| The first excerpt represents the past or something you must release, and is drawn from Chance by Joseph Conrad: be simply stupid. But she is never dense. She's never made of wood
through and through as some men are. There is in woman always,
somewhere, a spring. Whatever men don't know about women (and it
may be a lot or it may be very little) men and even fathers do know
that much. And that is why so many men are afraid of them.
Mr. Smith I believe was afraid of his daughter's quietness though of
course he interpreted it in his own way.
He would, as Mr. Powell depicts, sit on the skylight and bend over
the reclining girl, wondering what there was behind the lost gaze
under the darkened eyelids in the still eyes. He would look and
look and then he would say, whisper rather, it didn't take much for
Chance |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Age of Innocence by Edith Wharton: whom she liked as much, no one whom she trusted as
completely, and the culminating "lark" of the whole
delightful adventure of engagement and marriage was
to be off with him alone on a journey, like a grownup
person, like a "married woman," in fact.
It was wonderful that--as he had learned in the
Mission garden at St. Augustine--such depths of feeling
could coexist with such absence of imagination. But
he remembered how, even then, she had surprised him
by dropping back to inexpressive girlishness as soon as
her conscience had been eased of its burden; and he
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The third excerpt represents the future or something you must embrace, and is drawn from Adieu by Honore de Balzac: he forgot nothing that might recall that most awful of all scenes, and
he succeeded.
Toward the last of December, when the snow had covered with its thick,
white mantle all his imitative preparations, he recognized the
Beresina. This false Russia was so terribly truthful, that several of
his army comrades recognized the scene of their past misery at once.
Monsieur de Sucy took care to keep secret the motive for this tragic
imitation, which was talked of in several Parisian circles as a proof
of insanity.
Early in January, 1820, the colonel drove in a carriage, the very
counterpart of the one in which he had driven the Comte and Comtesse
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