| The first excerpt represents the past or something you must release, and is drawn from Tristram Shandy by Laurence Sterne: field--a tear of pride stole in betwixt every two tears of humiliation--
else no tongue could have described Susannah's affliction--is not all flesh
grass?--Tis clay,--'tis dirt.--They all looked directly at the scullion,--
the scullion had just been scouring a fish-kettle.--It was not fair.--
--What is the finest face that ever man looked at!--I could hear Trim talk
so for ever, cried Susannah,--what is it! (Susannah laid her hand upon
Trim's shoulder)--but corruption?--Susannah took it off.
Now I love you for this--and 'tis this delicious mixture within you which
makes you dear creatures what you are--and he who hates you for it--all I
can say of the matter is--That he has either a pumpkin for his head--or a
pippin for his heart,--and whenever he is dissected 'twill be found so.
|
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Mountains by Stewart Edward White: of their environment; only gradually do the subtle
influences of the great forest steal in on your dulled
faculties to flow over them in a tide that rises
imperceptibly. You glide as gently from the artificial to
the natural life as do the forest shadows from night
to day. But at the other end the affair is different.
There you awake on the appointed morning in complete
resumption of your old attitude of mind. The
tide of nature has slipped away from you in the night.
Then you arise and do the most wonderful of your
wilderness traveling. On those days you look back
|
The third excerpt represents the future or something you must embrace, and is drawn from The Perfect Wagnerite: A Commentary on the Niblung's Ring by George Bernard Shaw: orchestra whenever he steps on the stage. Sometimes we have the
Valhalla theme used to express the greatness of the gods as an
idea of Wotan's. Again, we have his spear, the symbol of his
power, identified with another theme, on which Wagner finally
exercises his favorite device by making it break and fail, cut
through, as it were, by the tearing sound of the theme identified
with the sword, when Siegfried shivers the spear with the stroke
of Nothung. Yet another theme connected with Wotan is the
Wanderer music which breaks with such a majestic reassurance on
the nightmare terror of Mimmy when Wotan appears at the mouth of
his cave in the scene of the three riddles. Thus not only are
|
