| The first excerpt represents the past or something you must release, and is drawn from Rezanov by Gertrude Atherton: not think she will choose another. I know by her
feet that she intends to dance El Son--in her own
way, of course--after all."
Concha circled about the room twice with Sturgis,
lifted him to the seventh heaven of expectancy, dis-
missed him as abruptly as the others. Lifting her
chin with an expression of supreme disdain for all
his sex, she stood a moment, swaying, her arms
hanging at her sides.
"I am glad she will not dance with Weeliam,"
muttered Santiago. "I love him--yes; but the
Rezanov |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Pupil by Henry James: to look out a word, instead of asking it of Pemberton. "You can't
go on like this, you know."
"Like what, my boy?"
"You know they don't pay you up," said Morgan, blushing and turning
his leaves.
"Don't pay me?" Pemberton stared again and feigned amazement.
"What on earth put that into your head?"
"It has been there a long time," the boy replied rummaging his
book.
Pemberton was silent, then he went on: "I say, what are you
hunting for? They pay me beautifully."
|
The third excerpt represents the future or something you must embrace, and is drawn from The Red Seal by Natalie Sumner Lincoln: Kent, entering into the investigation heart and soul, relaxed
his muscles and fell back against the detective.
A moment later he was swung upward and pushed head-first inside the
casket and the door closed. The air, though close, was not
unpleasant and Kent, his eyes growing gradually accustomed to the
dark interior, tried to discover the trap door at the top of the
box but without success. Putting out his hands he felt along the
top. The height of the casket did not permit him to sit up, so
he was obliged to slide his body down toward his feet to feel
along the sides of the casket. This maneuver soon brought his
knees in violent contact with the top, and at the sound Ferguson
The Red Seal |
