| The first excerpt represents the past or something you must release, and is drawn from The Schoolmistress and Other Stories by Anton Chekhov: could hear him talking to the coachman and the bells beginning to
quiver on the frozen horses. He drove off.
"It is not nice for you, sir, to spend the night in here," said
the constable; "come into the other room. It's dirty, but for one
night it won't matter. I'll get a samovar from a peasant and heat
it directly. I'll heap up some hay for you, and then
you go to sleep, and God bless you, your honor."
A little later the examining magistrate was sitting in the
kitchen drinking tea, while Loshadin, the constable, was standing
at the door talking. He was an old man about sixty, short and
very thin, bent and white, with a naive smile on his face
The Schoolmistress and Other Stories |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Wife, et al by Anton Chekhov: know, time, the rascal, runs away and waits for no man! Upon my
soul, before you have time to look round, old age is upon you. .
. . Then it is too late to live! That's how it is, Pelagea
Ivanovna. . . . We mustn't sit still and be silent. . . ."
At that point supper was brought out from the kitchen. Uncle went
into the lodge with us, and to keep us company ate five curd
fritters and the wing of a duck. He ate and looked at us. He was
touched and delighted by us all. Whatever silly nonsense my
precious tutor talked, and whatever Tatyana Ivanovna did, he
thought charming and delightful. When after supper Tatyana
Ivanovna sat quietly down and took up her knitting, he kept his
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The third excerpt represents the future or something you must embrace, and is drawn from The Jolly Corner by Henry James: wonder of the fact, arrested again where he stood and again holding
his breath while he sounded his sense. Surely it had been
SUBSEQUENTLY closed - that is it had been on his previous passage
indubitably open!
He took it full in the face that something had happened between -
that he couldn't have noticed before (by which he meant on his
original tour of all the rooms that evening) that such a barrier
had exceptionally presented itself. He had indeed since that
moment undergone an agitation so extraordinary that it might have
muddled for him any earlier view; and he tried to convince himself
that he might perhaps then have gone into the room and,
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