| The first excerpt represents the past or something you must release, and is drawn from The First Men In The Moon by H. G. Wells: Just in front of me the snowdrift had fallen away and made a sort of
ditch. I made a step and jumped.
I found myself flying through the air, saw the rock on which he stood
coming to meet me, clutched it and clung in a state of infinite amazement.
I gasped a painful laugh. I was tremendously confused. Cavor bent down
arid shouted in piping tones for me to be careful.
I had forgotten that on the moon, with only an eighth part of the earth's
mass and a quarter of its diameter, my weight was barely a sixth what it
was on earth. But now that fact insisted on being remembered.
"We are out of Mother Earth's leading - strings now," he said.
With a guarded effort I raised myself to the top, and moving as cautiously
The First Men In The Moon |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Gambara by Honore de Balzac: trumpets,--a new method of instrumentation. The broken /cadenzas/
which give such force to Robert's scene, the /cavatina/ in the fourth
act, the /finale/ of the first, all hold me in the grip of a
supernatural power. No, not even Gluck's declamation ever produced so
prodigious an effect, and I am amazed by such skill and learning."
"Signor Maestro," said Andrea, smiling, "allow me to contradict you.
Gluck, before he wrote, reflected long; he calculated the chances, and
he decided on a plan which might be subsequently modified by his
inspirations as to detail, but hindered him from ever losing his way.
Hence his power of emphasis, his declamatory style thrilling with life
and truth. I quite agree with you that Meyerbeer's learning is
Gambara |
The third excerpt represents the future or something you must embrace, and is drawn from The Redheaded Outfield by Zane Grey: he was supposed to inhabit during play.
Of course what Red did off the ball grounds
was not so important as what he did on. And
there was absolutely no telling what under the sun
he might do then except once out of every three
times at bat he could be counted on to knock the
cover off the ball.
Reddy Clammer was a grand-stand player--the
kind all managers hated--and he was hitting .305.
He made circus catches, circus stops, circus
throws, circus steals--but particularly circus
The Redheaded Outfield |
