| The first excerpt represents the past or something you must release, and is drawn from An International Episode by Henry James: So she was not haunted with the sense of a vulgar imputation.
She was not in love with Lord Lambeth--she assured herself of that.
It will immediately be observed that when such assurances become
necessary the state of a young lady's affections is already ambiguous;
and, indeed, Bessie Alden made no attempt to dissimulate--to herself,
of course--a certain tenderness that she felt for the young nobleman.
She said to herself that she liked the type to which he belonged--
the simple, candid, manly, healthy English temperament.
She spoke to herself of him as women speak of young men they like--
alluded to his bravery (which she had never in the least seen
tested), to his honesty and gentlemanliness, and was not silent
|
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Rise and Fall of Cesar Birotteau by Honore de Balzac: mute grief and resignation made a deep impression on his uncle, who
often heard him at night, through the partition, crying out to
himself, "Never! never! I will die sooner."
Pillerault, a strong man,--strong through the simplicity of his life,
--was able to understand weakness. He resolved to spare Cesar the
anguish of appearing before his creditors,--a terrible scene which the
law renders inevitable, and to which, indeed, he might succumb. On
this point the law is precise, formal, and not to be evaded. The
merchant who refused to appear would, for that act alone, be brought
before the criminal police courts. But though the law compels the
bankrupt to appear, it has no power to oblige the creditor to do so. A
Rise and Fall of Cesar Birotteau |
The third excerpt represents the future or something you must embrace, and is drawn from The Cavalry General by Xenophon: of an ever rapidly moving stream of cavaliers; and the horses having,
each in turn, the opportunity to recover breath, will not be overdone.
[14] {dokimasiais}, reviews and inspections. See A. Martin, op. cit.
p. 333.
[15] Where? Some think in a lost passage of the work (see Courier, p.
111, n. 1); or is the reference to ch. ii. above? and is the scene
of the {dokimasiai} Phaleron? There is no further refernece to {ta
Phaleroi}. Cf. S. 1, above. See Aristot. "Ath. Pol." 49 (now the
locus classicus on the subject), and Dr. Sandys ad loc. The scene
is represented on a patera from Orvieto, now in the Berlin Museum,
reproduced and fully described in "The Art of Horsemanship by
|
