| The first excerpt represents the past or something you must release, and is drawn from The Count of Monte Cristo by Alexandre Dumas: had asked himself what power might not that man attain who
should give the impulse of his will to all these contrary
and diverging minds. This time it was a great matter that
was under discussion, connected with a vessel laden with
Turkey carpets, stuffs of the Levant, and cashmeres. It was
necessary to find some neutral ground on which an exchange
could be made, and then to try and land these goods on the
coast of France. If the venture was successful the profit
would be enormous, there would be a gain of fifty or sixty
piastres each for the crew.
The patron of The Young Amelia proposed as a place of
The Count of Monte Cristo |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Art of Writing by Robert Louis Stevenson: set before all young writers in the width of literary
sympathy displayed by Mr. Swinburne. He runs forth to
welcome merit, whether in Dickens or Trollope, whether in
Villon, Milton, or Pope. This is, in criticism, the attitude
we should all seek to preserve; not only in that, but in
every branch of literary work.
(14) First published in the BRITISH WEEKLY, May 13, 1887.
(15) Of the BRITISH WEEKLY.
(16) First published in the MAGAZINE OF ART in 1883.
(17) First published in the IDLER, August 1894.
(18) NE PAS CONFONDRE. Not the slim green pamphlet with the
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The third excerpt represents the future or something you must embrace, and is drawn from Early Short Fiction of Edith Wharton by Edith Wharton: The clouds had vanished, dispersed by a sudden wind, and as we
entered the church the fiery panes of the high windows shone out
like lamps through the dusk. A priest was at the high altar, his
white cope a livid spot in the incense-laden obscurity, the light
of the candles flickering up and down like fireflies about his
head; a few people knelt near by. We stole behind them and sat
down on a bench close to the tabernacle of Orcagna.
"Strange to say, though Florence was not new to me, I had never
been in the church before; and in that magical light I saw for
the first time the inlaid steps, the fluted columns, the
sculptured bas-reliefs and canopy of the marvellous shrine. The
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