| The first excerpt represents the past or something you must release, and is drawn from Burning Daylight by Jack London: eggs on the Dawson market, paying twenty-four dollars a dozen for
them and promptly feeding them to the wolf-dogs.
Champagne sold at from forty to fifty dollars a quart, and
canned oyster stew at fifteen dollars. Daylight indulged in no
such luxuries. He did not mind treating a bar-room of men to
whiskey at fifty cents a drink, but there was somewhere in his
own extravagant nature a sense of fitness and arithmetic that
revolted against paying fifteen dollars for the contents of an
oyster can. On the other hand, he possibly spent more money in
relieving hard-luck cases than did the wildest of the new
millionaires on insane debauchery. Father Judge, of the
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Chouans by Honore de Balzac: in the arms of her lover and Francine as if dead. When she opened her
eyes they met those of the young man full of loving tenderness.
"Marie! patience! this is your last trial," he said.
"The last!" she exclaimed, bitterly.
Francine and the marquis looked at each other in surprise, but she
silenced them by a gesture.
"Call the priest," she said, "and leave me alone with him."
They did so, and withdrew.
"My father," she said to the priest so suddenly called to her, "in my
childhood an old man, white-haired like yourself, used to tell me that
God would grant all things to those who had faith. Is that true?"
The Chouans |
The third excerpt represents the future or something you must embrace, and is drawn from Paz by Honore de Balzac: was ever proved, it was certainly after the insurrection of 1830,
during the present reign of the house of Orleans. As all the old
fortunes are diminishing in France, the majestic mansions of our
ancestors are constantly being demolished and replaced by species of
phalansteries, in which the peers of July occupy the third floor above
some newly enriched empirics on the lower floors. A mixture of styles
is confusedly employed. As there is no longer a real court or nobility
to give the tone, there is no harmony in the production of art. Never,
on the other hand, has architecture discovered so many economical ways
of imitating the real and the solid, or displayed more resources, more
talent, in distributing them. Propose to an architect to build upon
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