom's Cabin by Harriet Beecher Stowe: that passed them in their sad journey.
Simon rode on, however, apparently well pleased, occasionally
pulling away at a flask of spirit, which he kept in his pocket.
"I say, _you!_" he said, as he turned back and caught a
glance at the dispirited faces behind him. "Strike up a song,
boys,--come!"
The men looked at each other, and the "_come_" was repeated,
with a smart crack of the whip which the driver carried in
his hands. Tom began a Methodist hymn.
"Jerusalem, my happy home,
Name ever dear to me!
Uncle Tom's Cabin |
The third excerpt represents the future or something you must embrace, and is drawn from Songs of Innocence and Experience by William Blake: Struggling in my father's hands,
Striving against my swaddling bands,
Bound and weary, I thought best
To sulk upon my mother's breast.
A POISON TREE
I was angry with my friend:
I told my wrath, my wrath did end.
I was angry with my foe:
I told it not, my wrath did grow.
And I watered it in fears
Night and morning with my tears,
Songs of Innocence and Experience |
