| The first excerpt represents the past or something you must release, and is drawn from The Glimpses of the Moon by Edith Wharton: of it in others, and also to ascribe it impulsively to those of
the opposite sex who happened to interest her. She had a
natural contempt for people who gloried in what they need only
have endured. She herself meant eventually to marry, because
one couldn't forever hang on to rich people; but she was going
to wait till she found some one who combined the maximum of
wealth with at least a minimum of companionableness.
She had at once perceived young Lansing's case to be exactly the
opposite: he was as poor as he could be, and as companionable
as it was possible to imagine. She therefore decided to see as
much of him as her hurried and entangled life permitted; and
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from When the World Shook by H. Rider Haggard: All this while we had been living on our ship and growing very
bored there, although we employed the empty hours in conversation
with selected natives, thereby improving our knowledge of the
language. Bickley had the best of it, since already patients
began to arrive which occupied him. One of the first was that man
whom Tommy had bitten. He was carried to us in an almost comatose
state, suffering apparently from the symptoms of snake poisoning.
Afterward it turned out that he conceived Tommy to be a divine
but most venomous lizard that could make a very horrible noise,
and began to suffer as one might do from the bite of such a
creature. Nothing that Bickley could do was enough to save him
When the World Shook |
The third excerpt represents the future or something you must embrace, and is drawn from The Hidden Masterpiece by Honore de Balzac: spirit of the great warriors of art,--invincible powers, not misled by
will-o'-the-wisps, but advancing always until they force Nature to lie
bare in her divine integrity. That was Raphael's method," said the old
man, lifting his velvet cap in homage to the sovereign of art; "his
superiority came from the inward essence which seems to break from the
inner to the outer of his figures. Form with him was what it is with
us,--a medium by which to communicate ideas, sensations, feelings; in
short, the infinite poesy of being. Every figure is a world; a
portrait, whose original stands forth like a sublime vision, colored
with the rainbow tints of light, drawn by the monitions of an inward
voice, laid bare by a divine finger which points to the past of its
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