| The first excerpt represents the past or something you must release, and is drawn from The Son of Tarzan by Edgar Rice Burroughs: that had harbored Korak while he watched the girl at play he
lifted her in his arms and throwing her lightly across his
shoulder leaped nimbly into the lower branches. Her arms were
about his neck and from one little hand Geeka dangled down his
straight youngback.
And so Meriem entered the jungle with Korak, trusting, in
her childish innocence, the stranger who had befriended her,
and perhaps influenced in her belief in him by that strange
intuitive power possessed by woman. She had no conception of
what the future might hold. She did not know, nor could she
have guessed the manner of life led by her protector. Possibly she
The Son of Tarzan |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Vicar of Tours by Honore de Balzac: not for his brother's confession. He attributed such stupidity on his
part to the gravity of his occupations, his labors, the absorption in
which his mind was held by certain elevated thoughts which prevented
his taking due notice of the petty details of life." He made the vicar
observe, but without appearing to censure the conduct of a man whose
age and connections deserved all respect, that "in former days,
recluses thought little about their food and lodging in the solitude
of their retreats, where they were lost in holy contemplations," and
that "in our days, priests could make a retreat for themselves in the
solitude of their own hearts." Then, reverting to Birotteau's affairs,
he added that "such disagreements were a novelty to him. For twelve
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The third excerpt represents the future or something you must embrace, and is drawn from At the Sign of the Cat & Racket by Honore de Balzac: The sound of a carriage, which stopped at the door, interrupted the
rating which the old draper already quaked at. In a minute Madame
Roguin was standing in the middle of the room, and looking at the
actors in this domestic scene: "I know all, my dear cousin," said she,
with a patronizing air.
Madame Roguin made the great mistake of supposing that a Paris
notary's wife could play the part of a favorite of fashion.
"I know all," she repeated, "and I have come into Noah's Ark, like the
dove, with the olive-branch. I read that allegory in the /Genie du
Christianisme/," she added, turning to Madame Guillaume; "the allusion
ought to please you, cousin. Do you know," she went on, smiling at
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