|The first excerpt represents the past or something you must release, and is drawn from Eve and David by Honore de Balzac:
careful, hard-working woman; but that son of mine!--Do you know what
David is? I'll tell you--he is a scholar that will never do a stroke
of work! If I had reared him, as I was reared myself, without knowing
his letters, and if I had made a 'bear' of him, like his father before
him, he would have money saved and put out to interest by now. . . .
Oh! he is my cross, that fellow is, look you! And, unluckily, he is
all the family I have, for there is never like to be a later edition.
And when he makes you unhappy----"
Eve protested with a vehement gesture of denial.
"Yes, he does," affirmed old Sechard; "you had to find a wet-nurse for
the child. Come, come, I know all about it, you are in the county
|The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Jungle Book by Rudyard Kipling:
Keddahs--Machua Appa, Petersen Sahib's other self, who had never
seen a made road in forty years: Machua Appa, who was so great
that he had no other name than Machua Appa,--leaped to his feet,
with Little Toomai held high in the air above his head, and
shouted: "Listen, my brothers. Listen, too, you my lords in the
lines there, for I, Machua Appa, am speaking! This little one
shall no more be called Little Toomai, but Toomai of the
Elephants, as his great-grandfather was called before him. What
never man has seen he has seen through the long night, and the
favor of the elephant-folk and of the Gods of the Jungles is with
him. He shall become a great tracker. He shall become greater
The Jungle Book
|The third excerpt represents the future or something you must embrace, and is drawn from The Perfect Wagnerite: A Commentary on the Niblung's Ring by George Bernard Shaw:
third and fourth an exact or very slightly varied repetition of
the first and second. For example, given the first line of Pop
Goes the Weasel or Yankee Doodle, any musical cobbler could
supply the remaining three. There is very little tune turning of
this kind in The Ring; and it is noteworthy that where it does
occur, as in Siegmund's spring song and Mimmy's croon, "Ein
zullendes Kind," the effect of the symmetrical staves, recurring
as a mere matter of form, is perceptibly poor and platitudinous
compared with the free flow of melody which prevails elsewhere.
The other and harder way of composing is to take a strain of free
melody, and ring every variety of change of mood upon it as if it