| The first excerpt represents the past or something you must release, and is drawn from The Mansion by Henry van Dyke: Early-Victorian-Christian. His country house at
Dulwich-on-the-Sound
was a palace of the Italian Renaissance. But in town
he adhered to an architecture which had moral associations,
the Nineteenth-Century-Brownstone epoch. It was a symbol of
his social position, his religious doctrine, and even, in a way,
of his business creed.
"A man of fixed principles," he would say, "should express them
in
the looks of his house. New York changes its domestic
architecture
|
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Man against the Sky by Edwin Arlington Robinson: He may, by seeing all things for the best,
Incite futurity to do the rest.
Or with an even likelihood,
He may have met with atrabilious eyes
The fires of time on equal terms and passed
Indifferently down, until at last
His only kind of grandeur would have been,
Apparently, in being seen.
He may have had for evil or for good
No argument; he may have had no care
For what without himself went anywhere
|
The third excerpt represents the future or something you must embrace, and is drawn from Albert Savarus by Honore de Balzac: has begun to carve the wood."
"Berquet is to make a cellar under it," said an Abbe.
"No," replied young Monsieur de Soulas, "he is raising the kiosk on a
concrete foundation, that it may not be damp."
"You know the very least things that are done in that house," said
Madame de Chavoncourt sourly, as she looked at one of her great girls
waiting to be married for a year past.
Mademoiselle de Watteville, with a little flush of pride in thinking
of the success of her Belvedere, discerned in herself a vast
superiority over every one about her. No one guessed that a little
girl, supposed to be a witless goose, had simply made up her mind to
Albert Savarus |
