| The first excerpt represents the past or something you must release, and is drawn from Essays & Lectures by Oscar Wilde: remember that art has only one sentence to utter: there is for her
only one high law, the law of form or harmony - yet between the
classical and romantic spirit we may say that there lies this
difference at least, that the one deals with the type and the other
with the exception. In the work produced under the modern romantic
spirit it is no longer the permanent, the essential truths of life
that are treated of; it is the momentary situation of the one, the
momentary aspect of the other that art seeks to render. In
sculpture, which is the type of one spirit, the subject
predominates over the situation; in painting, which is the type of
the other, the situation predominates over the subject.
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Padre Ignacio by Owen Wister: to go, I think." For the vessel called for mail and certain boxes that
the mission sent away. Felipe left the room in wonder at the Padre's
manner. But the priest was laughing secretly to see how little it was to
him where the barkentine was, or whether it should be coming or going.
But in the afternoon, at his piano, he found himself saying, "Other
ships call here, at any rate." And then for the first time he prayed to
be delivered from his thoughts. Yet presently he left his seat and looked
out of the window for a sight of the barkentine; but it was gone.
The season of the wine-making passed, and the preserving of all the
fruits that the mission fields grew. Lotions and medicines was distilled
from garden herbs. Perfume was manufactured from the petals of flowers
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The third excerpt represents the future or something you must embrace, and is drawn from Ion by Plato: exhorting his soldiers?
ION: Yes, that is the sort of thing which the rhapsode will be sure to
know.
SOCRATES: Well, but is the art of the rhapsode the art of the general?
ION: I am sure that I should know what a general ought to say.
SOCRATES: Why, yes, Ion, because you may possibly have a knowledge of the
art of the general as well as of the rhapsode; and you may also have a
knowledge of horsemanship as well as of the lyre: and then you would know
when horses were well or ill managed. But suppose I were to ask you: By
the help of which art, Ion, do you know whether horses are well managed, by
your skill as a horseman or as a performer on the lyre--what would you
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