| The first excerpt represents the past or something you must release, and is drawn from At the Sign of the Cat & Racket by Honore de Balzac: depths of his shop. The daylight was now brighter, and enabled the
stranger to discern the cashier's corner enclosed by a railing and
screened by old green silk curtains, where were kept the immense
ledgers, the silent oracles of the house. The too inquisitive gazer
seemed to covet this little nook, and to be taking the plan of a
dining-room at one side, lighted by a skylight, whence the family at
meals could easily see the smallest incident that might occur at the
shop-door. So much affection for his dwelling seemed suspicious to a
trader who had lived long enough to remember the law of maximum
prices; Monsieur Guillaume naturally thought that this sinister
personage had an eye to the till of the Cat and Racket. After quietly
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Beasts of Tarzan by Edgar Rice Burroughs: brow burned scarlet, and there rose to his lips the hideous,
bestial challenge of the bull-ape.
Rokoff shuddered as the weird and terrible alarm fell upon
his ears. Cowering in the bottom of the boat, his teeth
chattering in terror, he watched the man he feared above all
other creatures upon the face of the earth as he ran quickly
to the edge of the water.
Even though the Russian knew that he was safe from his enemy,
the very sight of him threw him into a frenzy of trembling cowardice,
which became frantic hysteria as he saw the white giant dive fearlessly
into the forbidding waters of the tropical river.
The Beasts of Tarzan |
The third excerpt represents the future or something you must embrace, and is drawn from Venus and Adonis by William Shakespeare: Red cheeks and fiery eyes blaze forth her wrong;
Being judge in love, she cannot right her cause: 220
And now she weeps, and now she fain would speak,
And now her sobs do her intendments break.
Sometimes she shakes her head, and then his hand;
Now gazeth she on him, now on the ground; 224
Sometimes her arms infold him like a band:
She would, he will not in her arms be bound;
And when from thence he struggles to be gone,
She locks her lily fingers one in one. 228
'Fondling,' she saith, 'since I have hemm'd thee here
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