| The first excerpt represents the past or something you must release, and is drawn from The Contrast by Royall Tyler: conversation, he is sure to end his tour in the temple
of gravity.
MANLY
Forgive me, my sister. I love my country; it has
its foibles undoubtedly;--some foreigners will with
pleasure remark them--but such remarks fall very
ungracefully from the lips of her citizens.
DIMPLE
You are perfectly in the right, Colonel--America
has her faults.
MANLY
|
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Dawn O'Hara, The Girl Who Laughed by Edna Ferber: now that it was gone I wondered, dully, if I could feel
Von Gerhard's departure more keenly.
No one knew of the existence of the book except
Norah, Von Gerhard, Blackie and me. Blackie had a way of
inquiring after its progress in hushed tones of mock awe.
Also he delighted in getting down on hands and knees and
guiding a yard-stick carefully about my desk with a view
to having a fence built around it, bearing an inscription
which would inform admiring tourists that here was the
desk at which the brilliant author had been wont to sit
when grinding out heart-throb stories for the humble
|
The third excerpt represents the future or something you must embrace, and is drawn from Vendetta by Honore de Balzac: action may now seem to be, it was at that time a very natural
expression of the prevailing hatred. Ginevra Piombo, one of Servin's
first pupils, had occupied the place that was now taken from her since
the first day of her coming to the studio. The aristocratic circle had
gradually surrounded her. To drive her from a place that in some sense
belonged to her was not only to insult her, but to cause her a species
of artistic pain; for all artists have a spot of predilection where
they work.
Nevertheless, political prejudice was not the chief influence on the
conduct of the Right clique of the studio. Ginevra, much the ablest of
Servin's pupils, was an object of intense jealousy. The master
|
