| The first excerpt represents the past or something you must release, and is drawn from The Man in Lower Ten by Mary Roberts Rinehart: looking hard at the gate-post which had figured in one of our
mysteries, but he asked no questions. Afterward he grew almost
taciturn, for him, and let me do most of the talking.
We opened the front gate of the Carter place and went slowly up the
walk. Two ragged youngsters, alike even to freckles and squints,
were playing in the yard.
"Is your mother around?" I asked.
"In the front room. Walk in," they answered in identical tones.
As we got to the porch we heard voices, and stopped. I knocked,
but the people within, engaged in animated, rather one-sided
conversation, did not answer.
The Man in Lower Ten |
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Magic of Oz by L. Frank Baum: as to their size and strength. It is possible for beasts--or even
people--to be destroyed, but the task is so difficult that it is
seldom attempted. Because it is free from sickness and death is one
reason why Oz is a fairyland, but it is doubtful whether those who
come to Oz from the outside world, as Dorothy and Button-Bright and
Trot and Cap'n Bill and the Wizard did, will live forever or cannot be
injured. Even Ozma is not sure about this, and so the guests of Ozma
from other lands are always carefully protected from any danger, so as
to be on the safe side.
In spite of the laws of the forests there are often fights among the
beasts; some of them have lost an eye or an ear or even had a leg torn
The Magic of Oz |
The third excerpt represents the future or something you must embrace, and is drawn from At the Sign of the Cat & Racket by Honore de Balzac: "I know all," she repeated, "and I have come into Noah's Ark, like the
dove, with the olive-branch. I read that allegory in the /Genie du
Christianisme/," she added, turning to Madame Guillaume; "the allusion
ought to please you, cousin. Do you know," she went on, smiling at
Augustine, "that Monsieur de Sommervieux is a charming man? He gave me
my portrait this morning, painted by a master's hand. It is worth at
least six thousand francs." And at these words she patted Monsieur
Guillaume on the arm. The old draper could not help making a grimace
with his lips, which was peculiar to him.
"I know Monsieur de Sommervieux very well," the Dove ran on. "He has
come to my evenings this fortnight past, and made them delightful. He
|
