| The first excerpt represents the past or something you must release, and is drawn from Othello by William Shakespeare: I haue no iudgement in an honest face.
I prythee call him backe
Oth. Went he hence now?
Des. I sooth; so humbled,
That he hath left part of his greefe with mee
To suffer with him. Good Loue, call him backe
Othel. Not now (sweet Desdemon) some other time
Des. But shall't be shortly?
Oth. The sooner (Sweet) for you
Des. Shall't be to night, at Supper?
Oth. No, not to night
Othello |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Contrast by Royall Tyler: plaything, and they have given her a husband. Well,
well, well, the puling chit shall not be deprived of her
plaything: 'tis only exchanging London dolls for
American babies.--Apropos, of babies, have you
heard what Mrs. Affable's high-flying notions of deli-
cacy have come to?
LETITIA
Who, she that was Miss Lovely?
CHARLOTTE
The same; she married Bob Affable of Schenectady.
Don't you remember?
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The third excerpt represents the future or something you must embrace, and is drawn from The Soul of the Far East by Percival Lowell: Japanese sentence. The Tartar mode of grammatical construction is
very nearly the inverse of our own. The fundamental rule of
Japanese syntax is, that qualifying words precede the words they
qualify; that is, an idea is elaborately modified before it is so
much as expressed. This practice places the hearer at some awkward
preliminary disadvantage, inasmuch as the story is nearly over
before he has any notion what it is all about; but really it puts
the speaker to much more trouble, for he is obliged to fashion his
whole sentence complete in his brain before he starts to speak.
This is largely in consequence of two omissions in Tartar etymology.
There are in Japanese no relative pronouns and no temporal
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