| The first excerpt represents the past or something you must release, and is drawn from The Alkahest by Honore de Balzac: wars that had laid waste the country, but which in ten years' time, if
well-preserved, would return an enormous value.
The upper ranks of society in Douai, which Monsieur Claes frequented,
appreciated so justly the noble character and qualities of his wife
that, by tacit consent she was released from those social duties to
which the provinces cling so tenaciously. During the winter season,
when she lived in town, she seldom went into society; society came to
her. She received every Wednesday, and gave three grand dinners every
month. Her friends felt that she was more at ease in her own house;
where, indeed, her passion for her husband and the care she bestowed
on the education of her children tended to keep her.
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Long Odds by H. Rider Haggard: as wicked as it is possible to conceive. Slowly I stepped backwards,
trying to push in the new case, and as I did so she moved on in little
runs, dropping down after each run. The danger was imminent, and the
case would not go in. At the moment I oddly enough thought of the
cartridge maker, whose name I will not mention, and earnestly hoped that
if the lion got _me_ some condign punishment would overtake _him._ It
would not go in, so I tried to pull it out. It would not come out
either, and my gun was useless if I could not shut it to use the other
barrel. I might as well have had no gun.
"Meanwhile I was walking backward, keeping my eye on the lioness, who
was creeping forward on her belly without a sound, but lashing her tail
Long Odds |
The third excerpt represents the future or something you must embrace, and is drawn from Charmides by Plato: And still a caution has to be added on the other side, that we must avoid
giving it a numerical or mechanical character.
(3) This, however, is not one of the greatest difficulties of the
translator; much greater is that which arises from the restriction of the
use of the genders. Men and women in English are masculine and feminine,
and there is a similar distinction of sex in the words denoting animals;
but all things else, whether outward objects or abstract ideas, are
relegated to the class of neuters. Hardly in some flight of poetry do we
ever endue any of them with the characteristics of a sentient being, and
then only by speaking of them in the feminine gender. The virtues may be
pictured in female forms, but they are not so described in language; a ship
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