| The first excerpt represents the past or something you must release, and is drawn from Tales of the Klondyke by Jack London: concealed a deeper sneer. And, Jove, wasn't she well put up!
Wonder why she looked at him so? Did she want to marry him, too?
Like as not; but she wasn't the only one. Her looks were in her
favor, weren't they? And young--younger than Loraine Lisznayi.
She couldn't be more than twenty-three or four, twenty-five at
most. And she'd never get stout. Anybody could guess that the
first time. He couldn't say it of Loraine, though. SHE certainly
had put on flesh since the day she served as model. Huh! once he
got her on trail he'd take it off. Put her on the snowshoes to
break ahead of the dogs. Never knew it to fail, yet. But his
thought leaped ahead to the palace under the lazy Mediterranean
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Fables by Robert Louis Stevenson: side of our chimney to this day". Then would the elder son be
glad, and beg for a sight of it. And sometimes it would be a piece
of mirror, that showed the seeming of things; and then he would
say, "This can never be, for there should be more than seeming".
And sometimes it would be a lump of coal, which showed nothing; and
then he would say, "This can never be, for at least there is the
seeming". And sometimes it would be a touchstone indeed, beautiful
in hue, adorned with polishing, the light inhabiting its sides; and
when he found this, he would beg the thing, and the persons of that
place would give it him, for all men were very generous of that
gift; so that at the last he had his wallet full of them, and they
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The third excerpt represents the future or something you must embrace, and is drawn from The Hidden Masterpiece by Honore de Balzac: "Ah! that is the question," said the little old man. "You are floating
between two systems,--between drawing and color, between the patient
phlegm and honest stiffness of the old Dutch masters and the dazzling
warmth and abounding joy of the Italians. You have tried to follow, at
one and the same time, Hans Holbein and Titian; Albrecht Durier and
Paul Veronese. Well, well! it was a glorious ambition, but what is the
result? You have neither the stern attraction of severity nor the
deceptive magic of the chiaroscuro. See! at this place the rich, clear
color of Titian has forced out the skeleton outline of Albrecht
Durier, as molten bronze might burst and overflow a slender mould.
Here and there the outline has resisted the flood, and holds back the
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