| The first excerpt represents the past or something you must release, and is drawn from Kenilworth by Walter Scott: for so humble a servant of your Majesty to measure out your
bounties; but if it became me to choose--"
"Thou wouldst have gold, I warrant me," said the Queen,
interrupting him. "Fie, young man! I take shame to say that in
our capital such and so various are the means of thriftless
folly, that to give gold to youth is giving fuel to fire, and
furnishing them with the means of self-destruction. If I live
and reign, these means of unchristian excess shall be abridged.
Yet thou mayest be poor," she added, "or thy parents may be. It
shall be gold, if thou wilt, but thou shalt answer to me for the
use on't."
Kenilworth |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Padre Ignacio by Owen Wister: it in a man like you."
"Do not speak of me at all!" exclaimed the Padre, almost passionately.
"But pray Heaven that you may find the thing yourself some day--
Contentment with Renunciation--and never let it go."
"Amen!" said Gaston, strangely moved.
"That is the whole of my story," the priest continued, with no more of
the recent stress in his voice. "And now I have talked to you about
myself quite enough. But you must have my confession." He had now resumed
entirely his half-playful tone. "I was just a little mistaken, you see--
too self-reliant, perhaps--when I supposed, in my first missionary ardor,
that I could get on without any remembrance of the world at all. I found
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The third excerpt represents the future or something you must embrace, and is drawn from Oscar Wilde Miscellaneous by Oscar Wilde: where it is not prohibited. It is performed throughout Europe, Asia
and America. It is played even in Yiddish. This is remarkable in
view of the many dramas by French and German writers who treat of
the same theme. To none of them, however, is Wilde indebted.
Flaubert, Maeterlinck (some would add Ollendorff) and Scripture, are
the obvious sources on which he has freely drawn for what I do not
hesitate to call the most powerful and perfect of all his dramas.
But on such a point a trustee and executor may be prejudiced because
it is the most valuable asset in Wilde's literary estate. Aubrey
Beardsley's illustrations are too well known to need more than a
passing reference. In the world of art criticism they excited
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