| The first excerpt represents the past or something you must release, and is drawn from The Mayor of Casterbridge by Thomas Hardy: also look for a cottage."
"If the lodgings are in High Street they are dear, I
suppose?"
"Never mind--you MUST start genteel if our plan is to be
carried out. Look to me for money. Have you enough till I
come back?"
"Quite," said she.
"And are you comfortable at the inn?"
"O yes."
"And the girl is quite safe from learning the shame of her
case and ours?--that's what makes me most anxious of all."
The Mayor of Casterbridge |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Reef by Edith Wharton: a chair by the table and sat gazing at the dingy drab and
olive pattern of the carpet. She had not written, then; she
had not written, and it was manifest now that she did not
mean to write. If she had had any intention of explaining
her telegram she would certainly, within twenty-four hours,
have followed it up by a letter. But she evidently did not
intend to explain it, and her silence could mean only that
she had no explanation to give, or else that she was too
indifferent to be aware that one was needed.
Darrow, face to face with these alternatives, felt a
recrudescence of boyish misery. It was no longer his hurt
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The third excerpt represents the future or something you must embrace, and is drawn from The Research Magnificent by H. G. Wells: possession and control of a motor-car of exceptional power. Only
one might smash people up. Should an aristocrat be deterred by the
fear of smashing people up? If it is a selfish fear of smashing
people up, if it is nerves rather than pity? At any rate it did not
come to the car.
6
Among other things that delayed Benham very greatly in the
development of his aristocratic experiments was the advice that was
coming to him from every quarter. It came in extraordinary variety
and volume, but always it had one unvarying feature. It ignored and
tacitly contradicted his private intentions.
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