| The first excerpt represents the past or something you must release, and is drawn from In a German Pension by Katherine Mansfield: boots. She threw one down on the ground, thrust her hand into the other,
and stared at it, sucking in her cheeks. Suddenly she bent forward, spat
on the toecap, and started polishing with a brush rooted out of her apron
pocket..."Slut of a girl! Heaven knows what infectious disease may be
breeding now in that boot. Anna must get rid of that girl--even if she has
to do without one for a bit--as soon as she's up and about again. The way
she chucked one boot down and then spat upon the other! She didn't care
whose boots she'd got hold of. SHE had no false notions of the respect due
to the master of the house." He turned away from the window and switched
his bath towel from the washstand rail, sick at heart. "I'm too sensitive
for a man--that's what's the matter with me. Have been from the beginning,
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Misalliance by George Bernard Shaw: of morality in general. You agree with me, Lord Summerhays, dont you?
LORD SUMMERHAYS. It's a very moral moral, if I may so express myself.
_Mrs Tarleton comes in softly through the inner door._
MRS TARLETON. Dont make too much noise. The lad's asleep.
TARLETON. Chickabiddy: we have some news for you.
JOHNNY. _[apprehensively]_ Now theres no need, you know, Governor,
to worry mother with everything that passes.
MRS TARLETON. _[coming to Tarleton]_ Whats been going on? Dont you
hold anything back from me, John. What have you been doing?
TARLETON. Bentley isnt going to marry Patsy.
MRS TARLETON. Of course not. Is that your great news? I never
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The third excerpt represents the future or something you must embrace, and is drawn from My Antonia by Willa Cather: about paying for her own seat; said she was in business now,
and she wouldn't have a schoolboy spending his money on her.
I liked to watch a play with Lena; everything was wonderful to her,
and everything was true. It was like going to revival meetings
with someone who was always being converted. She handed her
feelings over to the actors with a kind of fatalistic resignation.
Accessories of costume and scene meant much more to her than to me.
She sat entranced through `Robin Hood' and hung upon the lips
of the contralto who sang, `Oh, Promise Me!'
Toward the end of April, the billboards, which I watched anxiously
in those days, bloomed out one morning with gleaming white posters
My Antonia |
