| The first excerpt represents the past or something you must release, and is drawn from Rezanov by Gertrude Atherton: hope of siesta, when Malia (Rosa had been sent to
the house of Don Mario Sal in the valley) entered
with the message that she was to accompany her
parents to the Mission at once. She rose sullenly,
but in the manifold essentials of a girl's life she
had always yielded the implicit obedience exacted
by the Californian parent. In a few moments she
was riding out of the Presidio beside her father.
Dona Ignacia jolted behind in her carreta, a low and
clumsy vehicle, on solid wheels and springless,
drawn by oxen, and driven by a stable-boy on a
Rezanov |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Macbeth by William Shakespeare: He could not misse 'em. Had he not resembled
My Father as he slept, I had don't.
My Husband?
Macb. I haue done the deed:
Didst thou not heare a noyse?
Lady. I heard the Owle schreame, and the Crickets cry.
Did not you speake?
Macb. When?
Lady. Now
Macb. As I descended?
Lady. I
Macbeth |
The third excerpt represents the future or something you must embrace, and is drawn from Pagan and Christian Creeds by Edward Carpenter: as the Aztecs of the sixteenth century A.D. and the Babylonians
perhaps of the sixteenth century B.C. But we know
that this subject of the yearly sacrifice of a victim
attired as a king or god is one that Dr. Frazer has especially
made his own, and for further information on it his classic
work should be consulted.
[1] Golden Bough, "The Dying God," p. 114. See also S. Reinach,
Cults, Myths and Religion, p. 94) on the martyrdom of St. Dasius.
Andrew Lang also, with regard to the Aztecs, quotes
largely from Sahagun, and summarizes his conclusions in
the following passage: "The general theory of worship was
Pagan and Christian Creeds |
