| The first excerpt represents the past or something you must release, and is drawn from Father Goriot by Honore de Balzac: annuity of twelve hundred francs a year for fifteen thousand
francs. Then I paid your tradesmen out of the rest of the
capital. As for me, children, I have a room upstairs for which I
pay fifty crowns a year; I can live like a prince on two francs a
day, and still have something left over. I shall not have to
spend anything much on clothes, for I never wear anything out.
This fortnight past I have been laughing in my sleeve, thinking
to myself, 'How happy they are going to be!' and--well, now, are
you not happy?"
"Oh papa! papa!" cried Mme. de Nucingen, springing to her father,
who took her on his knee. She covered him with kisses, her fair
Father Goriot |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Art of Writing by Robert Louis Stevenson: her adversary, but slinks out of the race where that immortal
garland is to be run for, not without dust and heat.' (4)
Down to 'virtue,' the current S and R are both announced and
repeated unobtrusively, and by way of a grace-note that
almost inseparable group PVF is given entire. (5) The next
phrase is a period of repose, almost ugly in itself, both S
and R still audible, and B given as the last fulfilment of
PVF. In the next four phrases, from 'that never' down to
'run for,' the mask is thrown off, and, but for a slight
repetition of the F and V, the whole matter turns, almost too
obtrusively, on S and R; first S coming to the front, and
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The third excerpt represents the future or something you must embrace, and is drawn from War and the Future by H. G. Wells: from an aeroplane the delivery of the goods upon the customers
opposite.
I have already described the method of locating enemy guns and so
forth by photography. Many of the men at this work are like
dentists rather than soldiers; they are busy in carefully lit
rooms, they wear white overalls, they have clean hands and
laboratory manners. The only really romantic figure in the whole
of this process, the only figure that has anything of the old
soldierly swagger about him still, is the aviator. And, as one
friend remarked to me when I visited the work of the British
flying corps, "The real essential strength of this arm is the
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