| The first excerpt represents the past or something you must release, and is drawn from In a German Pension by Katherine Mansfield: her. Mother spoils her. I wonder what she meant by saying I'd worried
Anna yesterday. Nice remark to make to a husband at a time like this.
Unstrung, I suppose--and my sensitiveness again."
When he went into the kitchen for his boots, the servant girl was bent over
the stove, cooking breakfast. "Breathing into that, now, I suppose,"
thought Andreas, and was very short with the servant girl. She did not
notice. She was full of terrified joy and importance in the goings on
upstairs. She felt she was learning the secrets of life with every breath
she drew. Had laid the table that morning saying, "Boy," as she put down
the first dish, "Girl," as she placed the second--it had worked out with
the saltspoon to "Boy." "For two pins I'd tell the master that, to comfort
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Alexander's Bridge by Willa Cather: beautifully the last time I was there, and was
so delighted to see me again. I gave her all
my old clothes, even my old hats, though she
always wears her Breton headdress. Her hair
is still like flax, and her blue eyes are just like
a baby's, and she has the same three freckles
on her little nose, and talks about going back
to her bains de mer."
Bartley looked at Hilda across the yellow
light of the candles and broke into a low,
happy laugh. "How jolly it was being young,
Alexander's Bridge |
The third excerpt represents the future or something you must embrace, and is drawn from Venus and Adonis by William Shakespeare: O! how her eyes and tears did lend and borrow;
Her eyes seen in the tears, tears in her eye;
Both crystals, where they view'd each other's sorrow,
Sorrow that friendly sighs sought still to dry; 964
But like a stormy day, now wind, now rain,
Sighs dry her cheeks, tears make them wet again.
Variable passions throng her constant woe,
As striving who should best become her grief; 968
All entertain'd, each passion labours so,
That every present sorrow seemeth chief,
But none is best; then join they all together,
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