| The first excerpt represents the past or something you must release, and is drawn from The Return of Tarzan by Edgar Rice Burroughs: difficult food supply.
Jane Porter had of course not been subjected to these
strenuous expeditions, but her apparel was, nevertheless,
in a sad state of disrepair.
Clayton, for lack of any better occupation, had carefully
saved the skin of every animal they had killed. By stretching
them upon the stems of trees, and diligently scraping them,
he had managed to save them in a fair condition, and now
that his clothes were threatening to cover his nakedness no
longer, he commenced to fashion a rude garment of them,
using a sharp thorn for a needle, and bits of tough grass and
The Return of Tarzan |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from To the Lighthouse by Virginia Woolf: on walks. Once on the beach they separated, he going out on to the
Pope's Nose, taking his shoes off, and rolling his socks in them and
letting that couple look after themselves; Nancy waded out to her own
rocks and searched her own pools and let that couple look after
themselves. She crouched low down and touched the smooth rubber-like
sea anemones, who were stuck like lumps of jelly to the side of the
rock. Brooding, she changed the pool into the sea, and made the minnows
into sharks and whales, and cast vast clouds over this tiny world by
holding her hand against the sun, and so brought darkness and
desolation, like God himself, to millions of ignorant and innocent
creatures, and then took her hand away suddenly and let the sun stream
To the Lighthouse |
The third excerpt represents the future or something you must embrace, and is drawn from The Vicar of Tours by Honore de Balzac: complexion was dark, and her hair, originally black, had turned gray
from frightful headaches,--a misfortune which obliged her to wear a
false front. Not knowing how to put it on so as to conceal the
junction between the real and the false, there were often little gaps
between the border of her cap and the black string with which this
semi-wig (always badly curled) was fastened to her head. Her gown,
silk in summer, merino in winter, and always brown in color, was
invariably rather tight for her angular figure and thin arms. Her
collar, limp and bent, exposed too much the red skin of a neck which
was ribbed like an oak-leaf in winter seen in the light. Her origin
explains to some extent the defects of her conformation. She was the
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