| The first excerpt represents the past or something you must release, and is drawn from A Pair of Blue Eyes by Thomas Hardy: worn away from the sides of the alien fragment by centuries of
frost and rain, and now left it without much support.
It moved. Knight seized a tuft of sea-pink with each hand.
The quartz rock which had been his salvation was worse than
useless now. It rolled over, out of sight, and away into the same
nether sky that had engulfed the telescope.
One of the tufts by which he held came out at the root, and Knight
began to follow the quartz. It was a terrible moment. Elfride
uttered a low wild wail of agony, bowed her head, and covered her
face with her hands.
Between the turf-covered slope and the gigantic perpendicular rock
A Pair of Blue Eyes |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Ten Years Later by Alexandre Dumas: singular person was this M. de Manicamp; a very intelligent
young fellow, always poor, always needy, although he dipped
his hand freely into the purse of M. le Comte de Guiche, one
of the best furnished purses of the period. M. le Comte de
Guiche had had, as the companion of his boyhood, this De
Manicamp, a poor gentleman, vassal-born, of the house of
Grammont. M. de Manicamp, with his tact and talent, had
created himself a revenue in the opulent family of the
celebrated marechal. From his infancy he had, with
calculation beyond his age, lent his name and complaisance
to the follies of the Comte de Guiche. If his noble
Ten Years Later |
The third excerpt represents the future or something you must embrace, and is drawn from Merry Men by Robert Louis Stevenson: downstairs. I think it must be your imagination. I thank my stars
I have none.'
'Pardon me,' replied Desprez, still humbly, but with a return of
spirit at sight of a distinction to be drawn; 'pardon me, Casimir.
You possess, even to an eminent degree, the commercial imagination.
It was the lack of that in me - it appears it is my weak point -
that has led to these repeated shocks. By the commercial
imagination the financier forecasts the destiny of his investments,
marks the falling house - '
'Egad,' interrupted Casimir: 'our friend the stable-boy appears to
have his share of it.'
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