| The first excerpt represents the past or something you must release, and is drawn from In the South Seas by Robert Louis Stevenson: princess prayed she might continue to be numbered with the dead.
But it seems it was too late, her spirit was replaced by the least
dignified of entrances, and her startled family beheld the body
move. The seemingly purgatorial labours, the helpful kindred
spirit, and the horror of the princess at the sight of her tainted
body, are all points to be remarked.
The truth is, the tales are not necessarily consistent in
themselves; and they are further darkened for the stranger by an
ambiguity of language. Ghosts, vampires, spirits, and gods are all
confounded. And yet I seem to perceive that (with exceptions)
those whom we would count gods were less maleficent. Permanent
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from A Heap O' Livin' by Edgar A. Guest: I bid them softly follow me.
And then I lead them up the stairs
Through trains of cars and Teddy bears,
And to a little room we creep
Where both my youngsters lie asleep,
Close locked in one another's arms.
I let them gaze upon their charms,
I let them see the legs of brown
Curled up beneath a sleeping gown,
And whisper in my happiness:
"Behold the treasures I possess."
 A Heap O' Livin' |
The third excerpt represents the future or something you must embrace, and is drawn from The Secrets of the Princesse de Cadignan by Honore de Balzac: Merri for the purpose of giving it funeral honors. Gratitude for a
service which contrasted with the administrative rigor displayed at a
time when political passions were so violent, had bound, so to speak,
d'Arthez to Rastignac. The latter and de Marsay were much too clever
not to profit by that circumstance; and thus they won over other
friends of Michel Chrestien, who did not share his political opinions,
and who now attached themselves to the new government. One of them,
Leon Giraud, appointed in the first instance master of petitions,
became eventually a Councillor of State.
The whole existence of Daniel d'Arthez is consecrated to work; he sees
society only by snatches; it is to him a sort of dream. His house is a
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