| The first excerpt represents the past or something you must release, and is drawn from Records of a Family of Engineers by Robert Louis Stevenson: opportunity to observe my father. He would pass hours on the
beach, brooding over the waves, counting them, noting their
least deflection, noting when they broke. On Tweedside, or by
Lyne or Manor, we have spent together whole afternoons; to me,
at the time, extremely wearisome; to him, as I am now sorry to
think, bitterly mortifying. The river was to me a pretty and
various spectacle; I could not see - I could not be made to
see - it otherwise. To my father it was a chequer-board of
lively forces, which he traced from pool to shallow with
minute appreciation and enduring interest. 'That bank was
being under-cut,' he might say. `Why? Suppose you were to
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Mysterious Affair at Styles by Agatha Christie: these two there existed very little sympathy. For the first
time, it occurred to me to wonder about the girl's future. Mrs.
Inglethorp had made no provisions of any kind for her, but I
imagined that John and Mary would probably insist on her making
her home with them--at any rate until the end of the war. John,
I knew, was very fond of her, and would be sorry to let her go.
John, who had gone into the house, now reappeared. His
good-natured face wore an unaccustomed frown of anger.
"Confound those detectives! I can't think what they're after!
They've been in every room in the house--turning things inside
out, and upside down. It really is too bad! I suppose they took
The Mysterious Affair at Styles |
The third excerpt represents the future or something you must embrace, and is drawn from The New Machiavelli by H. G. Wells: sort of man who leads a narrow life. . . . But you've been
something fine and good for me, since that time, do you remember?
when we talked about Mecca together."
I nodded.
"Yes. And you'll always be something fine and good for me anyhow.
I know things about you,--qualities--no mere act can destroy them. .
. . Well, I can tell you, you're doing wrong. You're going on now
like a man who is hypnotised and can't turn round. You're piling
wrong on wrong. It was wrong for you two people ever to be lovers."
He paused.
"It gripped us hard," I said.
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