| The first excerpt represents the past or something you must release, and is drawn from The Underdogs by Mariano Azuela: shook them together.
Meanwhile, Pancracio dealt the cards, the jack of
spades turned up out of the deck and a quarrel ensued.
Altercation, noise, then shouts, and, at last, insults. Pan-
cracio brought his stony face close to Manteca, who
looked at him with snake's eyes, convulsive, foaming at
the mouth. Another moment and they would have been
exchanging blows. Having completely exhausted their
stock of direct insults, they now resorted to the most
flowery and ornate insulting of each other's ancestors,
male and female, paternal or maternal. Yet nothing unto-
The Underdogs |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Twenty Years After by Alexandre Dumas: The stranger touched his mule with his heel and continued
his way.
In a second De Guiche had sprung before him and barred his
passage. "Answer, sir," exclaimed he; "you have been asked
politely, and every question is worth an answer."
"I suppose I am free to say or not to say who I am to two
strangers who take a fancy to ask me."
It was with difficulty that De Guiche restrained the intense
desire he had of breaking the monk's bones.
"In the first place," he said, making an effort to control
himself, "we are not people who may be treated anyhow; my
Twenty Years After |
The third excerpt represents the future or something you must embrace, and is drawn from Essays & Lectures by Oscar Wilde: acceptance of the general facts of life which is the very essence
of art. Model-painting, in a word, while it may be the condition
of art, is not by any means its aim.
It is simply practice, not perfection. Its use trains the eye and
the hand of the painter, its abuse produces in his work an effect
of mere posing and prettiness. It is the secret of much of the
artificiality of modern art, this constant posing of pretty people,
and when art becomes artificial it becomes monotonous. Outside the
little world of the studio, with its draperies and its BRIC-E-BRAC,
lies the world of life with its infinite, its Shakespearean
variety. We must, however, distinguish between the two kinds of
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