| The first excerpt represents the past or something you must release, and is drawn from Scaramouche by Rafael Sabatini: an omission in his education, but also, and chiefly, to give him
added grace and poise upon the stage. He found his mind that
morning distracted by thoughts of both Climene and Aline. And
oddly enough it was Aline who provided the deeper perturbation.
Climene's attitude he regarded as a passing phase which need not
seriously engage him. But the thought of Aline's conduct towards
him kept rankling, and still more deeply rankled the thought of
her possible betrothal to M. de La Tour d'Azyr.
This it was that brought forcibly to his mind the self-imposed but
by now half-forgotten mission that he had made his own. He had
boasted that he would make the voice which M. de La Tour d'Azyr had
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Young Forester by Zane Grey: money cuts no ice 'round this camp. We've a big deal. We need a smart young
feller. There's always some little irregularities about these big timber
deals out West. But you'll wear blinkers, an' make some money while you're
studyin' forestry. See?"
"Irregularities? What kind of irregularities?"
For the life of me I could not keep a little scorn out of my question.
Buell slowly put the bills in his pocket while his eyes searched; I could
not control my rising temper.
"You mean you want to fix me?"
He made no answer, and his face stiffened.
"You mean you want to buy my silence, shut my mouth about this lumber
The Young Forester |
The third excerpt represents the future or something you must embrace, and is drawn from In the South Seas by Robert Louis Stevenson: in the islands but what he has sought my particular acquaintance.
So it was with Te Kop. He led me to the ocean side; and for an
hour or two we sat smoking and talking on the resplendent sand and
under the ineffable brightness of the moon. My friend showed
himself very sensible of the beauty and amenity of the hour. 'Good
night! Good wind!' he kept exclaiming, and as he said the words he
seemed to hug myself. I had long before invented such reiterated
expressions of delight for a character (Felipe, in the story of
OLALLA) intended to be partly bestial. But there was nothing
bestial in Te Kop; only a childish pleasure in the moment. He was
no less pleased with his companion, or was good enough to say so;
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