|The first excerpt represents the past or something you must release, and is drawn from A Tramp Abroad by Mark Twain:
to follow is feminine, and writes it down thus: "die
Engla"nderinn,"--which means "the she-Englishwoman."
I consider that that person is over-described.
Well, after the student has learned the sex of a great
number of nouns, he is still in a difficulty, because he
finds it impossible to persuade his tongue to refer
to things as "he" and "she," and "him" and "her," which
it has been always accustomed to refer to it as "it."
When he even frames a German sentence in his mind,
with the hims and hers in the right places, and then works
up his courage to the utterance-point, it is no use--
|The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Ball at Sceaux by Honore de Balzac:
old territorial fortune of the family. The Countess yielded to such
cogent arguments, as every mother would have done in her place, though
perhaps with a better grace; but she declared that Emilie, at any
rate, should marry in such a way as to satisfy the pride she had
unfortunately contributed to foster in the girl's young soul.
Thus events, which ought to have brought joy into the family, had
introduced a small leaven of discord. The Receiver-General and the
young lawyer were the objects of a ceremonious formality which the
Countess and Emilie contrived to create. This etiquette soon found
even ampler opportunity for the display of domestic tyranny; for
Lieutenant-General de Fontaine married Mademoiselle Mongenod, the
|The third excerpt represents the future or something you must embrace, and is drawn from The Amazing Interlude by Mary Roberts Rinehart:
"I shall never forget it."
"And the young officer who ran out when I did, and shot the poor thing?"
Mr. Travers remembered.
"That was he - the man we have been speaking of."
For the first time that day her eyes filled with tears.
Sara Lee, at twenty, was already living in her memories.
So again the lights went down in front, and the back drop became but a
veil, and invisible. And to Sara Lee there came back again some of the
characters of the early mise en scene - marching men, forage wagons,
squadrons of French cavalry escorting various staffs, commandeered farm
horses with shaggy fetlocks fastened in rope corrals, artillery rumbling