| The first excerpt represents the past or something you must release, and is drawn from One Basket by Edna Ferber: partner. Mrs. Baldwin never knew about these evenings.
It was on one of these occasions that Aunt Sophy, coming
unexpectedly into the living room from the kitchen, where she and
Adele were foraging for refreshments after the game, beheld Julia
Gold and Eugene, arms clasped about each other, cheek to cheek.
They started up as she came in and faced her, the woman
defiantly, the boy bravely. Julia Gold was thirty (with
reservations) at that time, and the boy not quite twenty-one.
"How long?" said Aunt Sophy, quietly. She had a mayonnaise
spoon and a leaf of lettuce in her hand then, and still she did
One Basket |
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: confusing; and, as you know, I do not like confusion."
Before I could reply, one of the other Belgians opened the door
and stuck his head in.
"There is a lady below, asking for Mr Hastings."
"A lady?"
I jumped up. Poirot followed me down the narrow stairs. Mary
Cavendish was standing in the doorway.
"I have been visiting an old woman in the village," she
explained, "and as Lawrence told me you were with Monsieur Poirot
I thought I would call for you."
"Alas, madame," said Poirot, "I thought you had come to honour me
The Mysterious Affair at Styles |
The third excerpt represents the future or something you must embrace, and is drawn from Mrs. Warren's Profession by George Bernard Shaw: luxuriousness of the clever ones, and the sulky sense of
disadvantaged weakness in the sentimental ones, will clear away;
and it will be seen that only in the problem play is there any
real drama, because drama is no mere setting up of the camera to
nature: it is the presentation in parable of the conflict between
Man's will and his environment: in a word, of problem. The
vapidness of such drama as the pseudo-operatic plays contain lies
in the fact that in them animal passion, sentimentally diluted,
is shewn in conflict, not with real circumstances, but with a set
of conventions and assumptions half of which do not exist off the
stage, whilst the other half can either be evaded by a pretence
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