| The first excerpt represents the past or something you must release, and is drawn from Herland by Charlotte Gilman: storm, and nearly lost her forever.
You see, if a man loves a girl who is in the first place young
and inexperienced; who in the second place is educated with a
background of caveman tradition, a middle-ground of poetry and
romance, and a foreground of unspoken hope and interest all
centering upon the one Event; and who has, furthermore,
absolutely no other hope or interest worthy of the name--
why, it is a comparatively easy matter to sweep her off her feet
with a dashing attack. Terry was a past master in this process.
He tried it here, and Alima was so affronted, so repelled,
that it was weeks before he got near enough to try again.
Herland |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Catherine de Medici by Honore de Balzac: wedge was driven in at the knees, his assistant's at the ankles.
The eyes of all present fastened on those of Christophe, and he, no
doubt excited by the presence of those great personages, shot forth
such burning glances that they appeared to have all the brilliancy of
flame. As the third and fourth wedges were driven in, a dreadful groan
escaped him. When he saw the executioner take up the wedges for the
"extraordinary question" he said no word and made no sound, but his
eyes took on so terrible a fixity, and he cast upon the two great
princes who were watching him a glance so penetrating, that the duke
and cardinal were forced to drop their eyes. Philippe le Bel met with
the same resistance when the torture of the pendulum was applied in
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The third excerpt represents the future or something you must embrace, and is drawn from Nana, Miller's Daughter, Captain Burle, Death of Olivier Becaille by Emile Zola: straightening up his tall, old figure. His face looked soft and
white under a broad-brimmed hat, and with his restless eyes he
followed the movements of the women who passed.
The moment the countess had given her invitation Fauchery took his
leave, feeling that to talk about the play would not be quite the
thing. La Faloise was the last to quit the box. He had just
noticed the fair-haired Labordette, comfortably installed in the
Count de Vandeuvres's stage box and chatting at very close quarters
with Blanche de Sivry.
"Gad," he said after rejoining his cousin, "that Labordette knows
all the girls then! He's with Blanche now."
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