| The first excerpt represents the past or something you must release, and is drawn from La Grenadiere by Honore de Balzac: find two sealed papers to the left. There is the name of LOUIS on one,
and on the other MARIE."
"Here they are, mother."
"Those are your certificates of birth, darling; you will want them.
Give them to our poor, old Annette to keep for you; ask her for them
when you need them. Now," she continued, "is there not another paper
as well, something in my handwriting?"
"Yes, mother," and Louis began to read, "MARIE WILLEMSENS, BORN
AT----"
"That is enough," she broke in quickly, "do not go on. When I am dead,
give that paper, too, to Annette, and tell her to send it to the
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from At the Earth's Core by Edgar Rice Burroughs: the thin veneer of my deceit and read my inmost thoughts.
It heeded the story which the Sagoths told of my return
to Phutra, watching the gorilla-men's lips and fingers
during the recital. Then it questioned me through one of
the Sagoths.
"You say that you returned to Phutra of your own free will,
because you think yourself better off here than elsewhere--do
you not know that you may be the next chosen to give up
your life in the interests of the wonderful scientific
investigations that our learned ones are continually
occupied with?"
At the Earth's Core |
The third excerpt represents the future or something you must embrace, and is drawn from Massimilla Doni by Honore de Balzac: torpid," said a man from the Romagna.
"In this scene," said Massimilla, whose emotion was evident, "science
is set aside. Inspiration, alone, dictated this masterpiece; it rose
from the composer's soul like a cry of love! As to the accompaniment,
it consists of the harps; the orchestra appears only at the last
repetition of that heavenly strain. Rossini can never rise higher than
in this prayer; he will do as good work, no doubt, but never better:
the sublime is always equal to itself; but this hymn is one of the
things that will always be sublime. The only match for such a
conception might be found in the psalms of the great Marcello, a noble
Venetian, who was to music what Giotto was to painting. The majesty of
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