| The first excerpt represents the past or something you must release, and is drawn from A Horse's Tale by Mark Twain: me, too; took the colonels, the captains, the women, the children,
and the dumb brutes; took Buffalo Bill, and all his scouts; took
the garrison - to the last man; and in forty-eight hours the Indian
encampment was hers, illustrious old Thunder-Bird and all. Do I
seem to have lost my solemnity, my gravity, my poise, my dignity?
You would lose your own, in my circumstances. Mother, you never
saw such a winning little devil. She is all energy, and spirit,
and sunshine, and interest in everybody and everything, and pours
out her prodigal love upon every creature that will take it, high
or low, Christian or pagan, feathered or furred; and none has
declined it to date, and none ever will, I think. But she has a
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Europeans by Henry James: The Baroness threw back her head and smiled at her uncle;
then turning, with an intenser radiance, to Robert Acton, "I am
certainly very stupid not to have thought of that," she said.
Acton looked down at his boots, as if he thought he had
perhaps reached the limits of legitimate experimentation,
and for a moment Eugenia said nothing more. It had been,
in fact, a sharp knock, and she needed to recover herself.
This was done, however, promptly enough. "Where are the
young people?" she asked.
"They are spending the evening with my mother."
"Is not the thing very sudden?"
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The third excerpt represents the future or something you must embrace, and is drawn from Pierre Grassou by Honore de Balzac: attired in black; but he had added an old woman to the young one of
Gerard Douw. The cruelly simple and good-humored face of the
executioner completed and dominated the group. This plagiarism, very
cleverly disguised, was not discovered. The catalogue contained the
following:--
510. Grassou de Fougeres (Pierre), rue de Navarin, 2.
Death-toilet of a Chouan, condemned to execution in 1809.
Though wholly second-rate, the picture had immense success, for it
recalled the affair of the "chauffeurs," of Mortagne. A crowd
collected every day before the now fashionable canvas; even Charles X.
paused to look at it. "Madame," being told of the patient life of the
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