| The first excerpt represents the past or something you must release, and is drawn from The Economist by Xenophon: As you describe him (I proceeded), your father must truly have been
formed by nature with a passion for husbandry, not unlike that corn-
hunger which merchants suffer from. You know their habits: by reason
of this craving after corn,[39] whenever they hear that corn is to be
got, they go sailing off to find it, even if they must cross the
Aegean, or the Euxine, or the Sicilian seas. And when they have got as
much as ever they can get, they will not let it out of their sight,
but store it in the vessel on which they sail themselves, and off they
go across the seas again.[40] Whenever they stand in need of money,
they will not discharge their precious cargo,[41] at least not in
haphazard fashion, wherever they may chance to be; but first they find
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from McTeague by Frank Norris: gold.' Then he'll whale me with his whip, and shout, 'You
know where it is. Tell me, tell me, you swine, or I'll do
for you.' An' then he'll get down on his knees and whimper,
and beg me to tell um where I've hid it. He's just gone plum
crazy. Sometimes he has regular fits, he gets so mad, and
rolls on the floor and scratches himself."
One morning in November, about ten o'clock, Trina pasted a
"Made in France" label on the bottom of a Noah's ark, and
leaned back in her chair with a long sigh of relief. She
had just finished a large Christmas order for Uncle
Oelbermann, and there was nothing else she could do that
McTeague |
The third excerpt represents the future or something you must embrace, and is drawn from Domestic Peace by Honore de Balzac: The men could not understand such luck as the Baron's, not regarding
him as particularly fascinating. A few indulgent women said it was not
fair to judge the Countess too hastily; young wives would be in a very
hapless plight if an expressive look or a few graceful dancing steps
were enough to compromise a woman.
Martial alone knew the extent of his happiness. During the last
figure, when the ladies had to form the moulinet, his fingers clasped
those of the Countess, and he fancied that, through the thin perfumed
kid of her gloves, the young wife's grasp responded to his amorous
appeal.
"Madame," said he, as the quadrille ended, "do not go back to the
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