| The first excerpt represents the past or something you must release, and is drawn from Tono Bungay by H. G. Wells: anything of that at all--but I had fought once or twice to a
finish with bare fists. I was used to inflicting and enduring
savage hurting, and I doubt if he had ever fought. I hadn't
fought ten seconds before I felt this softness in him, realised
all that quality of modern upper-class England that never goes to
the quick, that hedges about rules and those petty points of
honour that are the ultimate comminution of honour, that claims
credit for things demonstrably half done. He seemed to think
that first hit of his and one or two others were going to matter,
that I ought to give in when presently my lip bled and dripped
blood upon my clothes. So before we had been at it a minute he
|
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Gone With the Wind by Margaret Mitchell: in his nightshirt, avoiding the startled look she gave him over
the high-pulled sheet.
Of course, she knew that married people occupied the same bed but
she had never given the matter a thought before. It seemed very
natural in the case of her mother and father, but she had never
applied it to herself. Now for the first time since the barbecue
she realized just what she had brought on herself. The thought of
this strange boy whom she hadn't really wanted to marry getting
into bed with her, when her heart was breaking with an agony of
regret at her hasty action and the anguish of losing Ashley
forever, was too much to be borne. As he hesitatingly approached
Gone With the Wind |
The third excerpt represents the future or something you must embrace, and is drawn from The Commission in Lunacy by Honore de Balzac: "M. Popinot--M. Bianchon."
The two names were pronounced at the door of the boudoir where the
Marquise was sitting, a pretty room recently refurnished, and looking
out on the garden behind the house. At the moment Madame d'Espard was
seated in one of the old rococo armchairs of which Madame had set the
fashion. Rastignac was at her left hand on a low chair, in which he
looked settled like an Italian lady's "cousin." A third person was
standing by the corner of the chimney-piece. As the shrewd doctor had
suspected, the Marquise was a woman of a parched and wiry
constitution. But for her regimen her complexion must have taken the
ruddy tone that is produced by constant heat; but she added to the
|
