| The first excerpt represents the past or something you must release, and is drawn from Poor and Proud by Oliver Optic: earnest look. Presently she sent Katy to get her some drink, not
because she wanted it, but to procure her absence for a short
time.
"Do you think I shall get well?" asked Mrs. Redburn, as soon as
the door closed behind Katy.
"A person who is very sick, is of course, always in danger, which
may be more or less imminent," replied the doctor, with
professional indirectness.
"I beg of you, doctor, do not conceal from me my true situation."
"I cannot foresee the result, my good woman."
"Do you think there is any hope for me?"
|
The second excerpt represents the present or the deciding factor of the moment, and is drawn from She Stoops to Conquer by Oliver Goldsmith: Lumpkin a more good-natured fellow than you thought for, I'll give you
leave to take my best horse, and Bet Bouncer into the bargain. Come
along. My boots, ho! [Exeunt.]
ACT THE FIFTH.
(SCENE continued.)
Enter HASTINGS and Servant.
HASTINGS. You saw the old lady and Miss Neville drive off, you say?
SERVANT. Yes, your honour. They went off in a post-coach, and the
young 'squire went on horseback. They're thirty miles off by this
time.
HASTINGS. Then all my hopes are over.
She Stoops to Conquer |
The third excerpt represents the future or something you must embrace, and is drawn from At the Earth's Core by Edgar Rice Burroughs: antelopes of the striped species lowered his head and
bellowed angrily--even taking a few steps in my direction,
so that I thought he meant to charge; but after I had passed,
he resumed feeding as though nothing had disturbed him.
Near the lower end of the valley I passed a number of tapirs,
and across the river saw a great sadok, the enormous
double-horned progenitor of the modern rhinoceros.
At the valley's end the cliffs upon the left ran
out into the sea, so that to pass around them as I
desired to do it was necessary to scale them in search
of a ledge along which I might continue my journey.
At the Earth's Core |
