| The first excerpt represents the past or something you must release, and is drawn from A Daughter of Eve by Honore de Balzac: the day of the distribution of prizes, when the boys remained in their
father's house and slept there, the sisters saw so little of their
brothers that there was absolutely no tie between them. On those days
the countess never left them for an instant alone together. Calls of
"Where is Angelique?"--"What is Eugenie about?"--"Where are my
daughters?" resounded all day. As for the mother's sentiments towards
her sons, the countess raised to heaven her cold and macerated eyes,
as if to ask pardon of God for not having snatched them from iniquity.
Her exclamations, and also her reticences on the subject of her sons,
were equal to the most lamenting verses in Jeremiah, and completely
deceived the sisters, who supposed their sinful brothers to be doomed
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from In Darkest England and The Way Out by General William Booth: and action in the city which is very attractive. Doubtless some would
run away, but I don't think this would be a large proportion.
The change would be so great, and so palpably advantageous, that I
think they would find in it ample compensation for the deprivation of
any little pleasureable excitement they had left behind them in the
city. For instance, there would be--
A Sufficiency of Food.
The friendliness and sympathy of their new associates. There would
be abundance of companions of similar tastes and circumstances--
not all pious. It would be quite another matter to going
single-handed on to a farm, or into a melancholy family.
In Darkest England and The Way Out |
The third excerpt represents the future or something you must embrace, and is drawn from Letters from England by Elizabeth Davis Bancroft: life, but it has its compensations. To go back to Miss Murray and
myself, who are driving through the park between files of people,
thousands and thousands all awaiting with patient, loyal faces the
passage of the Queen and of the State carriages. The Queen's was
drawn by eight cream-colored horses, and the servants flaming with
scarlet and gold. This part of the park, near the palace, is only
accessible to the carriages of the foreign ministers, ministers, and
officers of the household.
We arrive at the Parliament House, move through the long corridor
and give up our tickets at the door of the chamber. It is a very
long, narrow room. At the upper end is the throne, on the right is
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