| The first excerpt represents the past or something you must release, and is drawn from Baby Mine by Margaret Mayo: take it. Old slow-poke took it." And she nodded toward the now
utterly vanquished Jimmy.
"That's right," murmured Jimmy, with a weak attempt at sarcasm,
"don't leave me out of anything good."
"It doesn't matter WHICH one she arrests," decided the practical
Aggie.
"Well, it matters to me," objected Zoie.
"And to me too, if it's all the same to you," protested Jimmy.
"Whoever it is," continued Aggie, "the truth is bound to come
out. Alfred will have to know sooner or later, so we might as
well make a clean breast of it, first as last."
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Jerusalem Delivered by Torquato Tasso: That seemed before to tremble and to quake,
Now talked bold, example hath such might;
Each one the battle fierce would undertake,
Now strove they all who should begin the fight;
Baldwin and Roger both, would combat fain,
Stephen, Guelpho, Gernier and the Gerrards twain;
LXVII
And Pyrrhus, who with help of Boemond's sword
Proud Antioch by cunning sleight opprest;
The battle eke with many a lowly word,
Ralph, Rosimond, and Eberard request,
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The third excerpt represents the future or something you must embrace, and is drawn from Albert Savarus by Honore de Balzac: walls of the Grande Chartreuse. Perhaps she dreams of imitating her
grand-uncle by forcing the walls of the monastery to find a husband,
as Watteville broke through those of his monastery to recover his
liberty.
She left Besancon in 1841, intending, it was said, to get married; but
the real reason of this expedition is still unknown, for she returned
home in a state which forbids her ever appearing in society again. By
one of those chances of which the Abbe de Grancey had spoken, she
happened to be on the Loire in a steamboat of which the boiler burst.
Mademoiselle de Watteville was so severely injured that she lost her
right arm and her left leg; her face is marked with fearful scars,
Albert Savarus |
