| The first excerpt represents the past or something you must release, and is drawn from Lady Chatterley's Lover by D. H. Lawrence: 'No, he'd hardly swallow me as a substitute breeder. Then where are you
supposed to be getting the child?'
'I might have a love-affair in Venice,' she said.
'You might,' he replied slowly. 'So that's why you're going?'
'Not to have the love-affair,' she said, looking up at him, pleading.
'Just the appearance of one,' he said.
There was silence. He sat staring out the window, with a faint grin,
half mockery, half bitterness, on his face. She hated his grin.
'You've not taken any precautions against having a child then?' he
asked her suddenly. 'Because I haven't.'
'No,' she said faintly. 'I should hate that.'
Lady Chatterley's Lover |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Lesson of the Master by Henry James: a kitten and was a miserable wreck; a character he had been too
preoccupied to discern in her while he wondered in what sense she
could be held to have been the making of her husband. He had
arrived at a glimmering of the answer when she announced that she
must leave him, though this perception was of course provisional.
While he was in the very act of placing himself at her disposal for
the return the situation underwent a change; Lord Masham had
suddenly turned up, coming back to them, overtaking them, emerging
from the shrubbery - Overt could scarcely have said how he appeared
- and Mrs. St. George had protested that she wanted to be left
alone and not to break up the party. A moment later she was
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The third excerpt represents the future or something you must embrace, and is drawn from Lin McLean by Owen Wister: authority of that first "come away"; "Now you've had enough of the
talking. Come for a walk." Enough of the talking--as if it were a
treatment! How did he think of that? Jessamine, at any rate, again obeyed
him, and I saw the two going quietly about in the meadows and along the
curving brook; and that night she slept well. On one only point did the
cow-puncher consult me.
"They figured to put Nate on top of that bald mound," said he. "But she
has talked about the flowers and shade where the old folks lie, and where
she wants him to be alongside of them. I've not let her look at him
to-day, for--well, she might get the way he looks now on her memory. But
I'd like to show you my idea before going further."
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