| The first excerpt represents the past or something you must release, and is drawn from Helen of Troy And Other Poems by Sara Teasdale: Vox Corporis
A Ballad of Two Knights
Christmas Carol
The Faery Forest
A Fantasy
A Minuet of Mozart's
Twilight
The Prayer
Two Songs for a Child
On the Tower
Helen of Troy and Other Poems
|
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Dracula by Bram Stoker: purpose as the Professor's, a purpose which could thus use
the to him most sacred of things, it was impossible to distrust.
In respectful silence we took the places assigned to us
close round the tomb, but hidden from the sight of any
one approaching. I pitied the others, especially Arthur.
I had myself been apprenticed by my former visits to this
watching horror, and yet I, who had up to an hour ago
repudiated the proofs, felt my heart sink within me.
Never did tombs look so ghastly white. Never did cypress,
or yew, or juniper so seem the embodiment of funeral gloom.
Never did tree or grass wave or rustle so ominously.
Dracula |
The third excerpt represents the future or something you must embrace, and is drawn from Buttered Side Down by Edna Ferber: Effie on the street, you would have put her down as one of the many
well-dressed, prosperous-looking women shoppers--if you hadn't
looked at her feet. Veteran clerks and policemen cannot disguise
their feet.
Effie Bauer's reason for not marrying when a girl was the same
as that of most of the capable, wise-eyed, good-looking women one
finds at the head of departments. She had not had a chance. If
Effie had been as attractive at twenty as she was at--there, we
won't betray confidences. Still, it is certain that if Effie had
been as attractive when a young girl as she was when an old girl,
she never would have been an old girl and head of Spiegel's corset
Buttered Side Down |
