| The first excerpt represents the past or something you must release, and is drawn from The Mysterious Affair at Styles by Agatha Christie: else. In this instance, there was a man ready to his hand.
Everybody was predisposed to believe in Mr. Inglethorp's guilt.
It was a foregone conclusion that he would be suspected; but, to
make it a sure thing there must be tangible proof--such as the
actual buying of the poison, and that, with a man of the peculiar
appearance of Mr. Inglethorp, was not difficult. Remember, this
young Mace had never actually spoken to Mr. Inglethorp. How
should he doubt that the man in his clothes, with his beard and
his glasses, was not Alfred Inglethorp?"
"It may be so," I said, fascinated by Poirot's eloquence. "But,
if that was the case, why does he not say where he was at six
The Mysterious Affair at Styles |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Montezuma's Daughter by H. Rider Haggard: said Cuitlahua. 'Bethink you, you are princess of the Otomie and
one of our master's daughters, it is to you that we look to bring
back the mountain clans of the Otomie, of whom you are
chieftainess, from their unholy alliance with the accursed
Tlascalans, the slaves of the Teules. Is not your life too
precious to be set on such a stake as this foreigner's faith? for
learn, Otomie, if he proves false your rank shall not help you.'
'I know it all,' she replied quietly. 'Foreigner or not, I love
this man and I will answer for him with my blood. Moreover, I look
to him to assist me to win back the people of the Otomie to their
allegiance. But let him speak for himself, my lord. It may happen
Montezuma's Daughter |
The third excerpt represents the future or something you must embrace, and is drawn from In the South Seas by Robert Louis Stevenson: on their feet. As the drama went on, the interest grew. The
performers appealed to each other, to the audience, to the heaven
above; they took counsel with each other, the conspirators drew
together in a knot; it was just an opera, the drums coming in at
proper intervals, the tenor, baritone, and bass all where they
should be - except that the voices were all of the same calibre. A
woman once sang from the back row with a very fine contralto voice
spoilt by being made artificially nasal; I notice all the women
affect that unpleasantness. At one time a boy of angelic beauty
was the soloist; and at another, a child of six or eight, doubtless
an infant phenomenon being trained, was placed in the centre. The
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