| The first excerpt represents the past or something you must release, and is drawn from Babbitt by Sinclair Lewis: mean innuendo you can think of. Who the hell are you that a person like Paul
should have to ask your PERMISSION to go with me? You act like you were a
combination of Queen Victoria and Cleopatra. You fool, can't you see how
people snicker at you, and sneer at you?"
Zilla was sobbing, "I've never--I've never--nobody ever talked to me like this
in all my life!"
"No, but that's the way they talk behind your back! Always! They say you're
a scolding old woman. Old, by God!"
That cowardly attack broke her. Her eyes were blank. She wept. But Babbitt
glared stolidly. He felt that he was the all-powerful official in charge;
that Paul and Mrs. Babbitt looked on him with awe; that he alone could handle
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Stories From the Old Attic by Robert Harris: So he put the new possession into his pocket and once more began his
stroll, still watching the ground.
He had hardly begun to wonder what he might find next, when, there,
just a little way off, he saw a pearl lying in the roadbed.
"Surely," he thought, "nothing is round or shiny exactly like a
pearl, so I could not be mistaken this time." So he began to amble
over without delay. As he came nearer, his joy increased. "Hee
hee!" the old man laughed, before stifling his mirth lest he call
attention to himself and bring competitors for his newfound
treasure. He even paused a moment and looked around to see if
anyone had noticed him or the pearl.
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The third excerpt represents the future or something you must embrace, and is drawn from The Soul of the Far East by Percival Lowell: which might be introduced with great effect in painting, being here
practically beyond the artist's reach. Secondly, the material being
of uniform appearance, as a rule, color, or even shading, vital
points in landscape portrayal, is out of the question, unless the
piece were subsequently painted, as in Grecian sculptures, a custom
which is not practised in China or Japan. Lastly, another fact
fatal to the representation of landscape is the size. The reduced
scale of the reproduction suggests falsity at once, a falsity whose
belittlement the mind can neither forget nor forgive. Plain
sculpture is therefore practically limited to statuary, either of
men or animals. The result is that in their art, where landscape
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