1. S₁: The mail is first collected from different letter boxes.
S₆: Finally it is delivered to us.

P: From there it is sent to the head post office.
Q: It is then sorted out at the sorting office.
R: The mail is again sorted out at the head office by the concerned beat postman.
S: The sorted mail is sent to the zonal post office.

2. S₁: The commonest form of forgetfulness, I suppose, occurs in the matter of posting letters.
S₆: Weary of holding it in my hand, I then put it for safety into one of my pockets and forget all about it.

P: So common is it that I am always reluctant to trust a departing visitor to post an important letter.
Q: As for myself, anyone who asks me to post a letter is a poor judge of character.
R: Even if I carry the letter in my hand I am always past the first pillar box before I remember that I ought to have posted it.
S: So little I rely on his mem?,ry that I put him on his oath before handing the letter to him.

3. S₁: Yawning or its absence has been related to various clinical conditions.
S₆: It is in reality a releasing stimulus.

P: Interestingly, some clinicians claim that those with acute physical illness don't yawn until they are on the road to recovery.
Q: It can be a symptom of brain lesions, haemorrhage, motion sickness and encephalitis.
R: But what is currently known about yawning is essentially anecdotal, mostly because the yawn has not got the respect it deserves.
S: On the other hand, it has been reported that psychotics rarely yawn, except those suffering from brain damage.

4. S₁: There was once a Persian king called Shahryar who had a beautiful wife.
S₆: After one day's marriage he would cut off her head and marry again.

P: When. the King discovered this he killed her.
Q: He gave orders that he was to be provided with a new wife every day
R: He loved her very much, but she was a wicked woman.
S: He decided that all women were wicked and that he would punish them.

5. S₁: When a boy grows into a young man, he finds himself in a new and strange world.
S₆: At this stage of his life he is like a body, without a soul, an eye without light or a Rower without fragrance.

P: The relationship remains but its nature changes.
Q: The emotional ties that he had with them are now loosened.
R: The old pattern of his life in which his parents were the nucleus around which his life revolved now undergoes a change.
S: He finds in himself an emotional void which he must somehow fill.

6. S₁: He took two cigarettes from my case.
S₆: Then he continued to draw on it.

P: But when the fit of coughing was over, he replaced it between his lips.
Q: He lit one of them and placed it between the lips.
R: Then with a feeble hand he removed the cigarette.
S: Slowly he took a pull at it and coughed violently.

7. S₁: Welcome to Madam Tussaud's.
S₆: These life-like, casually posed figures are mere wax statues, though they may look alive.

P: Famous faces, notorious faces haunt these halls; royalty, and world leaders mingling with sports stars and murderers.
Q: But don't expect a~ y responses to your smilesor greetings.
R: Don't be surprised at anything you see here.
S: See how many you can recognise.

8. S₁: Even the newsmen and spectators were not spared.
S₆: He fell down, his bleeding eye bulging.

P: A homeguard in the gallery was hit on the face.
Q: They went only inches over the heads of newsmen in the press gallery.
R: Three bludgeons which are hurled missed their mark.
S: This made the scribes run helter - skelter.

9. S₁: A transformation of consciousness is now beginning to express itself in the field of theoretical architecture.
S₆: The relationship between culture and nature is changed, for the architect grows a house like a garden.

P: In the still theoretical structure an attempt is being made to create a house that is "a domestication of an ecosystem."
Q: What is happening in the architecture is a shift from the international style of the post industrial era to a symbolic structure.
R: Since architecture is the collective unconscious made visible, the architect does not himself always understand the full cultural implications of his own work.
S: The new form is not a celebration of power over new materials, but a celebration of cooperation with ecosystem.

10. S₁: Instantly, the full load yanked Gordy towards the side of the bridge.
S₆: Feeling a sharp burning sensation where the cable was speeding between his things, Gordy rose on tiptoe and as he did, the slithering coil of cable tightened around his left foot and yanked him over the railing.

P: But the pull of the cable was too much.
Q: He could hardly feel the cUble, slipping through his fingers, ripping off his gloves, and streaking over the railing like an escaping snake.
R: It smashed his hands hard against the top of the railing, causing a split - second feeling of fierce pain followed by numbness.
S: He held on to the cable; it had been hard work lifting it, and he did not want to have to start over again.