| The first excerpt represents the past or something you must release, and is drawn from The Case of the Registered Letter by Grace Isabel Colbron and Augusta Groner: "I fear it may be painful for you to answer this," said Muller
gently, "and yet I must insist on it in the interest of justice."
"He - my guardian - wished to marry me himself," the girl's words
came slowly and painfully.
Muller drew in his breath so sharply that it was almost like a
whistle. "He did not tell me that; it might make a difference."
"That ... that is ... what I fear," said the girl, her eyes
looking keenly into those of the man who sat opposite. "And then,
it was his revolver."
"Then you do believe him guilty?"
"It would be horrible, horrible - and yet I do not know what to
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Dark Lady of the Sonnets by George Bernard Shaw: genial vulgarities are the main Shakespearian stock-in-trade of our
theatres. Later on Burbage's power and popularity as an actor enabled
Shakespear to free himself from the tyranny of the box office, and to
express himself more freely in plays consisting largely of monologue
to be spoken by a great actor from whom the public would stand a good
deal. The history of Shakespear's tragedies has thus been the history
of a long line of famous actors, from Burbage and Betterton to Forbes
Robertson; and the man of whom we are told that "when he would have
said that Richard died, and cried A horse! A horse! he Burbage cried"
was the father of nine generations of Shakespearian playgoers, all
speaking of Garrick's Richard, and Kean's Othello, and Irving's
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The third excerpt represents the future or something you must embrace, and is drawn from Jane Eyre by Charlotte Bronte: -most correct; and, having reflected a few minutes in order to
arrange coherently what I had to say, I told her all the story of my
sad childhood. Exhausted by emotion, my language was more subdued
than it generally was when it developed that sad theme; and mindful
of Helen's warnings against the indulgence of resentment, I infused
into the narrative far less of gall and wormwood than ordinary.
Thus restrained and simplified, it sounded more credible: I felt as
I went on that Miss Temple fully believed me.
In the course of the tale I had mentioned Mr. Lloyd as having come
to see me after the fit: for I never forgot the, to me, frightful
episode of the red-room: in detailing which, my excitement was
Jane Eyre |
