| The first excerpt represents the past or something you must release, and is drawn from Soul of a Bishop by H. G. Wells: cold, but it's intellectually wonde'ful. But we want that with
spi'tuality. We want it so badly. If some one--"
She became daring. She bit her under lip and flashed her spirit
at him.
"If you--" she said and paused.
"Could think aloud," said the bishop.
"Yes," she said, nodding rapidly, and became breathless to
hear.
It would certainly be an astonishing end to the Chasters
difficulty if the bishop went over to the heretic, the bishop
reflected.
|
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Redheaded Outfield by Zane Grey: ``Miss Huling, I didn't mean remuneration in
sordid cash,'' interrupted Wayne, in a tone that
heightened the color in her cheeks.
Wayne eyed her keenly with mingled emotions.
Was that rose-leaf flush in her cheeks natural?
Some girls could blush at will. Were the wistful
eyes, the earnest lips, only shamming? It cost
him some bitterness to decide that they were.
Her beauty fascinated, while it hardened him.
Eternally, the beauty of women meant the undoing
of men, whether they played the simple,
The Redheaded Outfield |
The third excerpt represents the future or something you must embrace, and is drawn from Sons and Lovers by D. H. Lawrence: after her draught. Her mouth had come a bit open.
"Shall we sit up?" said Paul.
"I s'll lie with her as I always do," said Annie. "She might
wake up."
"All right. And call me if you see any difference."
"Yes."
They lingered before the bedroom fire, feeling the night big
and black and snowy outside, their two selves alone in the world.
At last he went into the next room and went to bed.
He slept almost immediately, but kept waking every now and again.
Then he went sound asleep. He started awake at Annie's whispered,
Sons and Lovers |
