| The first excerpt represents the past or something you must release, and is drawn from In Darkest England and The Way Out by General William Booth: very appearance of the most abandoned and degraded people in the
kingdom."--("Count Rumford," pages 18-24.)
"Are the poor ungrateful? Count Rumford did not find them so. When,
from the exhaustion of his great labours, he fell dangerously ill,
these poor people whom he had rescued from lives of shame and misery,
spontaneously assembled, formed a procession, and went in a body to the
Cathedral to offer their united prayers for his recovery. When he was
absent in Italy, and supposed to be dangerously ill in Naples, they set
apart a certain time every day, after work hours, to pray for their
benefactor. After an absence of fifteen months, Count Rumford returned
with renewed health to Munich--a city where there was work for everyone,
In Darkest England and The Way Out |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The War in the Air by H. G. Wells: Bert. There seemed, however, a steady attempt to isolate
antagonists, to cut them off from their fellows and bear them
down, causing a perpetual sailing back and interlacing of these
shoaling bulks. The greater numbers of the Asiatics and their
swifter heeling movements gave them the effect of persistently
attacking the Germans. Overhead, and evidently endeavouring to
keep itself in touch with the works of Niagara, a body of German
airships drew itself together into a compact phalanx, and the
Asiatics became more and more intent upon breaking this up. He
was grotesquely reminded of fish in a fish-pond struggling for
crumbs. He could see puny puffs of smoke and the flash of bombs,
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The third excerpt represents the future or something you must embrace, and is drawn from The Lesson of the Master by Henry James: willing to consider it so, and he went so far as to take the
manuscript of the first chapters of his new book out of his table-
drawer, to insert it into a pocket of his portmanteau. This led to
his catching a glimpse of certain pages he hadn't looked at for
months, and that accident, in turn, to his being struck with the
high promise they revealed - a rare result of such retrospections,
which it was his habit to avoid as much as possible: they usually
brought home to him that the glow of composition might be a purely
subjective and misleading emotion. On this occasion a certain
belief in himself disengaged itself whimsically from the serried
erasures of his first draft, making him think it best after all to
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