| The first excerpt represents the past or something you must release, and is drawn from Expression of Emotion in Man and Animals by Charles Darwin: On the other hand, in refusing food, especially if it be pressed on them,
children frequently move their heads several times from side to side,
as we do in shaking our heads in negation. Moreover, in the case of refusal,
the head is not rarely thrown backwards, or the mouth is closed,
so that these movements might likewise come to serve as signs of negation.
Mr. Wedgwood remarks on this subject,[18] that "when the voice is exerted
with closed teeth or lips, it produces the sound of the letter _n_ or _m_.
Hence we may account for the use of the particle _ne_ to signify negation,
and possibly also of the Greek mh in the same sense."
[17] `Essai sur le Langage,' 2nd edit. 1846. I am much
indebted to Miss Wedgwood for having given me this information,
Expression of Emotion in Man and Animals |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Royalty Restored/London Under Charles II by J. Fitzgerald Molloy: the Army and Navy Club; had given her likewise a residence
situated close by the Castle at Windsor; and a summer villa
located in what was then the charming village of Chelsea. To
such substantial gifts as these he added the honour of an
appointment at court: when the merry player was made one of the
ladies of the privy chamber to the queen. Samuel Pegg states
this fact, not generally known, and assures us he discovered it
"from the book in the lord chamberlain's office."
From her position as the king's mistress, Madam Ellen moved on
terms of perfect equality with the Duchess of Portsmouth's
friends--supping with my Lady Orrery, visiting my Lord Cavendish,
|
The third excerpt represents the future or something you must embrace, and is drawn from The Underdogs by Mariano Azuela: to rub on when you had a bellyache, but . . . Oh, I
see! So you was going to be a doctor, huh? Ha, ha, that's
a good one! Why don't you mix it with cold water?
Well, there's a funny sort of a trick. Oh, stop fooling
me . . . the idea: little animals alive in the water unless
you boil it! Ugh! Well, I can't see nothing in it myself."
Camilla continued to cross-question him with such fa-
miliarity that she suddenly found herself addressing him
intimately, in the singular tu. Absorbed in his own
thoughts, Luis Cervantes had ceased listening to her.
He thought:
The Underdogs |
