| The first excerpt represents the past or something you must release, and is drawn from In a German Pension by Katherine Mansfield: talking about."
"You do know--you know far better than I. You've simply played with Victor
in my presence that I may feel worse. You've tormented me--you've led me
on--offering me everything and nothing at all. It's been a spider-and-fly
business from first to last--and I've never for one moment been ignorant of
that--and I've never for one moment been able to withstand it."
He turned round deliberately.
"Do you suppose that when you asked me to pin your flowers into your
evening gown--when you let me come into your bedroom when Victor was out
while you did your hair--when you pretended to be a baby and let me feed
you with grapes--when you have run to me and searched in all my pockets for
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Animal Farm by George Orwell: that the windmill was nonsense and that he advised nobody to vote for it,
and promptly sat down again; he had spoken for barely thirty seconds, and
seemed almost indifferent as to the effect he produced. At this Snowball
sprang to his feet, and shouting down the sheep, who had begun bleating
again, broke into a passionate appeal in favour of the windmill. Until now
the animals had been about equally divided in their sympathies, but in a
moment Snowball's eloquence had carried them away. In glowing sentences he
painted a picture of Animal Farm as it might be when sordid labour was
lifted from the animals' backs. His imagination had now run far beyond
chaff-cutters and turnip-slicers. Electricity, he said, could operate
threshing machines, ploughs, harrows, rollers, and reapers and binders,
Animal Farm |
The third excerpt represents the future or something you must embrace, and is drawn from The Ruling Passion by Henry van Dyke: always the same: the unseen, mysterious, ruling passion weaving the
stuff of human nature into patterns wherein the soul is imaged and
revealed.
To tell about some of these ruling passions, simply, clearly, and
concretely, is what I want to do in this book. The characters are
chosen, for the most part, among plain people, because their
feelings are expressed with fewer words and greater truth, not being
costumed for social effect. The scene is laid on Nature's stage
because I like to be out-of-doors, even when I am trying to think
and learning to write.
"Avalon," Princeton, July 22, 1901.
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