| The first excerpt represents the past or something you must release, and is drawn from Awakening & Selected Short Stories by Kate Chopin: XII
She slept but a few hours. They were troubled and feverish
hours, disturbed with dreams that were intangible, that eluded her,
leaving only an impression upon her half-awakened senses of
something unattainable. She was up and dressed in the cool of the
early morning. The air was invigorating and steadied somewhat her
faculties. However, she was not seeking refreshment or help from
any source, either external or from within. She was blindly
following whatever impulse moved her, as if she had placed herself
in alien hands for direction, and freed her soul of responsibility.
Most of the people at that early hour were still in bed and
Awakening & Selected Short Stories |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Garden Party by Katherine Mansfield: with pink pencils and fluffy tassels. Leila's fingers shook as she took
one out of the basket. She wanted to ask some one, "Am I meant to have one
too?" but she had just time to read: "Waltz 3. 'Two, Two in a Canoe.'
Polka 4. 'Making the Feathers Fly,'" when Meg cried, "Ready, Leila?" and
they pressed their way through the crush in the passage towards the big
double doors of the drill hall.
Dancing had not begun yet, but the band had stopped tuning, and the noise
was so great it seemed that when it did begin to play it would never be
heard. Leila, pressing close to Meg, looking over Meg's shoulder, felt
that even the little quivering coloured flags strung across the ceiling
were talking. She quite forgot to be shy; she forgot how in the middle of
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The third excerpt represents the future or something you must embrace, and is drawn from Menexenus by Plato: writings. But the testimony of Aristotle cannot always be distinguished
from that of a later age (see above); and has various degrees of
importance. Those writings which he cites without mentioning Plato, under
their own names, e.g. the Hippias, the Funeral Oration, the Phaedo, etc.,
have an inferior degree of evidence in their favour. They may have been
supposed by him to be the writings of another, although in the case of
really great works, e.g. the Phaedo, this is not credible; those again
which are quoted but not named, are still more defective in their external
credentials. There may be also a possibility that Aristotle was mistaken,
or may have confused the master and his scholars in the case of a short
writing; but this is inconceivable about a more important work, e.g. the
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