| The first excerpt represents the past or something you must release, and is drawn from Nada the Lily by H. Rider Haggard: Fords far away to the plain beneath; "yonder is the kraal where the
aged woman dwelt. There is a cliff rising from the plain, up which I
must climb; there is the forest where dwell the Amatongo, the people
of the ghosts; there, on the hither side of the forest, runs the path
to the cave, and here is the cave itself. See this stone lying at the
mouth of the cave, it turns thus, shutting up the entrance hole--it
turns gently; though it is so large, a child may move it, for it rests
upon a sharp point of rock. Only mark this, the stone must be pushed
too far; for, look! if it came to here," and he pointed to a mark in
the mouth of the cave, "then that man need be strong who can draw it
back again, though I have done it myself, who am not a man full grown.
Nada the Lily |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Mysterious Island by Jules Verne: remonstrance.
On the morning of the 16th of April all the colonists, including Top,
embarked. A fine breeze blew from the south-west, and the 'Bonadventure"
tacked on leaving Port Balloon so as to reach Reptile End. Of the ninety
miles which the perimeter of the island measured, twenty included the south
coast between the port and the promontory. The wind being right ahead it
was necessary to hug the shore.
It took the whole day to reach the promontory, for the vessel on leaving
pon had only two hours of ebb tide and had therefore to make way for six
hours against the flood. It was nightfall before the promontory was
doubled.
The Mysterious Island |
The third excerpt represents the future or something you must embrace, and is drawn from An Old Maid by Honore de Balzac: the provinces calculate and arrange marriage with the one view of
material comfort, and a poor artist or man of science is forbidden to
double its purpose and make it the saviour of his genius by securing
to him the means of subsistence!
Moved by such ideas, Athanase Granson first thought of marriage with
Mademoiselle Cormon as a means of obtaining a livelihood which would
be permanent. Thence he could rise to fame, and make his mother happy,
knowing at the same time that he was capable of faithfully loving his
wife. But soon his own will created, although he did not know it, a
genuine passion. He began to study the old maid, and, by dint of the
charm which habit gives, he ended by seeing only her beauties and
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