| The first excerpt represents the past or something you must release, and is drawn from Rezanov by Gertrude Atherton: turity. Concha had told him of Don Jose Arguello's
ambition that his children in their youth should have
the education he had been forced to acquire in his
manhood; he had taught them himself, and not-
withstanding his piety and the disapproval of the
priests, had permitted them to read the histories,
travels, and biographies he received once a year
from the City of Mexico. Rezanov had met
Madame de Stael and other bas bleus, and given
them no more of his society than politeness de-
manded, but although astonished at the amount of
Rezanov |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Mansion by Henry van Dyke: "here is your name, the record of your title and your possessions
in this place."
"But how could such a house be prepared for me," cried the man,
with a resentful tremor in his voice--"for me, after my
long and faithful service? Is this a suitable mansion for
one so well known and devoted? Why is it so pitifully small and
mean?
Why have you not built it large and fair, like the others?"
"That is all the material you sent us."
"What!"
"We have used all the material that you sent us," repeated the
|
The third excerpt represents the future or something you must embrace, and is drawn from The Shadow Line by Joseph Conrad: into the dining room, by his screech: "I always
said you'd be the death of me."
This clamour not only overtook me, but went
ahead as it were on to the verandah and brought
out Captain Giles.
He stood before me in the doorway in all the
commonplace solidity of his wisdom. The gold
chain glittered on his breast. He clutched a
smouldering pipe.
I extended my hand to him warmly and he
seemed surprised, but did respond heartily enough
The Shadow Line |
