| The first excerpt represents the past or something you must release, and is drawn from Nana, Miller's Daughter, Captain Burle, Death of Olivier Becaille by Emile Zola: full force of the downpour. With drenched hands she began gathering
the fruit among the leaves. But Zoe in the meantime brought no
plate, and when the young woman rose to her feet again she was
frightened. She thought she had seen a shadow close to her.
"It's some beast!" she screamed.
But she stood rooted to the path in utter amazement. It was a man,
and she recognized him.
"Gracious me, it's Baby! What ARE you doing there, baby?"
"'Gad, I've come--that's all!" replied Georges.
Her head swam.
"You knew I'd come through the gardener telling you? Oh, that poor
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Chouans by Honore de Balzac: have distinguished him from the tangle of branches of which he seemed
a part. Madame du Gua looked about her with some distrust; she saw the
postilion leading his horses to a stable in the wing of the chateau
which was opposite to the bank where Marche-a-Terre was hiding;
Francine, with her back to her, was going towards the two lovers, who
at that moment had forgotten the whole earth. Madame du Gua, with a
finger on her lip to demand silence, walked towards the Chouan, who
guessed rather than heard her question, "How many of you are here?"
"Eighty-seven."
"They are sixty-five; I counted them."
"Good," said the savage, with sullen satisfaction.
The Chouans |
The third excerpt represents the future or something you must embrace, and is drawn from Mrs. Warren's Profession by George Bernard Shaw: compliments which every successful farce or melodrama elicits
from the newspapers. Give me that critic who rushed from my play
to declare furiously that Sir George Crofts ought to be kicked.
What a triumph for the actor, thus to reduce a jaded London
journalist to the condition of the simple sailor in the Wapping
gallery, who shouts execrations at Iago and warnings to Othello
not to believe him! But dearer still than such simplicity is
that sense of the sudden earthquake shock to the foundations of
morality which sends a pallid crowd of critics into the street
shrieking that the pillars of society are cracking and the ruin
of the State is at hand. Even the Ibsen champions of ten years
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